Blues Matters 47

PO Box 18, Bridgend, CF33 6YW, UK.

Tel: 01656 745628

Fax: 01656 745028

E-mail: info@bluesmatters.com

Web: www.bluesmatters.com

EDITORIAL

Editor-in-Chief

Darren Howells darren@bluesmatters.com

Founder/Publisher

'D' alan@bluesmatters.com

Contributing Writers

Tim Aves, Roy Bainton, Andrew Baldwin, Adrian Blacklee, Jack Blackman, Carol Borrington, Matthew Clarke, Oliver Darling, Norman Darwen, Joe Geesin, Jamie Hailstone, Martin Halo, Stuart A Hamilton, Gareth Hayes, Sue Hickling, Darren Howells, Billy Hutchinson, Pete McGovern, Derrin Nauendorf, Noggin, Merv Osborne, Samuel Pentony, Thomas Rankin, Martin Reinsel, Graeme Scott, BB Skone, Ashwyn Smyth, Andy Snipper, M.D. Spenser, Davide Styles, Kevin Wharton, Tony Winfield

PRODUCTION

Art Direction/Graphic Design

Darren Howells

Photography

As credited

ADVERTISING

Advertising Team

‘D’ & Geraint David Morgan 01656 745628 ads@bluesmatters.com

SUBSCRIPTION DEPARTMENT

Jenny Hughes 01656 743406/745628 subs@bluesmatters.com

IT/WEB MANAGEMENT

Geraint David Morgan 01656 745628 webmaster@bluesmatters.com

PRINTERS

HSW Print, Tonypandy, CF40 2XX.

©2009 Blues Matters!

Alan ‘D’ Pearce t/a Blues Matters! Original material in this magazine is © the authors. Reproduction may only be made with prior consent of the editor and provided that acknowledgement is given of the source and copy sent to the editorial address. Care is taken to ensure that the contents of this magazine are accurate but the publishers do not accept any responsibility for errors that may occur or for the statements or views expressed editorially. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without prior permission of the editor. Submissions: Readers are invited to submit articles, letters and photographs for publication. The publishers reserve the right to amend any submissions, and cannot accept responsibility for loss or damage. Please note: Once submitted, materials become the intellectual property of Blues Matters! and can only later be withdrawn from publication at the expediency of Blues Matters! Advertisements:

Whilst reasonable care is taken in accepting advertisements, if in doubt readers should make their own enquiries. The publisher cannot accept responsibility for any resulting unsatisfactory transactions. Nor shall they be liable for any loss or damage to any person acting on information contained in this publication. We will however investigate complaints.

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

n interesting train of thought – and something for us devotees to cling onto, at least – is that the current economic downturn will be good for Blues music!

After all, who isn’t going to get the Blues? Distrust of governments and national institutions fuelled by mass debts, loss of homes, unemployment, depleting resources, catastrophes caused by climate change… there’s certainly enough to inspire lyrically, and there’ll surely be much less in future to force a more stripped-back and direct delivery…

However, if these desolate times are going to spoil us musically, 2009 still has quite a year to live up to…

Major players, including Gary Moore, Taj Mahal, Dr John and Solomon Burke, produced collections to rival their career best in 2008, whilst former chart-toppers Mick Hucknall and Dion astounded many in paying homage to Bobby “Blue” Bland and Skip James respectively.

Blues inspired women continued to attract the headlines, with Adele and Duffy living up to early-year predictions to dominate the airwaves, whilst the much-touted Dani Wilde impressed many with her Ruf Records debut.

Jeff Healey’s return to the Blues with “Mess Of Blues” sadly turned out to be a fitting posthumous release; Chris Rea pulled out all the stops on the staggering “The Return Of The Fabulous Hofner Bluenotes” opus; and Pinetop Perkins pulled in a number of heavyweights for his “…And Friends” collection.

Nugene Records were able to give Ian Siegal and Matt Schofield the year off, with commended releases from Simon McBride and T-99, whilst Bronzeart got over the loss of Seasick Steve thanks to Congregation and Gemma Ray.

Even John Mayer took time out of wooing celebrity beauties to release a live collection, the only surprise being he didn’t appear on the star-studded Little Feat recording.

Sonny Landreth, James Hunter, Homemade Jamz Blues Band, North Mississippi Allstars, Bob Brozman, Lurrie Bell… yes, none of these acts were able to make your Best Blues countdown!

Given the acts that couldn’t even break into our top-50, perhaps we can do without the recession after all!

DARREN HOWELLS Editor-in-Chief

13 BLUES NEWS

Eric Lindell, Saffire, Matt Schofield, Lynyrd Skynyrd, Dan Auerbach, Ramblin’ Jack Elliot, Dave Arcari, Guy Davis, Watermelon Slim, Black Lips, Gomez, Oli Brown, John Lee Hooker, B.B. King, Aynsley Lister, Jeff Beck, Julian Sas, Seth Walker, John Mayer, Seasick Steve

37 SUBSCRIBE TO WIN

Peter Green box set, Conil CDs, Catfish Haven CDs

134 DVD REVIEWS

Traffic, Johnny Winter, Joe Cocker, The Groundhogs, Norah Jones, John Mayall, Bob Dylan, The Yardbirds

140 FESTIVAL FEVER

Orkney Blues, London Rhythm ‘N Roots, Tenby Blues

146 GOT LIVE

Mick Fleetwood Band, John Martyn, Harper, Funkydory, Nick Cave And The Bad Seeds, Ian Siegal, Sherman Robertson, Blues Caravan, Kyla Brox, The Blues Band

157 MEMBERS’ COMPETITIONS

Bob Dylan DVDs, Greg Zlap CDs, King Clarentz CDs

20 INTERVIEWS

Steve Winwood, Kings Of Leon, Deborah Bonham, Queen + Paul Rodgers, T-Model Ford, Joe Bonamassa, Walter Trout...

76 BEST BLUES 2008

The best of last year’s album releases.

81 EASE THOSE BLUES

With “Bone Machine”.

82 GETTIN' THE BLUES

Derrin Nauendorf gets the Blues!

132 BLUE BLOOD

Jack Blackman, The Dirty Robbers...

158 NEVER FORGET

Odetta, Delaney Bramlett, Nathaniel Mayer...

160 NOW, BEFORE WE

T-Bone Walker.

FORGET…

Ian Siegal, JW-Jones, Katie Melua, Ron Hacker, AC/DC, Freddie King, Elvin Bishop, Conil, Little Richards, The Doors, Spencer Davis, ZZ Top, Mike Sanchez, Jimmy Thackery And The Drivers, The Hoax, Nina Simone, Boo Boo Davis, Maggie

Bell, Aretha Franklin, Willie Dixon, Dave Gross, Bob Meyer, Johnny Cash, Ten Years After, The Jeff Healey Band, Holly Golightly And The Brokeoffs, Ray LaMontagne...

34 PAUL RODGERS

Who would have predicted arguably the UK’s most over-the-top band of all-time would have produced a dignified Blues-rock collection in 2008? But it in the meeting of Paul Rodgers with Phil May and Roger Taylor, the former FREE frontman’s musical philosophy clearly won through. “I think I’ve given them an injection of the Blues, really, because I’ve done a Blues infusion... Queen are capable of not just the flamboyant kind of mega music - they are also capable of beautiful music. It’s great to hear them let loose on a jam.”

photo: Jill Furmanovsky

photo: Jo McCaughey

A FAIR QUESTION

Thank you for the renewal issues of Blues Matters! It is a very superior magazine.

It was good to see an article on Jimmy Hall (issue 44) because he was one of the first-rate acts my wife and I saw on the Delbert McClinton Sandy Beaches Cruise in January (2008). It was good to read about his past.

Also, having seen Andy Fairweather Low many times, I was pleased to read an article on him. However, there are a couple of questions I would love to have him answer. One is that I’m sure I read somewhere that he had a throat problem and had to give up singing, thus his move to the front as a guitarist, so I assume the problem is cured because he had a great Blues-shouter voice.

The second is that I think I saw him many years ago (possibly in the mid-80s) playing at the Dublin Castle in Camden with Geraint Watkins (a great version of ‘The Weight’, I remember), but Andy played brilliantly lefthanded (right-hand tuning, guitar upside down). Did he relearn the guitar right-handed, or am I mistaken?

David Parker

Aylesbury, Bucks

Andy Fairweather Low says: I did have trouble with my singing in the ‘70s. I saw a specialist, in fact I saw two, and they told me not to sing the way I was singing - good advice which I decided to ignore! I did not actually give up singing - I couldn’t get a record deal! I got work anyway I could, and, yes, I did play Dublin Castle with Geraint in the early-80s. I also produced an album with Geraint. I do not play left-handed. Geraint did have another guitar player who played lefthanded (much as I would like someone to think I played so brilliantly!). If the guy played left-handed brilliantly then it was Ed Dean.

PULLING POWER

I really enjoy the magazine; the live reviews and news are great, but my one suggestion would be to look for bigger cover stars. Holly Golightly isn’t particularly well known in either Blues or other musical circles at present. While I appreciate that you wish to champion new acts, and particularly younger/female ones, I'm not sure if they are ready yet to feature on the cover. I feel artists such as Joe Bonamassa, Seasick Steve, John Mayer etc. would help get a little more of a crossover interest.

Lynn

Beattie

Brownrigg Loaning, Dumfries

BM! Says: Whilst the temptation would be to feature high-profile acts every issue, the reality is these acts are covered elsewhere, and we want to offer an alternative to music fans, as well as showcase how contemporary/popular acts are adopting the Blues. For example, issue 44 featured Solomon Burke, who has enjoyed a long and enduring career; issue 45 featured Beth Rowley, who burst onto the scene in 2008 and generated a lot of early buzz; and then issue 46 featured Holly, who may not have the profile of either of the previous two acts, but has enjoyed a long and varied career. This issue we have Queen –well, we don’t want to become predictable!

Is Holly Golightly big enough for BM!?

photo: Alison Wonderland

The Stumble were the best!

YOU’RE THE BEST!

It was great to see the wonderful Boogaloo weekends mentioned in the article on Sam Kelly. My wife and I travel to all these weekends, and subscribe to this and other Blues publications, and have never come across a comment on the lineups as “uninspired.”

In 2008, youth was represented by Five Field Holler and Rollo Markee. Women in the Blues featured from Never The Bride and Kyla Brox to Connie Lush. Class acts from the USA included Eugene Bridges and Marcus Malone. Europe provided Family Style, Big Dez and Robi Zonca. Differing takes on the Blues from Chicken Legs Weaver to Jeremiah Marques. Musical virtuosity from Station House, Sean Webster and Otis Grand. Vocal virtuosity from The Blues Pack, Giles Hedley and the incomparable Nicky Moore. Hottest live band this year were the fabulous Stumble. Quality acts from Papa George to The Spikedrivers and the legendary Chris Farlowe. Acoustic sets and the midnight jams. Venues from palatial stately homes to chalets by the sea. Social and musical interaction between musicians and fans. These weekends are, on the contrary, fairly inspired and, indeed, as good as the Blues life gets!

Well done, Monica Madgwick!

BM! Says: Feedback from attendees to the Boogaloo weekends has been positive. It’s a shame Monica has announced there will be fewer events staged in 2009.

SHOW SOME RESPECT

The current issue of BM! (issue 44) was barely in my hands five minutes when I was incensed to read the nasty comments of Anthony Yost from London, about Mick Hucknall and Jools Holland.

Mick Hucknall may well be a “faded” pop star, but to call him “laughable” is gratuitously insulting. And why should Hucknall’s recording of an album of Bobby “Blue” Bland covers say that this music is no longer relevant? Hucknall was, and still is, blessed with one of soul music’s wonderful voices and if he wants to pay tribute to a true great of Blues and soul, then more power to him. I am quite certain that Bobby “Blue” Bland was very happy to have someone of Hucknall’s fame record his music in 2007. I have only heard a couple of tracks from Hucknall’s album while in a local record shop, but they sure sounded good to me.

As if dumping on Mick Hucknall wasn’t enough, Mr. Yost then proceeds to insult Jools Holland and those, like myself, who buy the music of such “equally insipid artists.” I can think of many adjectives to describe Jools Holland, but “insipid” (meaning to lack flavour or taste) would certainly not be one of them. Is Mr. Yost having a laugh? I have been to many great Blues (and rock) gigs in my time, but one of the very best and least “insipid” of them all was by Jools Holland and his

Rhythm & Blues Orchestra, who totally rocked the house and left everyone screaming for more.

Dara

MacGreevy

Brussels, Belgium

BM! Says: The likes of Mick Hucknall and Jools

This issue Robert will receive a copy of “The Anthology” box-set. The 4CD set features the best of Peter Green’s music over all stages of his career, including the likes of ‘Man Of The World’, ‘Albatross’ and ‘The Stumble’.

Robert Chaffey Plymouth

photo: Tony Winfield (bluespics.co.uk)

Holland do tend to attract negative comments, but likewise they remain two very popular acts, so we’re sure they aren’t duly concerned.

FEMALE EQUALITY

I was livid at the comments about Dani Wilde and, if it comes to that, Oli Brown in the latest issue (46).

I was sick of the modern day commercial slush being pushed down my throat and the ‘Y-Factor’ (yawn factor), "Play it again, Sam!" music of the ‘60s generation on constant repeat. Then I read an article by a then little known young musician, Joe Bonamassa, about the Blues in my husband's Blues Matters!, saying how important it was to retain that root in modern music.

Knowing its importance to the ‘60s, I decided to start helping to restore and nurture that root for successive generations. I had gained a wealth of knowledge from my connection to Macari's music shop in London's Tin Pan Alley, which I believed I could put to good use. Having taught about slavery and oppression over more years than I care to remember, I could also empathise with the emotive basis of that root.

On my first assignment for Blues Matters!, I stumbled across this attitude to female musicians in the Blues when talking to Joan Armatrading. After this, a pattern developed with every female musician I met. They greeted me with the same comment, "Oh, at last a woman music writer in the Blues to talk to!" I found this so strange, as a woman myself coming from a profession where sexes are almost equal. I knew about the struggle of ‘60s female musicians to get accepted - the criteria not being about talent but a pretty face - but I expected, in the modern day, a different outlook.

It does though seem if, like Dani, you are talented and pretty, not so. I've been monitoring this young lady's progress for over a year, along with a number of other young musicians, and I have watched Dani go from strength to strength musically.

The attitude expressed by Howard Sim’s letter in issue 46 is an opinion he is entitled to but it means, in music, 50% of the potential talent available - past and present - is written off, and we truly deserve the music we get on our media today, as a narrow minded genre of music, if we, too, take this attitude. I walked out on ‘60s rock’n’roll because of its “there can never be a better era than the ‘60s” attitude, to come to Blues because of its influence on the young ‘60s generation. I had the hope that by the very nature of the Blues origins in the struggle against one form of prejudice, I would find a more open-minded group.

Musical development is a path the Blues has always taken since its inception, and to stick the Blues in a box and let it collect dust in some museum is an insult. Those old Bluesmen and women gave us this musical gift out of the pain and suffering of prejudice. That music went on to produce new decades, genres, talented musicians and pleasure out of that pain. Don’t let us kill it by the very things the Blues was born from.

The Blues is a broad church with room for all, and if we don't like some of it, we don't have to buy it. The Blues is something worthy to give to future generations, and if we don't encourage them, we too will be another cracked 45 genre - collecting

Carol Borrington Nottingham

BM! Says: As our Best Blues countdown will testify, Blues fans, and certainly fans that read our magazine, are fairly open-minded to modern progressions.

dust!

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!

Is Dani Wilde still having to fight prejudice?

WOMEN UP AND LEAVE

But label quickly moves on

Alligator Records has announced that Eric Lindell (pictured below)will release his new album, “Gulf Coast Highway”, on 24th March 2009. Comparing the “soul-infused, roots music anthems” featured to the likes of Van Morrison, the press release stated the collection was “full of righteous grooves and punchy guitar fuelled R&B rave-ups, heartfelt ballads and funky second-line rhythms.” Alongside originals that saw Eric “reaching new songwriting peaks,” the album features “frisky” versions of songs by Buck Owens, Delbert McClinton and Willie Nelson. Should it live up to the label’s billing, “Gulf Coast Highway” should see Eric build significantly on the 29,000 units he’s shifted for Alligator already. In other news for the label, Saffire released their final album, “Havin’ The Last Word”, at the end of January 2009. One of the label’s biggest-selling outfits, “the uppity Blues women” will take their final album – described as “their most infectious collection yet of passionate, funny, rollickingly soulful Blues” – on a farewell tour of the US in 2009. The label has moved fast to fill the void left by their departure, however, signing Tommy Castro and Buckwheat Zydeco, with new albums planned for 2009. Popular Blues-rocker Tommy definitely sees joining the label as a highpoint in his career. “I feel I'm making a major step forward,” insisted the 2008 Blues Music Award winner. “I'm excited about the new release and grateful for the opportunity to record for a label with such a rich history.” alligator.com

Duluth, Minnesota-based Bluesman

Charlie Parr releases his seventh album, “Roustabout”, through Misplaced Music in the UK on 17th February 2009. myspace.com/charlieparrduluth

Legendary southern rock band, Lynyrd Skynyrd will tour the UK in May 2009their first UK shows for six years. The band, who are currently writing the follow-up to 2003’s “Vicious Cycle”, have been confirmed to play: Glasgow Clyde Auditorium (27th), Birmingham Nia Academy (28th), Manchester Apollo (30th) and London Brixton Academy (31st). lynyrdskynyrd.com Matt Schofield will release his new album at the end of March 2009. Again released on Nugene Records, the new album is described as “more Blues-centric,” and heralds a four piece line-up with Jeff “The Funk” Walker on bass joining Jonny Henderson on keys and Frenchman Alain Baudret on drums. mattschofield.com

Popular festival outfit, 3AM have split. Trev Turley, who has since formed Bare Bones Boogie Band with previous 3AM members Helen and Iain, said:

“Let’s just say it was the old adage ‘musical difficulties’ which prompted the drummer to leave.”

Going on to talk about the new outfit, Trev promised “a more trimmed down band, featuring more of Helen - at least she can get to sing the songs she wants to now. We are leaning back more to our Bluesy/boogie/ rocky side. Think Janis Joplin, Maggie Bell, Connie Lush.”

Eric Lindell helps ease the loss.

TWO BECOME ONE

Guitarist takes complete control over surprise new album

Black Keys singer and guitarist Dan Auerbach (pictured above) releases his debut solo album, “Keep It Hid”, on 23rd February 2009 via V2/Cooperative Music. Recorded and engineered by Auerbach at his Akron Analog studio - “I wanted a live, organic sound. Nothing was too plotted or planned, just a lot of spontaneity,” revealed the guitarist - The Black Keys frontman played all instruments on an album said to reveal his range and versatility as a songwriter. “This record is a mixture of things I like to listen to,” stated Dan. “Psychedelia, soul music, country harmonies ” However, a prerelease promotional copy, received by the magazine as issue 47 headed to press, confirmed Auerbach hasn’t moved too far away from his Blues-rock roots. myspace.com/danauerbachmusic

STRUGGLES ON NEW ALBUM

Legendary folk singer suffers from depression

Ramblin’ Jack Elliott will release the follow-up to his 2006 ANTI- Record debut, “I Stand Alone”, on 6th April 2009, entitled “A Stranger Here”. The new collection sees the 77-year-old country/folk troubadour explore Depression-era Blues classics with producer Joe Henry (Bettye LaVette, Solomon Burke ). From the liner notes of “A Stranger Here”, Henry writes: “I pitched the idea that he interpret country Blues music from the Depression-era of his birth - songs as dark, funny and strange as is he and the times that produced them, and also ones that still resonate in these turbulent days; songs from the Blues masters Jack had known during their latter-day resurgence - and his own ascension - in the early-60s (Son House, Mississippi John Hurt, Rev. Gary Davis); songs that share shape and subject with many folk songs of the same period but speak with a particular poetry to struggle, love, justice and mortality. I needn’t have pitched so hard; Jack seemed intrigued by the notion from the start, and had no trouble reading the songs as pertinent to him. He pounced on each one as it came up during the four days of recording in my basement studio, gave each a face of suave cunning, and was as unexpectedly arch as Bob Hope might’ve seemed strolling through a Fellini tableau.” ramblinjack.com

All by himself: Dan Auerbach.

ROCKIN’ THE BOAT

Awards ceremony given shake-up

Mississippi-based Homemade Jamz Blues Band (pictured above) are the youngest nominees - at 9, 14, and 16 years of age – at the 30th Annual Blues Music Awards, which has been confirmed for 7th May in Memphis, Tennessee, and which, for the first time, features a Rock Blues category (Gary Moore, Walter Trout and, posthumously, Jeff Healey are amongst the nominees). West coast-based group The Mannish Boys head the nominations with six (including Band, Traditional Album and Album Of The Year). Tied with four nominations each are Elvin Bishop, Eden Brent, Janiva Magness, Curtis Salgado and Watermelon Slim. Buddy Guy and Magic Slim are nominated for three awards, whilst B.B. King and Lurrie Bell will have to be content with two nods apiece. Performers have not yet been confirmed for the 2009 show at the Cook Convention Center. The Blues Music Awards, which will be broadcast live by Sirius XM Satellite Radio's B.B. King's Bluesville channel, will be shot in HD for a DVD to be released later in 2009. blues.org

BOTCHED OPERATION

Popular alt.Blues outfit flatline

Blues Matters! favourites, The Surgens announced on their website that they have split-up after four years. The band, who attracted attention from industry big-hitters like Mark Lamaar, cited difficulties in getting everyone together as a primary reason for the split. Kevin Murphy (aka Hanky Dog) told us: “We are all really proud of what we achieved and produced with The Surgens, and don’t really have any real regrets... We’ll have to see how well the music stands the test of time. I don’t think we could ever quite work out if it was ahead or behind it’s time.” Kevin, has already begun work with his new outfit The Malingerers, “a really stripped down acoustic country Blues band,” featuring fellow Surgens Craig Murphy and Donny (Black Dixon). thesurgens.co.uk

Dave Arcari (pictured below) has announced that his new album, “Got Me Electric”, is set for release on 2nd March 2009 on Buzz Records. The album features ten original compositions alongside Frankie Miller, Blind Willie Johnson and Robert Johnson covers. davearcari.com Red House Records has announced new releases from Guy Davis and Jorma Kaukonen for 10th February 2009. Guy Davis’ “Sweetheart Like You” is described as “a classic mix of acoustic Blues and soulful originals,” whilst Jorma Kaukonen’s “River Of Time” mixes “original tunes with Blues and country covers.” Mary Coughlan releases “The House Of Ill Repute” on 9th March 2009 on Rubyworks. “She has cast her meditative eye over songs of joy, sadness, mischief and melancholy; and has delivered each one with a voice that effortlessly straddles jazz, Blues, chanson and pop. marycoughlanmusic.com

Following 2007’s breakthrough with “Good Bad Not Evil”, Atlanta quartet Black Lips return with new album “200 Million Thousand” on 16th March 2009. The collection has been described as “a snotty fourteen-track celebration of unadorned rock’n’roll and no-bulls**t songwriting.” blacklips.com NorthernBlues Music have informed Blues Matters! that Watermelon Slim’s new album, "Escape from the Chick Coop", will see the former trucker move into country territory, having recorded the album in Nashville “with the best session players you can hire.” watermelonslim.com

Early recognition for the Homemade Jamz Band.

Dave Arcari promises electrifying new album.

photo: Ebet Roberts

photo: Tanya Simpson

PUSHING AHEAD

British outfit adapt to circumstances

Gomez (pictured right) have confirmed details of their sixth studio album, the follow-up to 2006’s acclaimed “How We Operate”. Released on 30th March 2009, via ATO Records, “A New Tide” is described as “their most adventurous and ambitious work to date,” with flavours of Delta Blues, psychedelia and Krautrock incorporated into the band’s “matchless musical brew.” With members of the band now based in America, early tracks were written and recorded individually and then merged online - a process the band describe as an “open and adaptive songwriting approach”before they convened with producer Brian Deck (Counting Crows) in studios in Chicago and Charlottesville, VA. Songs highlighted include ‘Win Park Slope’ and ‘Airstream Driver’ –“evincing a spirit born of boundless imagination.” Drummer Oliver Peacock said the album’s recording was “fuelled by bellies full of ale, whiskey and hot dogs.” gomez.co.uk

PURISTS BEWARE!

New outfit blur the boundaries

The Reverend Peyton's Big Damn Band – described as “too Blues for Nashville and too country for the Mississippi Delta,” will release their debut album 'The Whole Fam Damily” on 16th March 2009 on Sideonedummy Records in the UK. Each song is “a straight-talking slice of Family life,” with songs like 'Walmart Killed The Country Store', ‘Can’t Pay The Bills’, 'Why Is Everybody Getting Paid But Me' and 'Your Cousins On Cops' (written after the Reverend caught Breezy’s cousin in an episode of an American reality police chase show). “Maybe if I played a different genre of music I’d feel like I could get away with making stuff up, but this style of music is too honest; you can’t lie to people because they’ll see right through it,” said Peyton, who cites legends like Son House, Charley Patton and Furry Lewis as influences. The group, comprising of Reverend Peyton (a genuine Reverend) on guitar and vocals, his wife Breezy Peyton on washboard and his brother Jayme Peyton on drums, are expected to tour the UK during May 2009. myspace.com/therevpeytonsbigdamnband

Matt Andersen follows up 2008’s “Something In Between”, with the release of his second fulllength album “Second Time Around” on 2nd February 2009, supported by a UK tour. stubbyfingers.ca Oli Brown already has his own "Signature" guitar, which is being marketed by Vanquish. Oli’s father/manager, Graham enthused that “the instruments are 100% made in the UK!” oliselectricblues.co.uk Jim Suhler & Monkey Beat release “Tijuana Bible” on 17th February 2009 on Underworld Records. “Tijuana Bible is powered by thirteen original songs, plus unique takes on Elvin Bishop’s “Drunken Hearted Boy” (with Bishop as special guest on slide guitar), Rory Gallagher’s “I Could’ve Had Religion” and AC/DC’s “Up to My Neck in You.” jimsuhler.com Shout!

Factory will release “50 Years: John Lee Hooker Anthology” on 17th February 2009. This new 2-CD anthology covers John Lee Hooker’s career from the very beginning up through his last recordings, and features guests such as Carlos Santana, Bonnie Raitt, Robert Cray and Van Morrison. shoutfactory.com

The Baddest Blues Band (Ever!) headed to the studio to record second album “Heartbreak Tears” in January 2009. Most of the tracks will be originals penned by vocalist Zoë Schwarz and guitarist Rob Koral. Zoë said ahead of the band’s recording, “Lyrics for the Blues should not be contrived and over intellectualised but should connect to the man on the street.” myspace.com/thebaddestbluesbandever SPV’s Blue label continues its programme of the classic Columbia Records’ series Roots N Blues with the release of Shuggie Otis’ “Boogie – Shuggie Otis Plays The Blues”. The set has been digitally remastered and includes two bonus tracks. spv.de Aynsley Lister will release a new album via Manhaton Records on 16th March 2009. No other details were available as Blues Matters! went to press. aynsleylister.co.uk Wienerworld will release “B.B. King Live In Africa ‘74” on 17th Februrary 2009. The DVD offers “an extremely rare, intimate view of B.B. King in concert,” with the footage taken from a lead-up concert to the famous “Rumble In The Jungle” match between George Foreman and Muhammad Ali. bbking.com

Matt Taylor has told Blues Matters! he is working on a new Blues project with the guitarist Snowy White of Thin Lizzy and Pink Floyd fame. myspace.com/matttaylorband

Gomez use their imaginations to record new album

BECK IN STYLE.

Influential guitarist gets his due…again!

Jeff Beck has joined forces with legendary promoter Harvey Goldsmith (both pictured above) to capitalise on his induction into Rock and Roll Hall of Fame in Cleveland on 4th April 2009. Beck has already been inducted as a member of The Yardbirds, but the new induction will recognise a forty year-plus career, which has seen the guitarist admired by the likes of Eric Clapton (who he will perform with at Japan’s Saitama Super Arena in February) and, more recently, Morrisey, on whose new album Beck appears - The Jeff Beck Group are also credited as laying the blueprint for Led Zeppelin. On the union with Harvey, Jeff said: “It’s a great team and we have big plans, including new material and more performances.” Harvey was equally enthusiastic. “I have always thought that Jeff is an incredible musician,” insisted the promoter. “He is raring to go and his band are incredible, just brilliant. There should be a new album by the end of the year and who knows where we can go with that.” jeffbeck.com

LIVE AND DIE BY THE AXE

Dutch Blues-rocker gives it his all

Guitarist Julian Sas releases new DVD and 2CD set “Wandering Between Worlds” on 9th February 2009. The new album sees the Blues-rocker return to the CoraZong Records label, and is the first release - recorded in concert on 26th September 2008, at a sold out De Boerderij in Zoetermeer, The Netherlands - to show the latest Julian Sas Band line-up, featuring Julian Sas (guitar/vocals), Tenny Tahamata (bass) and Rob 'the beast' Heijne (drums). The show features staples from the Sas repertoire, plus four brand-new compositions (the DVD version comes with a bonus CD of acoustic recordings. including a fifth new composition). “The night that we recorded our new DVD/CD still sticks firmly in my mind,” said Sas. “It says everything I felt that moment and everything I live for.” Going on to talk about the new songs, the guitarist enthused, “’The Way It Goes’ has a great boogie feel and a rocking bridge. I play slide on this track and sing about being on the road, which seems to be never ending.” Expect to see the band performing in the UK at some point in 2009. juliansas.com

Harvey Goldsmith (left) will manage affairs for Jeff Beck (right).

THEN AND NOW

An alternative view of rock’n’rollers

Proud Camden will launch their “AC/DC: Let There Be Rock” exhibition on 4th February 2009, which will run until 31st May 2009. The exhibition – focussing on the band’s early years - will take place to coincide with the UK culmination of the group’s arena tour, and marks the anniversary of original singer Bon Scott’s untimely death. “Shot through the

AC/DC: “Jailbreak” session. After a few drinks, Sydney, 1976

A NEW BELIEF

Will you follow R&B sensation?

Hyena Records will release the new collection, “Leap Of Faith”, from Seth Walker on 3rd March 2009. Recorded in Nashville, and produced by GRAMMY Award-winning producer Gary Nicholson, the twelve-track collection showcases “Walker's impressive command of modern rhythm and Blues, as it calls to mind artists like James Hunter, Robert Cray and Susan Tedeschi.” The young Austin, Texas-based songwriter, singer and guitarist has combined “soul-stirring originals,” alongside interpretations of songs by the likes of Nick Lowe (‘Lately I've Let Things Slide’). Delbert McClinton, who lent his vocals to the track ‘Something Fast’, enthused, "The first time I heard Seth Walker at a small club in Nashville I was impressed like I haven't been impressed in thirty years." sethwalker.com

Already a five-time GRAMMY winner, John Mayer (pictured below) received a further five nominations (including Best Male Pop Vocal Performance) for the 51st annual GRAMMY Awards, staged on 8th February 2009. The shortlist for Best Traditional Blues Album included Elvin Bishop’s “The Blues Rolls On” and Buddy Guy’s “Skin Deep”, whilst the likes of Marcia Ball (“Peace, Love & BBQ”) and Solomon Burke (“Like A Fire”) will battle it out for the Best Contemporary Blues Album accolade. grammy.com Harrogate's Blues Bar has put together three compilation CDs to celebrate their twenty-one years in business. All proceeds will be donated to Oxfam. bluesbar.org.uk/oxjam2008.html

One-man-band, Bob Log III releases new album “My Shit Is Perfect” – “the onset of another slew of adventures” – in early2009 via Birdman Records. “Geography be damned, Bob Log III intends to take his unique slide guitar party to the good people of the world.” boblog111.com Seasick

Steve’s nomination for International Male Solo Artist made him the oldest Brit nominee in history. The Bluesman will be competing against the likes of Kanye West at the award ceremony held at Earls Court on 18th February 2009. seasicksteve.com

Jake Lear will release his second album, “Lost Time Blues”, on 20th February 2009. The guitarist, who has drawn comparison to Stevie Ray Vaughan, said “Lost Time Blues” is a Blues album with “the strong presence of country and folk mixed in.” jakelear.com

Underworld Records announced a 17th March 2009 release date for “Free Your Mind”, the new CD from Seattle-based Too Slim And The Taildraggers. “The new CD takes the group’s Blues-based music to new heights, adding rock and Americana influences that make the disc a joyous listen.” underworldindierecords.com

John Mayer could double his GRAMMY haul.

photo: Mark Seli

ou could understand if Steve Winwood feels slightly aggrieved with his standing in the pantheon of British music.

Rarely does his name feature when the British music industry offloads its lifetime achievement awards – even Tom Jones has an Outstanding Contribution To Music Award… crikey, even The Spice Girls do! – or in nostalgic music documentaries on the seminal era for popular music, or when the majors rearrange their all-time greatest album/artist polls…

Winwood’s influence on modern day rock/pop music is inestimable (today, appearing on songs from Christina Aguilera to DJ Eric Prydz), yet, as a musician, he’s never received the same level of hero worship as his good friend Eric Clapton; as a songwriter, his efforts have always been overshadowed by the likes of Richards & Jagger, McCartney & Lennon and the Davies brothers; and as a vocalist, singers such as Eric Burdon had the power and presence to attract more attention. However, his collective talents far surpassed any of the aforementioned British legends, and his contribution to ‘60s British R&B and popular music was at least their equal…

Like so many musicians of the time, Winwood’s schooling came via backing legendary Bluesman touring the UK in the early-60s. As a teenager, on Hammond B-3 organ and guitar, the Birmingham singer/songwriter worked with the likes of Muddy Waters, Howlin’ Wolf and John Lee Hooker, but he’d been performing in his father’s jazz outfit since the age of 8, before becoming a member of the Spencer Davis Group at just 15.

Steve immediately attracted attention for his soulful vocal (likened to his hero Ray Charles) and playing ability –both beyond his years – whilst his songwriting credentials were confirmed on two of the eras most memorable hits –

‘I’m A Man’ and ‘Gimme Some Lovin’’.

With the band now set at the front of the British Blues invasion, Steve formed a friendship with one of the few artists who could more than match the levels of adulation he was experiencing – God!

“I first came down to London as a youngster of about 15 or 16, I think,” recalled Steve. “Eric took me under his wing.

“Eric (Clapton) was a couple of years older and introduced me to some of his friends. We would listen to music and share music, and discuss and play a bit, although we were both playing with different bands - he was playing with John Mayall at the time.”

Fans would have to wait a few years from this bonding period before they would hear the collective talents of Messrs Winwood and Clapton (although, they did record several unreleased tracks together as the Powerhouse project), as Steve’s next project would see him break free of the three-minute pop single limitations, which had born such fruits as ‘Keep On Running’ with the Spencer Davis Group.

With Dave Mason, Chris Wood and Jim Capaldi, Steve would use Traffic to bring together his already extensive varied musical experiences and influences, before sending them off again in unexpected directions.

“We used to jam a lot and our writing came out of a necessity,” said the recently turned 60-year-old. “Jim and I, and Chris Wood to a certain extent, never set out to be songwriters, we were musicians foremost – Jim was a drummer and Chris played, and we used to like to jam, to just sit down, play and improvise.”

The group would ultimately rival The Beatles for late-60s innovation, and their “Mr. Fantasy” and self-titled 1968 classic continues to influence the likes of Paul Weller, and countless international outfits.

“I think there are a lot of bands, modern bands today, echoing earlier music,” agreed Steve, “whether it be Zeppelin or Traffic or The Stones. In fact, talking to youngsters about it, to my own children, for example; my boy loves music of the ‘60s. He loves Zeppelin, Cream…

“I

think there are a lot of bands, modern bands today, echoing earlier music.”

“So, I think, because they love that music, it will find its way through to music that’s happening today.”

Although he had enjoyed huge success with the Spencer Davis Group and Traffic at such a young age, “teenage stardom” was far removed from what Steve sees in the industry today.

“When I started, there wasn’t the instantaneous fame or stardom that there is now,” insisted Winwood, “because a lot of media and things happen much more quickly (today).

“In my day, it meant more work, more sitting in the back of a van travelling from one place to another. Actually, a great measure of success in those days was actually doing two gigs in night rather than one, so I mean that’s completely different from what it’s like now.

“So, it’s not surprising that, especially with the backgrounds that some of the new artists come from, it just completely throws them into another world. I don’t think I was thrown into the world quite in the way that youngsters are today, so I think they have to be doubly careful or doubly clever to be able to deal with everything that is thrown at them.”

With inner conflicts (notably creative differences with Mason), Winwood disbanded Traffic in 1969 (although they would reform a year later with the acclaimed and top-5 US album “John Barleycorn Must Die”) to form Blind Faith with Eric Clapton, who had himself recently left another pioneering outfit.

“Eric and I always had it in our minds, I for my part that I’d love to play with Eric,” claimed Steve. “It was only when he brokeup with Cream, or that Cream broke-up, that we decided we would get together.”

With Ginger Baker and Ric Grech on board, anticipation was enormous for the band – who had struck on their name after concert promoters were willing to book the outfit before any material had actually been recorded – and whilst critical and public adoration continued for Steve, the outfit never lived up to its potential.

“Blind Faith was very short-lived and, I think, at the time I didn’t really know where I was going musically,” admitted Steve, “and I don’t think Eric did either, so it was kind of experimental.

“We did some great shows. I think the album was a possibly a little more studied, but I think it stands up very well against the test of time.

“Although it’s a very short-lived group, I think the album had something very specific for those times.”

Following his success in the late-60s/early-70s, it was surprising that his solo career would be slow off the ground – even if his now synthesized sound was initially well received – taking until 1986’s “Back In The High Life” for Winwood to finally breakthrough as a blue-eyed soul singer topping the charts with ‘Higher Love’ and selling millions of albums.

However, Winwood’s new AOR sound had aligned him

“When I started, there wasn’t the instantaneous fame or stardom that there is now.”

Whilst it’s seldom you’ll see Winwood come in for any worship from the majors in this country, Rolling Stone recently charted the British singer/songwriter at number 33 in their 100 Great Singers Of All Time poll – ahead of the more obvious names of Whitney Houston, Rod Stewart, Roger Daltrey, Dolly Parton, Mariah Carey and Solomon Burke.

“Well, the voice is an instrument,” pondered Steve, “but it probably conveys the emotion better and then, of course, enables you to put words to music, so it takes on another element.”

Steve went on to recall: “A great hero of mine was Ray Charles back in the early-60s and late-50s,” and it was Charles to whom he was compared to in those early days as a prodigal teenager with the Spencer Davis Group.

As Winwood’s career has developed, and his music has branched off into many interesting directions, to varying degrees of critical and commercial success, one area of excellence has remained – the star’s delivery. Even if it doesn’t sound quite the same as it did in those early years.

Winwood began to educate: “(The voice) it’s made out of a muscle and, as we all know, the things that we can do at 20 years old, we can’t do at 60 years old – the voice is no different to that. Some of the agility does go out of it, but then it also depends because, as you know, people of advancing years can be just as graceful, but they don’t try and do things that 20 year olds can do, if they are sensible.”

Even if he doesn’t push his vocals these days, on “Nine Lives”, however, Steve has proven, creatively, he can match anything he did forty years ago. DH

with the likes of Huey Lewis and Phil Collins, and whilst chart success continued with 1988’s “Roll With It”, he had lost credibility, which his relatively inactive future would struggle to claw back. No longer the ground-breaking wideeyed youngster, an older Winwood’s now formulaic sound – far removed from his original Traffic philosophy – sounded calculated for chart-success.

When sales followed the critical nosedive, it was unsurprising when Winwood returned to his roots, and reunited with Capaldi for Traffic’s 1994 album “Far From Home”.

His early ideals also began to resurface on his solo output, freed from major label demands, 2003’s “Out Of Time” proved to be his most assured offering for over three decades, and predated Traffic’s induction into the Rock And Roll Hall Of Fame a year later. 2008’s “Nine Lives” also brought to mind earlier successes.

“It does hark back to my own beginnings with the Spencer Davis Group,” acknowledged Steve, “where I was listening to a lot of Blues – folk Blues, country Blues and urban Blues – and this obviously was a big influence on me.”

The album even recalled the recording process adopted on Traffic’s debut, with Winwood decamping to the idyllic Cotswold Hills in the English midlands – recording at the studio he had converted from a country barn.

But any suggestions that the album’s title is any reference to his turbulent career are quickly fired down.

“‘Nine Lives’ is quite simply my ninth album, and there

are nine songs,” stated Winwood, “so it’s really no more complicated, or no simpler than that.”

And what of that unfinished business with Clapton? The duo performed together at Clapton’s Crossroads Guitar Festival in July 2007, playing Blind Faith favourites, the success of which led to a three night sold-out run at Madison Square Garden in February 2008.

This turnout proved Steve’s standing remained high in the US, at least, and he subsequently headed out onto the road with Tom Petty and received an Honorary Doctor of Music Degree at Berklee’s Commencement in Boston, MA.

“Nine Lives” also debuted at number 12 on the Billboard album chart – his highest US debut to date, and was largely critically well-received, with the Clapton collaboration –‘Dirty City’ – singled out for particular praise.

“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,” affirmed our reviewer.

The opening ‘I’m Not Drowning’ brought to the fore Winwood’s early country Blues influences, whilst the guitar work on ‘Dirty City’ was reminiscent of his best work with Traffic, but the album also combined elements of African, Latin and Brazilian music.

“Nine Lives” proved that Steve, now in his twilight years, is back to the Blues and is back to his adventurous and visionary best - but he won’t expect his homeland to recognise that fact anytime soon. DH

An idol: Ray Charles.

photo: courtesy Atlantic Records

hen the Ramones travelled to England in 1976, they were met as conquistadors and as Gods. Paul Simonon and Joe Strummer being lifted through backstage windows while the Pistols’ Rotten trembled with fear at the very thought of starting off on the wrong foot with the ruff kids of the Bronx; only fuelled the Ramones legend. Their 4th July performance at London’s Roundhouse became part rock’n’roll folklore, and solidified their place in the hearts of England’s disenfranchised youth.

After a short string of shows, the Ramones returned back to the United States. Back to the hell of CBGBs, back to heroin-laced dysfunction that plagued Manhattan’s Lower East Side, and thrown violently back from the heavens.

The Ramones were never as popular as they were in England. Now, thirty-two years later, that same English stigma of unconditionally embracing greatness remains. Since the turn of the century, The White Stripes and The

Strokes have been lifted upon their shoulders in a gesture of unhinged praise…

Comparable with the Ramones, there is another band in the modern era that are treated like English royalty when they arrive on European soil, only to be slung back to the United States in a battle of struggling anonymity and the stench of dingy ballrooms. They are banded together as preacher’s children who, since the release of “Youth And Young Manhood” (2003), have captivated a generation of kids desperately searching for their new heroes of rock’n’roll.

Tennessee’s reigning sons, The Kings Of Leon have been plugging away relentlessly since their RCA Records debut, even though the hysteria didn’t follow them back home to America. It is just business as usual; record an album, tour mercilessly, and clown car as many ladies in the back of the tour bus as physically possible.

With the release of “Only By The Night” in September of 2008, the Kings forth full-length LP, it is obvious that the mindset propelling the band onto the scene as a Southern, moustache riding, spitfire is changing. The record is a bombastic sonic assault that pushes the band’s creative envelope of studio experimentation to its brink. It is a sharp contrast to the Kings Of Leon that grew out of the raw American South with the grit of a stiff lip and a cocky drawl.

“Once we went back home, and got back around our people, it was amazing how Southern we became.”

photo: James Minchin III

The doubts critics had to the musical potential and direction of the Followill family vision, after the release of “Because Of The Times” (2007), have been squashed. “Only By The Night” is a brutal tonal punch that combines the hook appeal of lasting melodies infused with the bombastic sonic nature of full-blown rock’n’roll. But to understand why the shift from rural country bad ass’s to European arena rock icons is one of natural progression, and not greed, means attention must be paid to their humble beginnings.

HOLY ROLLER NOVOCAINE

“We were just kids scared shitless,” says drummer Nathan Followill, while reminiscing about the debut sessions for RCA Records back in 2002. “Next thing we knew we were in Los Angeles with microphones all around us and the engineer was asking us if, ‘we were ready to lay tape?’ We were just four kids from Tennessee who never had a passport!

“I have loved music ever since I was 7 years old,” says Followill. “I started playing drums in church. I was a hyper kid and my parents’ best baby sitter quickly became a drum set,” he jokes. “I never imagined I would make a career out of it.

“Then all of sudden all of these comparisons were being made to Lynyrd Skynyrd and The Allman Brothers Band. I swear to you we couldn’t name one Allman Brothers song back then, except for the obvious. It was one thing talking about making a record; it was another thing actually doing it. That sound that you hear on ‘Youth And Young Manhood’ was just four guys playing. Whatever came out in that studio was what the record was going to be.

“We toured non-stop on the heels of that release. It is easy to be influenced by things other than rural Tennessee when you are in a different country every week. We lived, toured, and created in cites.

“It is like anything,” Followill explains, “no matter where you are from. Once we went back home, and got back around our people, it was amazing how Southern we became. We’d hang with our cousins out in the barn, play horseshoes, or ride four wheelers and stuff like that. Then we would get a phone call from the press for an interview and would have to tone it down a bit,” he says before another candid burst of laughter. “You don’t want to sound like Jed Clampett!

“A lot of people, especially now, as a result of ‘Because Of The Times’, ask us, ‘Why has your sound has changed?’ They think it was intentional, but it couldn’t be further from the truth. This is just the four of us growing musically. This is the first and only band that we’ve been in. Each record, we are getting a little more comfortable with our instruments and ourselves. We are feeling increasingly free to experiment with sounds.”

The sonic experimentation that was present on

On 3rd December 2008, the nominations for the American GRAMMY’s were announced in a sweeping stroke of unexpected relevance. My Morning Jacket, Daft Punk and Kings Of Leon all made the list in a bold move recognizing the musical underground.

For producer Jacquire King, he again finds himself popping a bubbling bottle of champagne in Nashville, Tennessee, with three nominations for his work on Kings Of Leon’s “Only By The Night”.

Without Jacquire King, Kings Of Leon might not have the chance to bask in the glory of acclaim from the highest order. His techniques of capturing live sound brought the rumble out of “Ah Ha Shake Heartbreak”, and put the band on the map as a clear force of nature.

“They began with a production aesthetic that was very simple. It was straight performance based, and it was live,” says Jacquire King. “By the third record (“Because Of The Times”), the band had grown and wanted to experiment more with production. They wanted to take a little bit more time in the studio. They wanted to have an opportunity to layer on some things and do some editing of arrangements after the recording. The role of the studio was changing, as well. It became more than just a place to document; it became a place to experiment.

“Most of Caleb’s vocals on the first three recordings were sung as part of the basic tracks,” continues King. “He is an incredible singer, but one of the things we wanted to explore on this last record was being able to fine tune and finesse his vocals over the basic track a little bit more. Everything was going down at once and, in hindsight, Caleb wished they happened a little different. To correct that, on these sessions, we didn’t record any vocal more than three times, and what it then came down to was what take we wanted to use.

“The growth you are seeing is the band wanting an opportunity to experiment on this record,” King offers. “They are becoming sonically adventurous and I think their best work is still in them. Based on their track record, for the past four albums, I feel they are in a position to take a big step after this record. I have seen them grow. They just keep finding new things within themselves. All of that rings true. Kings Of Leon have greater records to make,” he concludes. MH

Jacquire King pulls the strings.

“Because Of The Times” didn’t arrive immediately. The band’s sophomore effort “Ah Ha Shake Heartbreak” was still raw to the bone, what was added to the equation was an extended stint of travelling and a new engineer, Jacquire King. King came to notoriety for his craft of liveperformance based records with credits that included Tom Waits, Modest Mouse, Buddy Guy, and the Parlor Mob. It was a perfect match between production mojo and artist. When King was brought in, alongside producer Angelo Petraglia, to work on “Ah Ha Shake Heartbreak”, the mixture exploded in tonal bliss.

A TENNESSEE NATIVE

The world was getting to know the Kings Of Leon and what they were experiencing on wax was simple. They were a band that walked into a studio, plugged in their instruments and hit record - what you heard is what you got. To intensify that philosophy, RCA Records agreed to hire the producer/engineer who built his twenty year career on capturing this type of live sound, a Tennessee native by the name of Jacquire King. Nathan Followill shares their early interactions with the man that would be sitting behind the recording console, and at the helm of the rumble.

“Jacquire King engineered ‘Ah Ha Shake Heartbreak’, our second record, and he was just amazing,” offers Followill. “Jacquire is a really cool and laid-back guy that lives in Tennessee, which made us all like him right off the bat. I can still remember one of the first days we were in the studio together and he got a FedEx package in the mail. Anytime somebody gets something like that you curiosity

takes over. ‘What do you got there? Let’s go open it,’ we asked. He really didn’t say anything and put it on the shelf behind him and just kind of left it sitting there all day long.

“By the end of the day, the suspense was killing all of us. I mean, ‘f**k it - open the stupid package already!’ It turns out,” as Followill reveals, “inside was a GRAMMY that he won while working on a Buddy Guy record. He knew the whole time what was in there. He was just letting it eat away at us.

“This guy opened the tape, took out the GRAMMY –looked at it – said, ‘Oh a GRAMMY,’ and put it back in the box and just kept on working.

“For us, it was a hilarious and a stunning moment of, ‘Do you believe this guy?!” shares Followill before adding his own two cents with a moment of comic relief. “I mean what a fu**king a**hole!”

“Still, to this day, I think sonically that is my favourite sounding record. Jacquire is real big on getting good drum sounds and I’m a drummer…so, naturally.”

Jacquire King truly is a fine man, living with his family in Nashville, and is a key component to Kings Of Leon’s most cherished work. But as a result of label decisions and creative direction choices he was absent for “Because Of The Times”.

THE BLACKBIRD SESSIONS

Followill leads, “The first two records were completely live but, for “Because Of The Times”, we thought we would change it up a bit. We wanted to take our time with a record. The label gave us enough money to spend three weeks in the studio. It was about six days a week at five

hours a day. We still ended up doing 80% of it live but we said then that the next record,” being “Only By The Night”, “we would try and push the envelope.”

Recorded in Blackbird Studios, in the southern heart of Nashville, the “Only By The Night” sessions included the missing link for “Because Of The Times” - Jacquire King.

“I have no idea why we decided not to use Jacquire King on ‘Because Of The Times,’” responds Followill. “Ethan Johns wanted to produce it and we never thought of Jacquire in a producer’s role. When it came time to do ‘Only By The Night’, we chose Jacquire to see what would come of it. I know there was a lot of pressure on Angelo and Jacquire during the sessions for ‘Ah Ha Shake Heartbreak’ to not only perform but also make a better record than our debut. Every band wants their records to be better, every show you play you strive to make it better. The chemistry between Angelo, Jacquire, and us was electric.

“Every record you make has a stigma. You have your whole life to write your first record, so it better be amazing,” as Followill takes in a deep breathe. “You only have six months to write your second record, so it better be amazing. Oh, and by the way, the third record is your make or break, so we were reminded to try and make it amazing,” as laughter follows. “Once you get to your forth record, there really isn’t a stigma attached to it because the general attitude is, ‘Holy shit, we are making our forth record!’ Especially in this day and age where most bands are lucky to make two records.”

“The atmosphere of this record was fun,” Followill offers. “There was no pressure. We were doing at home in Nashville, where we were getting to sleep in our own beds and rub on our girlfriends every night.

“The sessions were coming to an end and Jacquire asked if anyone had anymore ideas. The thought behind it was for nothing else then to just go ahead and lay some stuff down that would be the first ideas towards the next record. We came back in the next day for sequencing and quickly realized that we needed another song to fill out the album. Jacquire suggested ‘Cold Desert’. We all looked at each other - shrugged - and said, ‘Cold Desert? I guess we

could go in a try and to record a song with that title but we don’t know how it is going to sound.’

“Jacquire looked at us like we were all crazy. ‘No, you guys recorded it last night,’ he said before rolling over to the recording console to play it back for us.”

It seemed like a final discovery that was right at home for a record of charm and free wheeling chemistry.

“We were intoxicated for 98% percent of it,” chimes in Followill. “We were all gone, every single one of us. Imagine hearing a song played back for you that you don’t even remember recording. Caleb’s lyrics are adlibbed, every single one, and he has no idea where they came from.

“We approached this record with an attitude of - if it flops we still have enough songs to release a greatest hits!”

“Only By The Night” stands as the band’s finest work to date. Tone, lyrics and melody all geld together to form solid compositions of timeless character. The themes expresses are that of sexual fire, self-discovery and revelation.

Tracks like ‘Closer’, ‘Sex On Fire’, ‘Revelry’, and ‘Be Somebody’ start a new chapter in the ongoing debauchery, which is the story of the Kings Of Leon. What meaning it will have, and where it will lead, only time will tell. MH

photo: LEGO

rowing up with her brother, John, a member of the mighty Led Zeppelin, it was perhaps inevitable Deborah would follow the celebrated late-drummer –whether he liked it or not - into the music business, and inevitable also that close proximity to such a colossal outfit would indelibly engrain the same musical ethos into her own psyche… Whilst carrying on the Bonham family legacy, Deborah is also breaking down barriers. Not adhering to the industry’s usual requirements for waif, pretty young things, Deborah’s career has gathered momentum post forties, with 2008 seeing the approaching 50 singer/songwriter signing to Warner subsidiary Rhino Records and releasing her first album Stateside…

Perhaps the Bonham name does allow for exceptions not afforded elsewhere, but Deborah is serving as an inspiration to many female singers past 30 - and told past it - that there’s still an audience for performers that don’t fit the pop starlet mould…

BM: You have a new CD called “Duchess”. Why the title? Deborah: We always named my mum ‘The Duchess’. I made a little dedication to her on the album, she’s the original!

The title track, called ‘Duchess And The Sufflemeister’, is about my two dogs! I’ve been told by my producer not to say this story! He’s said, "It’ so not rock’n’roll. You’ve got to find something better than, ‘Yes, I wrote this nice little song about my two dogs!" The one dog - she’s a lurchershe’s so lovely that my keyboard player named her ‘The

Duchess’. Sufflemeister was my Cocker Spaniel. When we were recording the album, we had this wooden floor; he shuffled across the floor, with this incredible rhythm that completely reminded us of Ritchie Haywood. There’s a song, we are all big Little Feat fans, called ‘Rock And Roll Doctor’, and the lyrics go: “If you like the sound of shuffling feet.” We didn’t think about it like that, it was a bit subliminal. My keyboard player just looked at my dog and said, ‘Boo, you’re The Shufflemeister!’ I wish I could tell you its all about sex, drugs and rock’n’roll, but it’s about Cocker Spaniels. He died last year; it’s a bit of a tribute to him!

Would you like to tell us about the CD?

I’ve been with my band, primarily Peter Bullick on guitar, Ian Rowley on bass, Gerard Louis on keyboards and Jerry Shirley on drums, for twenty odd years! Peter’s my husband; we’ve been together eighteen years. So, we’ve just always been together, but this is the first time we have really started writing together. It was sort of a natural progression from the last album, ”The Old Hyde”, which I pretty much wrote myself. I was the predominant writer on this but I just wanted to put it to the band and have more of a band feel. I think you can hear all of our influences, such as Little Feat, you can hear Zeppelin in there, country, and all sorts of stuff. It’s a collective.

We just had a ball writing the CD. If you stick with people that long, it’s never a hardship. We are the closest of friends. It’s like family, it was great. It was predominately me, Gerard and Ian, though. Then Jerry came to me with a song he’d co-written with Steve Marriott. I got involved with that, which was an absolute honour to have written something with Steve Marriott and Gerry. It was an organic thing, a natural progression from where I was before.

"I wish I could tell you its all about sex, drugs and rock’n’roll, but it’s about Cocker Spaniels."

photos: Christina Jansen

Paul Rodgers is on the CD, of course. What do think you’ve learned from this collaboration?

I’ve learnt from Paul Rodgers all my life, not just from this collaboration. I've been listening to him since I was a teenager. From the minute I heard Paul Rodgers sing, I was captivated. He is one of the all-time greatest male vocalists.

I guess, I’ve learnt professionalism from him. He’s the ultimate professional. He makes every word that he sings count. There are no throwaways! That’s what I’ve tried to do! I’ve learnt from him to make your vocal, your singing mean something - to move people. If I’ve managed to do half of what he does, I’ll be happy!

It was like all my Christmas’ and birthdays came together when I got the support tour. I did that tour with him, just watching him live, although I’ve been watching old footages and DVDs forever. I always watched his mic techniquecopied that an awful lot. The way he controls his voice, and then goes for it! I’ve really studied this man’s voice - not just studied it, I’ve played it like second nature. So, when I got the tour, I could actually watch him close-up and live.

It was a fantastic tour. We were going down a storm with his audience. He came, stood at the side of the stage and watched me, which was lovely. On the last night, his tour manager, Brad Gregory, came up and said, “Paul wants to know if you want to get up and sing with him tonight?” My legs went! I said, “Oh, my God, I haven’t brushed my hair or put lipstick on. I’ve just woken up off the bus, I’ve got to make myself look lovely for Paul Rodgers!” I went up on the stage and Paul said “Do you want to do ‘Can’t Get Enough’? Do you know it?” I said, “You’re kidding! I know it in Swahili. I know these words inside out!” He said, “I’m going to sing the first verse, I am going to turn round and say, ‘Miss Deborah Bonham!’ You’re going to sing the second verse and we are going to sing the chorus’ together.” I was shaking! I was backstage trying to copy him, throwing the mic up in the air, but I couldn’t catch it! We went on; it went down an absolute storm! I just came off and I couldn’t imagine any drug that could have been better than that moment! After that, that’s when he said, ”If you’re recording, I’ll do something with you.” It was just like a blinking dream come true.

Tell us about the song you recorded together...

‘Hold On’ is a very poignant song about what happened in my life. After John, I lost my other brother and my father died. I had quite a bit of tragedy for a long time. As we were making this album, I found a new strength, it was about moving on. Really, knowing your past is there, you are moving more forward rather than living in that past. That’s what ‘Hold On’ was about. Hold on to what you’ve got and really look at what is going on in your life now. I sent him a few songs and he came back said, “I really like this one. We’ll do this together.” I was just absolutely in awe. I’d done it as a demo vocal and sent it to him. Of course, he sang it and, when it came back, I said, “I’ve got to re-sing it!”

How do you assess your brother’s role in your career?

Oh, absolutely huge! It’s the reason why I’m in it, totally. When I was 6 years old, John joined Led Zeppelin. I’ve never known a life without Zeppelin

or the music of my brother. I grew up there at the house, at the Old Hyde. We lived in the cottage behind the main house. John had a kit set-up in the corner. It was a very gregarious family. There were quite a few family parties, they were fantastic. John would have kit, a big jukebox, and be forever playing.

There was always music in the family! My mum and dad started it because they were fans of the big bands. That’s what John really got into; you can hear it in his drumming, the sort of jazz feel to it that he adapted into rock drumming.

Personally, he didn’t want me to do it at all! He hated the idea of me singing. He just thought the music industry was nowhere for his little sister to be! I was going to university, there’s no choice about that. “No, your going to school, you’re not singing in rock bands, that’s a man’s thing!”

The music business is historically male dominated. Do you feel that female musicians get too easily stereotyped? Without a doubt! You’ve got your pioneers, your Janis Joplin’s. With Janis, her vulnerability was so abused; she ended up with drugs and death! Which was, funnily enough, what my brother thought!

I think, without a doubt, more so over the past ten years, it’s increasingly difficult if you’re over 50 and the other side of a size 8 - even the age of 25! It’s very much led by looks, age and size. You get people like me and Bonnie Raitt, people who are out there trying to do great music! Bonnie’s

“If there was ever a time to read an awful lot, it is now!”

Even if you missed the surname, it would be impossible to ignore the Zeppelin association on listening to any of Deborah’s albums. However, you didn’t have to grow up with the band’s drummer to have an alliance with their sound.

“Their contribution to music is huge,” declared the powerful vocalist. “I just don’t know many bands that don’t knick a bit of Zeppelin, or don’t cite Zeppelin as being mentors.”

Their contribution to this genre’s continued relevance is inestimable, as, for many, it’s bands like Zeppelin that are responsible for their introduction to Blues music.

“They took the Blues, like Leadbelly, and all the old Blues, and turned it around into rock,” continued Deborah. “They made American Black Blues into English Blues, and made it acceptable… They took that when pretty much people weren’t picking up on it.

“Black Blues was doing better here in England, because of bands like Zeppelin, than in America. America wasn’t really interested in it. Zeppelin took that, and they became the innovators of that style of rock.”

Even with alt. Blues acts, who have been keen to position themselves away from the ‘60s Brit. Blues and showy ‘70/80s Strat Blues acts whose sound is so prevalent in modern Bluesrock, Zeppelin have remained an accepted and noticeable influence - few can dismiss the band’s increasing influence on the White Stripes’ output, for example.

“They are ‘the fathers’ really,” said Deborah. “They paved the way for bands to go in that direction. They made the Blues accessible to kids; they made it accessible to a whole new generation. They made that style of music live on.” DB

done great music but she’s been there an awful long time. It was far more accepted back in the ‘70s than it is anywhere now. We had a more great female vocalists.

It’s a hard one, you have to keep persevering and pushing through. There are people out there that ‘get it’ and understand. There are a lot of men out there that understand, but everything is a commodity nowadays. It’s all about celebrity. You have to have very little talent. You’ve seen it with TV - it’s dismal. If there was ever a time to read an awful lot, it is now!

Which women in musical history standout?

Janis Joplin - Janis had something! When I’ve watched her live; it’s just vulnerability and incredible presence on stage. Aretha Franklinagain her singing is second to none. Maggie Bell, she is one of my all time female vocalists. I love Maggie because she had that black soul in her; she had the Janis vibe but a black soul. I’ve done a track from “Suicide Bell” on “Duchess” called ‘Chains’, which I dedicated to her.

What would you like to see as your legacy?

I honestly don’t know! I don’t think I’m pioneering. I like my world that I’m in. I would like to think, vocally, one day, somebody might say, “You know what, she kept that going!” It’s a

style of music that I do. I like to think of it as I’m very much in the past as my musical heritage, but I very much have my eye on the future. So, I'm trying to use all those old influences, all that great music, to bring it into today.

I want to say, if you like me, listen to Joni Mitchell, Fleetwood Mac, Led Zeppelin, Steve Winwood... That’s what I want to tell people, especially the kids! Listen to the old stuff; don’t just get stuck with these bands today. It is all so pigeonholed - every band sounds the same. What I loved about the old bands, especially Zeppelin, when they did an album, every track was different. I don’t know how many bands today you could say that about! Record companies have to take responsibility for that! They can’t take a bit a rock, country, Blues - it’s just not accepted; you’ve got to be down and out rock, country, Blues... A couple of Blues festivals have turned us down because we’re not Blues enough! I said to them, “Come on, are you going to say Led Zeppelin were not Blues enough because they did heavy rock songs as well, or they did folk?” At the end of the day, it’s all about the music and the passion of what you do. If the only reason to do it is to get record sales, I think that is sad, because that is where the passion is lost, and the commitment and the belief! CB

Father figures: Led Zeppelin.

photo: Globe Photos/Rex Features

aul Rodgers Blues appreciation is well documented and proven, yet his love of music in general has seen him traverse many genres, always experimenting and innovating, leading to the unlikely collaboration with theatrical stadium rockers Queen.

Whilst the collaboration on studio album “The Cosmos Rocks” left many critics cold in 2008, perhaps unable to comprehended a less bombastic approach from one of the UK’s biggest ever bands, the marrying of Rodgers’ unique writing style with that of Brian May and Roger Taylor’s certainly impressed Blues fans, who hailed the album as one of the year’s more interesting Blues-rock collections, and didn’t harm ticket sales, as the group continued to pack arenas across Europe.

It seems for all the sniping, the Queen + Paul Rodgers/Rock + Blues equation can only = a longer creative partnership then many would have predicted…

BM: You released the CD with Queen called “The Cosmos Rocks”. What was the thinking behind the title?

Paul: We had a song, actually one of Roger’s songs, called ‘Whole House Rockin’. It’s an incredible song, it’s the opening track. We played around with it and it become bigger. It went from the ‘Whole House Rockin’ to the ‘Whole World Rockin’, from the ‘Cosmos Rockin’ to the ‘Universe Rockin’’! We thought, “Well, we can’t get any bigger than that!” We changed the title of it and that really inspired the title of the album.

When were presented with some beautiful artwork by Edger, it tied in so beautifully because of this ‘cosmic’ approach. There is so much that was cosmic - if I dare to use the words, it’s so ‘out there’. A lot of people have said to me, “Well, how the heck did this happen?” and I’ve said, “I don’t know either!” It happened because I think we clicked musically. There was a lot of synchronicity in our coming together at this time.

Can you give us an insight into the CD?

Well, the CD came together in much the same way that we

photos: Jill Furmanovsky

came together, very naturally. When we first came together, we didn’t have a plan, like first we’ll do a world tour, then we’ll follow that up with the album, then we’ll do another album… It was not like that at all. It started, let’s do a couple of dates together, just for fun, because we enjoy playing together so much. That developed into a full-scale European tour, which went on to South Africa –no, we did South Africa first and then the European tour. Then that developed into a world tour of its own volition. The last show we did was superb, it was probably the best show, and we felt we couldn’t really leave it there. The only next step was to walk in the studio and see what would happen if we did that. We had no plans, we ‘stepped into the void’ - as they say - to see what would happen, and just started playing around. We all brought idea and songs in. I think it’s fair to say most musicians have their heads full of ideas - the question always becomes will your ideas click together. We did start to generate stuff that was making us go, “Wow, that would be quite be cool.” So, it was a very natural thing.

You released the track ‘C-lebrity’ as a single. I believe this is a Queen parody on today’s celebrity culture. What motivated the band to write this track?

Again, that’s Roger’s take on things - that thing Andy Warhol thing of fifteen minutes of fame! When I heard the demo he had, that’s the way I took it, then we switched it around a little bit - I switched some of the lyrics a bit. It’s basically the thrust of it, every time you switch on the TV; the thing is celebrity for its own sake. There are a lot of

celebrity that is motivated by fame and nothing else. You have to wonder, “Why is this person there anyway?” Obviously, because they are famous! You have to start wondering what it is all about. It is a little tongue-in cheek! I have to say, the last thing I personally want to be is a celebrity, I’m first and foremost a singer and musician. I could see the humour in it, and I enjoyed delivering that!

On tour with Queen, how important do you feel it is for you and Queen to establish new material, especially for a band that could easily coast on its laurels and play the hits?

I personally beg to differ. I don’t think we could coast along on our past hits for too long. On the initial surge around the world that we did, there was a certain amount of, “Can they do it?” “What’s this all about?” There was a novelty value about it, and I don’t think you can do that twice, really. If we hadn’t have done this album, and felt how we do feel about it, I don’t think there would be any further tours. It would need to go to the next step, which would need to have new material in the set that actually works with all of those classic hits - both theirs and mine. Fingers crossed, I think we may well have that.

Beyond that, it’s an open book and we’ll see how it goes. So, we are not really trying to prove anything. We’re trying to have fun making music, which is something that I’ve always endeavoured to do, which I’ve pretty much succeeded in doing.

One of the things about this, I think I’ve given them an injection of the Blues, really, because I’ve done a Blues infusion. There’s a song called ‘Voodoo’ - we took that in

Members’ competitions on page 157!

MAN OF THE WORLD

Courtesy Salvo/Union Square, we have sets of Peter Green’s “The Anthology” to giveaway to 5 lucky new subscribers. The 4CD deluxe box set features 64 tracks drawn from all stages of the guitar legend’s career, including his celebrated works with Fleetwood Mac (‘Albatross’, ‘Black Magic Woman’ ) and John Mayall’s Bluesbreakers, as well more recent solo material and Splinter Group recordings. The set also includes a 72page book, containing extensive sleevenotes and a track-by-track commentary by John Crosby, plus rare and unseen photographs. salvo-music.co.uk

DEVASTING COMBINATION

Courtesy Secretly Canadian Records, 2 subscribers will win a set of Catfish Haven releases – the acclaimed “Tell Me” and “Devastator” albums. The group have been compared to the Kings Of Leon for their marrying of early roots influences with modern day pop sensibilities.

LOOKING GOOD

Courtesy Great Hare Records, 3 subscribers will win copies of Conil’s outstanding debut album “Strange Part Of The Country”. Likened to Tom Waits and Mark Lanegan, Conil’s debut has wowed critics and seen the Londoner touted for big things in 2009 (including a Blues Matters! interview!).

To be in with a chance of winning one of these prizes, subscribe, or subscribe a friend, by 20th March 2009.

01656 743406*

subs@bluesmatters.com / www.bluesmatters.com

*alternatively, call: 01656 745628

one take! It’s very simple, so everyone could just fall in on it and they did. It was exactly as we recorded. We said, “Look we are not going to touch that. We aren’t going to produce it, put lots of harmonies and millions of this that and the other on it.” That’s exactly as it, and it’s very Bluesy. I believe that Queen are very capable of not just the huge flamboyant, very produced kind of mega musicthey are also capable of beautiful music and vision. It’s great to hear them simply let loose on a jam.

The CD is all self-penned by you and Queen. How did you go about the songwriting process for this album?

The songwriting process was something where we all came with different ideas and song structures. What we decided to do was something that Queen had done in the past, just to simply share all the songwriting credits. There are actually different songwriters in the mix, contributions from all three of us. You can probably hear the different styles going on. I think it was a fair way of doing it, we all contributed to each other’s songs and it works.

When taking on the position of Queen’s lead singer, how did you go about tackling this role?

I don’t think it would be a very good thing for anyone to try and imitate. Imitation is the highest form of flattery, blah, blah, blah. I am influenced by so many people, so much; I mentioned the Blues genre and soul, as well.

I did a solo show recently down in Seattle and I had a guest friend of mine called Sam Hoare from Sam & Dave. He did couple of hits – ‘Hold On, I’m Coming’ and ‘Goldmine’. He just lit-up the place - it was beautiful! He’s 72, but he’s still got it going, and the crowd loved him. He came back on the stage for ‘Alright Now’, we changed lines, and we took the music down and got into this gospel exchange of licks, if you like. It went on and on, and I forgot we were doing ‘Alright Now’ - it became like he was teaching me and I was learning.

I think being myself with Queen was the only way I could take it. I think, and I’ve said this before, if anyone had called me out of the blue and said would you like to join Queen as the lead singer, I’d have said, “I don’t see it actually.” The fact is we had actually played together on a TV show in London. We did a deal; Brian said to me, “Look, I tell you what, we’ll be your backing band for ‘Alright Now’ and you be our singer for ‘We Will Rock You’ and ‘We Are The Champions”. I said, “That sounds like a good deal!” We did that and both kinds of music fitted together so seamlessly. It was very exciting what we did. We sort of took it from there; it developed from actually playing together rather than on paper, if you like. You know, they do play my songs incredibly well!

A Blues purist might suggest that you sold-out your Blues heritage by joining Queen. What would you’re reply be? My reply would be, I’m a Blues purist, too, and I’m much more a Blues purist than you are! (Laughs wickedly) No, I’m just kidding! I don’t love everything that’s Blues. What I say, when I talk about the Blues, is that it has been a strong

Although our reviewer was “rather impressed” by the union of Queen + Paul Rodgers, and our readers voted the album into our Best Blues countdown, “The Cosmos Rocks” was arguably the most roundly critically panned mainstream release of 2008.

Whilst Mojo mustered faint praise - “with Rogers imperious, Queen's second coming is vindicated” – and Uncut described Rodger’s vocal on ‘Some Things That Glitter’ as his “finest performance since his FREE heyday,” they ultimately took greater pleasure in putting the boot in, describing the “rebirth, fronted by the defiantly ungay, unIndian and uneccentric Paul Rodgers,” as “ill-fitting,” with the album made up of either “workmanlike pub-rock exercises, or humourless Led Zep-ish ethno rock stompers.”

Whilst the album charted well internationally (number 5 in the UK), and the band played to audiences of up to 350,000 in 2008, the critical mauling continued in the broadsheets - The Guardian arguing that the songs “might have sounded less awful if they were delivered with a certain knowing camp,” whilst the Observer announced “Queen's star is dead.”

It wasn’t only British critics left cold, Rolling Stone mocked lyrics like “music makes the world go 'round’,” and Blender felt the “mismatched combo” only brought “out the best in each other on the refreshingly lightweight ‘Call Me’.”

Of course, even when the mercurial Freddy Mercury was at the helm, in the band’s heyday, they were generally reviled by the music media. Then, it didn’t stop the band selling million of records and establishing themselves as one of the biggest live drawers on the planet. And it seems a change of frontman and change of musical direction hasn’t altered anything on either score. DH

influence on me. I’m talking about the classics, like Elmore James, Howlin’ Wolf, Muddy Waters, B.B. King, Hubert Sumlin - who I met… He was the guitar player with Howlin’ Wolf and Muddy Waters -switched from one band to another. He tells amazing stories about how his mum used to make sure he went to church and only listened to church music! Not that “devil’s music” - he didn’t know what devil’s music was. He found this broken record, put it on and it was Howlin’ Wolf. He put it on a turntable, and it went round once before the needle fell into this piece of s**t that was missing. All it did was “woo, woo,” and he said, “That was it; I was totally hooked on the devil’s music.”

I think I’m infusing Queen with Blues slowly. My thing is spreading the beauty of the Blues. I talked to Marie Dixon. I was doing an interview for the radio and a lady called up she said, “My name is Marie Dixon,” and I thought “Dixon? That rings a bell!” She said, “I like the way you play my husband music.” Willie Dixon’s wife, you know. She’s such a lovely lady. She has the Blues Heaven Foundation in Chicago and it’s in the original Chess building. That’s the original Chess building where they did all those original great recordings. She has a museum there and I recommend anyone to go there if they are in Chicago because she is such a great lady and it’s such a great place!

You’ve done a duet with Deborah Bonham called ‘Hold On’. What drove you do this recording?

Debbie played on my solo tour, when I recorded “Live In Glasgow”. She so knocked me out! I always thought she had a great voice, and one of the things that really made me smile was when I was watching from the side of stage and she picked up a tambourine. I could see that Bonham thing - she so nailed the beat - it made me smile so... It was a touch of John! She’s such a great person, and I loved the song and I thought I’d be honoured to do a duet with her.

I’ve heard many musicians say you were their influence, but who were Paul Rodgers’ influences?

Oh, Lord, so many! Otis Redding, Wilson Pickett, James Brown, Little Richard… I’ve mentioned Howlin’ Wolf and all the Blues guys. Sam Moore, Aretha Franklin, Ray Charles... Actually, they are all black! It’s just those were the people who reached out and blow me away. Rod Stewart’s a great singer, too.

How do you assess the role of the ‘60s British Blues and

rock scene in the history of the Blues, looking back now after nearly fifty years?

Gosh! It’s a good question! It’s not one you can just rattle an answer off to that one! It’s a large question and you’re talking about a lot of years! One of the things is that things have changed so much. Technology has exploded and almost everybody can make their own CD now. We talked about celebrity, so everybody’s on the TV, as well, for their fifteen seconds! It seems that way, anyway. There are cameras everywhere and we are all being watched, it’s like, “Wow, technology is everywhere.” So, looking back at the ‘60s, it almost seems quite quaint. It so high powered nowadays.

I do think one of the things that hasn’t changed is that it has got to come from the heart. It doesn’t matter how great the technology is, it’s got to come from the heart, and that’s been true since the first musical notes were played and it is still as true today.

Is there anything you would like to say to our readers?

I love the title of your magazine, because Blues does matter very much. I think it is so much at the heart of the rock scene and the entire music scene. I love what it can do.

I really encourage bands that are starting out to try playing Blues and listen to those guys I mentioned. Try playing the Blues because it is such a great springboard. It is the root and structure of rock. A springboard for creativity. I often think the twelve-bar Blues is so unbelievably versatile you can put any lyrics you want on that structure. From there you can begin to learn how to write lyrics and, from there, you can create your own structures that aren’t necessarily twelve-bars! CB

Queen + Paul Rodgers: (from left) Paul Rodgers, Roger Taylor and Brian May.

t may be his recording and touring commitments with Duran Duran that allows him to pay the bills and live the ‘rock star’ lifestyle, but Dom Brown’s far from a mere session musician coasting along on the back of nostalgic live spectacles of a faded-80s outfithis passion has always been his own material, and a genre of music you may not have guessed, given the overstylised chart acts he’s generally backing…

Whilst working with the likes of Take That, Elton John and Justin Timberlake, Dom is constantly generating new ideas, with the recent follow-up to 2004’s “Touch The Flames”, “Between The Lines”, combining his early Blues influences with the contemporary sounds he’s more commonly exposed to during his day job – a combination of sounds that won favour with our reviewer and readers alike…

If he’s not busy enough, Dom also gigs with his dad’s local Blues band in London – perhaps an opportunity to cleanse the soul after his involvement with the latest garish pop debacle…

BM: As you won’t be familiar with many Blues listeners, could you give us a potted history of Dom Brown’s musical life? Dom: I started playing guitar at 14 years old. Had half a dozen lessons from Ray Major (guitarist from British Lions) but, apart from that, I’m self-taught. Used to jam most lunch times in the school music rooms when I could get a turn…

First gig was age 16 in the back room of the Turks Head in Twickenham, with my band Nexus - a prog/rock band. Was in my first year at Richmond Adult College and managed to convince enough fellow students, friends and family to sell out the night. Was amazing and I never looked back! That band lasted a couple of years, with a couple of different drummers. It was a great experience but we had no business sense and eventually I broke the band up as I began exploring different kinds of music, including Blues, soul and funk.

Formed a Blues band with my father, Rob Brown, called Brown Book and performed around the UK - he is a great performer and an inspiration. I then went to do a Sound Recording course at Salford Tech for two years, and used to travel down to London at weekends to perform with my father. It’s here where I first began singing, as I was frustrated with not being able to gig regularly, and couldn’t find any available singers, so took the leap. Had several bands/projects and learned the ropes in the Manchester clubs, bars and pubs.

My next project was an original three-piece band called Slippery Thin. We had a good UK and European following, especially in France, due to French management. This band had a couple of good record deals offered but fell through at the last hurdle, so I went to LA for a year and formed Nu Moon Guru with local musicians. This band did well in the short time, and we recorded an album with an Independent label, but it was never released.

After that, I returned to London and started to write and gig some new material, and reformed Brown Book with myself taking lead vocals.

The last few years I have continued to write and perform and released two solo albums. Also, over the last few years, I have successfully developed a career as a session guitarist and am currently towards the end of a world tour with Duran Duran.

You started playing in your early teens... What was your main trigger? What music initially whetted your appetite? Yeah, I began playing at 14, but I’d had loved music passionately for at least three years. The first time I realised music had the power to transcend was when I was 11. My PE teacher used to play music at the beginning of the class for us to limber up to. One day, he played ‘Welcome To The Machine’ by Pink Floyd, and I was totally blown away. The sound, textures and the atmosphere it created totally moved me in a way nothing else up to this point in my life had. I became a lifelong fan, and was then drawn to check out Led Zeppelin, AC/DC...

“Technology is making it very easy for anyone to make reasonably good sounding recordings at little expense.”

One of the most familiar faces on the British Blues circuit is Roger Inniss, whether backing home talent or being the session musician of choice for touring overseas artists.

“Most of my gigs come via word of mouth,” promised Roger, “or recommendations from other musicians.”

Roger’s musical education began at church, accompanying gospel singers, who would test the youngster’s versatility through impromptu and unrehearsed outbursts. This schooling would ultimately prove priceless to his pending career, even if it wasn’t one he’d mapped out for himself originally.

“I fell into it,” admits the musician. “I think it was from my love of many different types of music, and being excited by the challenge of expressing myself in various ways.

“Somebody must have liked what I was doing, as the phone started ringing.”

Work with a variety of acts followed, with Roger showing his adaptability playing with everyone from Mick Taylor to Edwin Starr, and operating within the fields of jazz, soul, rock, pop and Blues.

“One of my highlights has to be touring Japan with Chaka Khan,” said Roger. “Japan was great... Chaka was great!

“Seeing the world and meeting new people is great fun, seeing hotel rooms around the world isn’t.”

Whilst Roger is committed to the likes of John O’Leary and The Michael Roach Band, and his own outfit –thEROGINNISSZONE – his personal preferences are usually over-ruled by harsh economics.

“It’s hard to get the balance right,” admitted Roger. “Sometimes I take a gig or session, then get offered work with someone I would really enjoy working with, knowing that it could just be a one time gig.

“These days, not many bands have enough work to support musicians. Not all musicians have a day job, or want to teach. So, being a session musician helps you make a living.”

Whilst it’s not always easy to generate work and Roger admits to feelings of isolation on the road, there’s more than enough job satisfaction.

“The best thing is the freedom to play, enjoy and explore lots of different types of music and musicians,” he declared. “The challenge of shaping my creativity to other people’s, and the ability to trust my instinct to play the right thing at the right time - I don’t always get it spot on, but it’s fun trying! DH

How did you get your start as a session musician?

A friend suggested I join some of the London session agencies. It took awhile to get any good gigs/credits but eventually I got heard and started to build up a good reputation. Now most of my work is word of mouth through friends and contacts I have developed over the years.

Obviously, as a session musician, you’ve been able to play with many acts and tour the world. Is there anything you’ve been hearing that we should be picking up on?

There is some great music out there, though the last artist to truly blow me away was Jeff Buckley... I need to discover something new that has that power and sincerity.

Can we ever see that intensity of music again? Do you see anyone of that level of talent around today?

I would like to think we can, but am waiting.

Are you happier singing or playing, and are you more comfortable playing your own music?

Am equally happy playing and singing, though do love it

when it gets to the guitar solo section!

Am very comfortable as a session musician but would love for my own solo project to take off in a big way.

What makes a successful session musician take timeout to create their own album?

The creative urge is always there with me. It had been a few years since doing my debut album and a follow-up was something I really wanted to do. It does take a lot of effort and energy but I find it personally rewarding and well worth it.

Virtually all the musicians are friends who I have worked with in the past. I was very fortunate to get the help from such great players... I owe a lot of favours!

Would you describe your own music as Blues?

I think my music is very Bluesy, but soul, rock and funk have also massively influenced my style, which I think comes across in my playing and writing.

Although a fan, I have never been an out and out Blues purist as a performer. I always mix it up with something else and try and add my spin and an edge to it.

In session with Roger Inniss.

How has “Between The Lines” been received?

Very well. It’s not had a big promotional campaign behind it, so has sold through word of mouth. Generally, the music critics have had good things to say about it, including your reviewer who wrote very positively.

Who is out there that you would like to play with that you haven’t yet had the chance?

Roger Waters and Eric Clapton would be amazing. Josh Homme from Queens Of The Stone Age would be fun also. Duran Duran recently collaborated with Mark Ronson. Working with him again would be interesting.

You are playing with your father in the band Blue To Brown. What is that like?

It’s great playing with my father. I love to sing, and do sing a couple with Blue To Brown, but having him sing frees me up as a guitarist, and enables me to play some parts I wouldn’t be able to if I was singing. Also, he is a very enigmatic and charismatic performer, and I feed off him when we perform together.

What is he like as a Blues singer?

I think he is a great Blues singer. He has a very deep and rich voice, quite reminiscent of Howlin’ Wolf and Tom Waits

Where do you see the Blues scene heading?

I think it is heading more towards the live show again. It’s a good thing for the Blues scene as Blues has always done well with a thriving live music scene.

Music has changed so much over the last few years with digital downloading. I’m not a fan of the mp3 format, although it is great for emailing. I think it is a shame that people are getting used to listening in this inferior quality. If you compare it to CD quality, there is a noticeable difference.

How much of a difference is technology making?

Technology is making it very easy for anyone to make reasonably good sounding recordings at little expense, which is a good thing for talented people to utilise their skills.

What guitars do you use?

I have quite a few guitars that I use for different purposes. I have several Strats, including a 1963 sunburst that is my favourite guitar, a couple of Les Pauls, a Tele and a 1968 Epiphone Rivera. I also have quite a few acoustics, including Gibson, Taylor and Martin.

What is on your immediate horizons?

Work with Duran is going to be busy for the rest of the year (2008), so I hope to fit in as many solo gigs and Blue To Brown gigs as possible.

Have a few new song ideas for the next solo album but not sure when realistically I can begin putting that together. AS

“Although a fan, I have never been an out and out Blues purist as a performer.”

y name is Martin Reinsel. In early 2008, I was asked to assist T-Model Ford of Greenville, MS with a summer tour. T-Model is more than known to me. I’ve had his music in my home for over a decade. In 2005, along with one of my musical compatriots, I sought out a number of Mississippi Bluesmen for mentorship, experience, and social connection. T-Model was one of my main interests. Now, three years later, along with my band GravelRoad, I’d have the opportunity to tour with him. This is our story…

T-Model Ford lives down a typical side street off Hwy 82 that runs through the heartless strip mall shopping area that marks the entrance to central Greenville, MS. It appears so typical that if you’re not paying attention you’ll

miss it, like we did the first time, sending us through the streets of this Delta city.

Greenville itself is an unusual town - not surprising that a character like T-Model Ford calls it home. The depressedyet-trying-to-be-hopeful city of more than 40,000 people finds most of its residents consistently hovering around the poverty level. During my visit in 2005, when the US economy was still in its dubious haze of inflation and hiding behind a veil of prosperity, Greenville still suffered. I listened to shop keepers, I read the words of their hopeful young mayor as she spoke of an economic and educational revival of this Delta city, and I talked to residents who all complained about the plight of Greenville.

Fast forward to three years later and the town reflects and magnifies the general macrocosm of the American populace currently. It appears very depressed. Money is leaving the core and is most abundant and evident at the corporate casinos on the Mississippi River’s edge, hidden in plain view from the residents behind the foreboding concrete levee that protects from the impending, late summer floods. All is not peaceful here. And we are lost approaching T’s house.

“His tone is upbeat, hopeful, and imbued with an energy that is almost beyond description for a man of his age.”

A call to T-Model’s “woman,” Stella, gets us in the right direction. Stella and her granddaughter meet us outside and direct us to the house where Mr. Ford sits outside holding court amongst other grandbabies. Their house is a simple one story building with a carport sporting two aging vehicles and everything looking like it could use a coat of paint. This is the ‘real deal’. T-Model lives the life a Bluesman in a city that screams the Blues.

After pleasantries, and some business notes and clarifications, T-Model Ford, his guitar (“Black Nanny”), his amplifier, and a small bag of clothing are in the van and ready for nearly two weeks together on the road. He slides in with us, three “white boys,” including two he does not know at all. Up the road we go. Tonight we have to ourselves, to track some miles and to get to know each other better. The hotel where we’ll land in Illinois, some six-plus hours from Greenville, will be our place to practice and connect musically. Although we’ve been wood shedding on T-Model’s songs for weeks, we want the chance to play with him.

“I don’t have a care in the world.” These are the words TModel first speaks to me in the back of the van as we turn onto Highway 61 heading north from Greenville. I’ve pulled out a bottle of Jack Daniels and placed it between us. We each take a swig and T begins to talk. His tone is upbeat, hopeful, and imbued with an energy that is almost beyond description for a man of his age.

If only I didn’t have a care in the world either, but that wasn’t true. A two week tour with a man who I consider a legend is vastly exciting to me. Furthermore, if any of the tales of his behavior on the road would be true – pulling knives on people, getting into fights, wild interactions with females on the tour – I knew we’d be facing an interesting couple of weeks. Carefree…not me! But good for T.

I was determined to listen. To shut up and be quiet. Not to take notes and not to make assumptions about what T-Model spoke, because his world is one vastly different from my own, even if we were here at an intersection, musically and personally, for the next half month. T was going to teach me and us a few things. I knew that from the first interaction. I didn’t quite know what, and I was okay with not knowing. I was on tour with T-Model Ford. School was in for us.

Our trip north together was a pleasure. Everyone wanted time with T in the back of the van, to talk to him, and to hear his take on music and life. All the while, it was daunting to be in the back with him. Again, his vastly different world of experience made for huge chasms in the shared worlds between us. But then one would realise that he’s human…at least we think he’s human, even though he has no formal birth records. Come to think of it, this whole fuss over his age is an interesting one. T-Model claims he is 88 years old. His Mississippi state identification – his driver’s license – has him at 84 years old. His United States gov-

photos: Joel Faurote

GravelRoad jumped at the chance to provide support and backing to Ford in July 2008, given it was the sounds of T and Fat Possum label-mates Junior Kimbrough and RL Burnside that inspired Stefan Zillioux and Marty Reinsel to form Death Letter at the start of the noughties.

“I bought RL Burnside’s ‘A Ass Pocket Of Whiskey’ when it first came out,” recalled Stefan Zillioux. “The sound was electrifying, and nearly the entire Fat Possum roster quickly made its way into the household.

“Collectively, the sound was unlike anything else I’d ever heard - deep, dark, ugly, beautiful, and thick with trance and energy.”

The band honed their own sound playing every dive they could, but things really began to take off after bassist Jon Kirby Newman joined in 2002. Kirby’s “low end” and a change of name – to GravelRoadbrought them to the attention of this very magazinetheir debut EP described as “wide-eyed and paired down, it crawls and gushes with slide-powered life.”

On Kirby’s acquisition, Stefan gushed: “He brought fullness to the sound, and a different sense of musicality.

“It can take a while to get the off rhythms and the feel of the Northern Mississippi sound, and where some Blues sticks close to a very predictable progression, we aim more for feel. Kirby gets that.”

Following the acclaim enjoyed by the band’s independent 2004 debut, the group established themselves as major players on the alt. Blues scene, performing at 2008’s Deep Blues Festival – “If you are looking for endless guitar solos and watered down beer commercial Blues, then stay away” - and signing to Uncle Larry’s Records, who released “Shot The Devil” to further acclaim from this magazine.

“This Seattle based trio actually kill the devil on the title number, and not even Robert Johnson could claim that!” exclaimed our reviewer.

“This is Blues without the blinkers, but definitely with attitude,” and perhaps they’ve developed more of that after their time on the road with Mr. T!

“Playing with T-Model will certainly have an impact on future releases,” stated the vocalist.

“I look forward to playing with T-Model Ford for as long as we can. We will eventually hope to bring him back to Europe, health willing.” DH

ernment issued passport says his is 87. All have different birthdates in the month of June, too. So who really knows? No-one, not even T. But as will be the theme of the next two weeks, I let my trust fall back to what T says. If he says he’s 88, then he’s 88 to me.

Our first show destination is in the city of Ft. Wayne, Indiana. Ft. Wayne is a tough town, but one made up of musical loving and fiercely loyal individuals. GravelRoad has friends in Ft. Wayne, namely our brother band Left Lane Cruiser, a punk Blues band who could not be more content to have T-Model in their hometown and on the same bill.

The ride north to Ft. Wayne is eventful. People look at us oddly, a motley crew I suppose, composed of the ageless wonder Mr. Ford and three distinctly long-haired, tattooed Caucasian rock’n’rollers, wherever we stopped. Even a simple break for a meal or gasoline sees odd glances and strange interactions. Everywhere he goes, T-Model acts like everyone knows him. Inevitably, someone there does know him and his music, or they get to him. I’m struck by laughter at the Taco Bell, I laugh as we get ice cream at a local mart in Middle America. Everything we do is an event and we have not even played a show yet.

As we enter Ft. Wayne, something is seriously wrong with the van. Our guitar player, Stefan Zillioux, is behind the wheel. He muscles the van off the road to safety, thankfully a short distance from the venue. Our Ft. Wayne friends come in and save the day, allowing us to shift all instruments and people to other vehicles and safely getting to the venue while I take care of the van’s mechanical issues.

It’s T-Model, of course, that is the star in the van’s diagnosis. He’s the first to see the broken belt, he’s the first to offer up legitimate ways to trouble shoot the problems. I love it! He’s schooling us in every way possible. At one point during the unfortunate recurring theme of annoying van issues, he chooses to go under the van to have a look. Under the van! 80-something years old. Bad hip and all. He’s a legend.

By the time I get to the venue, the van is in caring hands and I am ready for the show. T is now holding court at the bar. People are buying him drinks. This could get ugly. My friends that have helped me with advice and stewardship prior to the tour all warned me: T does fine when he’s just sipping his Jack Daniels, but when people start buying him drinks and wanting him to drink heavily with him, that’s when the problems start. Warning to all music fans: If you want to see an octogenarian legend play his best, save the drinks for after the performance.

Ft Wayne has the feeling of a no-holds-barred show. I don’t know what is going to happen and I am okay with that. It’s mid-summer in Indiana. It is very hot and humid. The air conditioning is out of service. The venue is

T-Model students.

packed. It is sold out. The place is stifling.

The music starts a little late, but it all sounds good to the crowd. We have our set before T’s. We’re two songs in and T starts coming up on stage. I thought he was going to tell us to stop and just start playing his music, since the night is running late. I was wrong. It turns out TModel just wanted to sit on the stool onstage while we played, using his cane as a guitar mimicking Stefan’s rocker style as we went through our set. He did the same thing for Left Lane Cruiser.

T-Model finally takes the stage, with me on drums and Stefan adding some second guitar, about an hour and a half after he was originally slated to play. He appears pleasantly in the drink. He looks me in the eye and says, “I’m not drunk.” To which I respond, “T, it doesn’t matter right now…play the Blues like you do and we’ll be fine.” Well, that was partly true.

T-Model was supposed to play a 45-60 minute set. At nearly two and a half hours in, I was exhausted. My shift soaked with sweat. I’d now done two sets, one for T and the other for GravelRoad. I asked Brenn Beck, Left Lane Cruiser’s drummer, to sit in for a few songs.

I go outside to speak with Joe Evans of Left Lane Cruiser and

I’m under the night sky for only a few moments before I get the call to come back into the club. Something’s happened to T.

When I get inside, I see T-Model slumped in his chair. He is conscious and asking to be “let down” to the stage from his chair. Three able bodies help. The paramedics are called by an observer. A nurse is there to assess T, too. Portable fans are moved around to cool the area. We try to move people out of the way. Some are still offering him whiskey. T says. “I’m fine…just give me a minute…I can play more.” “No, T, you’re done for the night,” I say. “No, I can keep on going,” he says. And so begins the ongoing issue of T going way beyond how long he should play. At every show on the tour. 45 minute sets are lengthened to two hours, 75 minute sets to three hours. Unbelievable, really. He’s how old?

The paramedics give him clearance within minutes of their being on the scene. Again, he never lost consciousness, he was in no visible cardiac emergency, nor under any respiratory distress, and his vital signs were stable. The paramedics asked him to sign off, saying he did not want to go to the hospital. T-Model is illiterate. The only thing he knows how to write is his name, but he was hesitant. Like most wise African-American men from his generation, born and raised in Mississippi under the Jim Crow laws, his is understandably suspicious to sign anything a white person in a uniform wants him to sign. And here, in this balmy nightclub in Ft. Wayne, IN, on a sticky summer after midnight that T-Model Ford and I, along with my brothers in the band, hit a turning point. T looked at me when the paramedic spoke to him. A police officer was over his shoulder. T knows the police - at least the police of Greenville, MS - well enough to have developed some Pavlovian-like suspicion with the boys in blue.

“T, sign the paper here and we leave. T, sign the paper and there will be NO hospital, NO police, and NO cost to you,” I say. T signed immediately. I cannot remember who got out of their quicker, us or the 911 response team of Ft Wayne.

The tour continued onward from there. He played a show the next night in Chicago. We did a radio program while in Chicago. If you want to see how alive the man was despite all of the complications and mayhem of his showcases, just follow the link here, youtube.com/user/grBlues and check out some of the video, including the KEXP broadcast from Chicago. In addition to the Chicago performances, memorable shows in Minneapolis, the Deep Blues Festival in Lake Elmo MN, other Midwestern locales, plus the Vancouver Folk Music Festival in Vancouver Canada gave us unforgettable musical experiences that were educational and impactful. Perhaps of greater note, however, were the life experience and the development of the relationship between us and T-Model Ford.

T is from a completely different set of life circumstances. His view of the world is unlike anyone else I know. One would come to expect that simply from the socioeconomic realities of our different worlds. He is nearly three times my age and his

T-Model Ford plays on.

world experience is vastly different from mine. He’s known struggles that I will never know due to simply our skin tones, the educational opportunities afforded the two of us, and the unique set of experiences that set us apart.

He has twenty-six children, or so “they” say, according to T. I have none. T’s had five wives. I’ve had none. T’s take on money, women, whiskey, jobs, everything for that matter is either slightly or dramatically skewed from mine. And here we are, traversing thousands of miles together, laughing and having a great time.

“You’s my boys,” he said. I got the sense we were “in” when he made the comment. It was only further reinforced when he kept repeating basically the same thing. “If one of you gets into a fight tonight at the club,” he’d start, “I got your back.” He’d show us his blade in his pocket to deliver a little extra emphasis.

It never came to that. The tour was non-violent, save for a dent in the van not even worth explaining here. T gave everything he had in every show. Some were better than others, but all had a certain special quality.

The last show of the tour was in Oklahoma City. It was right after playing perhaps our shakiest show of the tour, Wichita, Kansas. T and I talked after the Wichita show. We talked a lot about music throughout the tour, but something was different in Wichita. T told me: “You take charge.” Even though T was the boss, even though he was the draw that people wanted to see, he wanted me to take the helm. I’d been recovering from a head injury that,

weeks before the tour, had me wondering if I could run this gauntlet. But with T-Model Ford sitting across from me, defying aging and life itself, I was infused with energy. How could I even think of my injury as this man hustled to make a life out of working so hard for his music. I was determined - for him and for myself.

Our Oklahoma City show was quite possibly our strongest. I don’t think the grin could have been slapped off my face. I trusted T to steer me right and I gave all that I had. It was our last show on this tour and I wanted it to end the way I’d most want. We could return him to Greenville a success.

And sure enough, when returning to Greenville, the grandkids were out front to greet T-Model and us. Stella was smiling and all of Greenville looked a little less depressed. I guess it just all comes down to our perspectives.

Look for T-Model Ford and GravelRoad in the coming months. First some more journeys around the US before making our way east to Europe.

It should be noted that since the T-Model Ford and GravelRoad tour, T-Model was fitted with a pacemaker. It’s been over two weeks since the surgery and T is recovering nicely under the watchful eye of Stella and his Mississippi care providers. T says: “I’m ready to go back out (on the road),” and we sure want him where he wants to be. We’re just going to wait a little while until the complete medical clearance. MR

aving spent over ten weeks atop the US Billboard Blues chart, and breaking into the British charts with studio album “Sloe Gin”, Joe Bonamassa has become one of the few contemporary Blues-rockers to gain broader commercial success. Not only adored by Blues fans for his appreciative nods, but his lack of limitation also endearing him to the rock fraternity, as his heroes Rory Gallagher and Stevie Ray Vaughan once did.

Whilst some guitarists on the Blues scene continue to bemoan a lack of interest and support from mainstream media, Joe Bonamassa has simply forced them to take notice. Eight albums, including his recent live collection “From Nowhere In Particular”, in nine years, each showcasing a fresh appreciation of what went before and a new vision of what’s yet to come.

It may be the likes of John Mayer who get all the headlines for celebrity conquests, but it’s Joe whose music will no doubt keep the Blues fires burning with future generations of guitarists to come…

BM: You have said recently that after being given a tape of the ‘60s band FREE you were immediately hooked? What are your thoughts on Paul Kossoff as a guitarist? Joe: The tape was given to me my Pete Way of UFO… Paul is probably part of my top two or three principle influences ever. He was one of those simple guitar players.

I wrote a review of the “Fire And Water” Deluxe Edition reissue from FREE for Classic Rock magazine and, to me, it was Paul Kossoff, it was the human voice quality of his guitar that really, ultimately, I think separates him from other guitar players. You can tell it was just him with amp and gui-

tar. The sound was in his hands, such raw, pure, brilliant emotion that he was able to portray.

Paul was one of my favourite players of all time and one the most underrated guitar players, because the kind of riffs he wrote, you hear a lot in Jimmy Page’s playing and Jeff Beck, and all those guys of that era.

You have spoken of Rod Stewart in other interviews. What other vocalists do you admire or have influenced you? Other vocalists I really admire… Definitely, Paul Rodgers! Definitely a guy called Bob Tench, who used to sing with The Jeff Beck Group. Singer-wise, I think guys like Robert Cray and B.B. King are influences on me. There's a few but, generally, it’s Rod Stewart, Paul Rodgers, Bob Tench, bit of Warren Haynes and Greg Allman.

Your choice of guitars includes a Gigliotti, and I believe you have your own signature series. Why this guitar in particular? I only play this guitar once a night. It’s a wonderful guitar. I met Patrick Gigliotti and he handed me the prototype about five-and-a-half years ago, and I still have it. I met him on a complete fluke and he really was just getting started in the guitar business. That particular guitar just sounded very human to me, very warm and honest.

Gibson’s making a Joe Bonamassa signature Les Paul and that comes out in four or five months from now. So, those are my two primary guitars and the Les Paul is mostly my main guitar. I play that mostly all night, but it’s one of those things; I’ve kinda migrated away from the Tele and more towards the Les Paul - it just feels right and it’s easy to play.

The latest series of top end guitars include such facilities as automatic tuning, including automatic alternative tunings. How do you feel about these guitars?

I like to take a regular guitar, tune up and play it…figure it out. I don’t need the computer to do anything. Computers

“When everyone plays the victim and capitulates to defeat then we are doomed!”

Keeping up his ratio of just under one album release a year, since 2000’s debut “A New Day Yesterday”, Joe Bonamassa releases his ninth solo album, “The Ballad Of John Henry”, in March 2009.

The twelve-track collection is split between originals and interpretations of songs by the likes of Tom Waits (‘Jockey Full Of Bourbon’) and Tony Joe White (‘As The Crow Flies’), and, once again, the new album sees Bonamassa teaming up with renowned producer Kevin Shirley.

“Kevin Shirley, from a sonic level, has had the experience with Journey, Led Zeppelin, Iron Maiden, and many others, and knows what sounds great,” insisted the former child prodigy. “He’s also amazing on the producer level and can mix with amazing talent and ideas.”

Reflecting on the new album, Bonamassa enthused, “I feel this is my strongest work to date. Making the first half of the album, I was in the happiest place I’d ever been in my life. The second half found me in completely the opposite state. I’ve come to the conclusion that experience makes for better art. I had more to say, and it’s the first time I’ve personally opened up the book on my life, and expressed things I previously wouldn’t let out.”

Joe was particularly excited about the title track, “a muscular rocker” in homage to the American icon who Bonamassa calls “the ultimate working class hero.

“It used to be, there was dignity to being a middle class worker, making an honest living,” considered Bonamassa. “My mom and my dad are my heroes, working their whole life at meaningful jobs that add to society. We need more of those heroes these days, and that’s what this song means to me.”

The new collection is expected to debut well on release, given the achievements of 2007’s “Sloe Gin”, which hit the top spot of the US Billboard Blues chart, and Joe will be hoping to have emulated the chart success that album enjoyed in the UK before his tour reaches our shores. Forthcoming British dates are: Gateshead

The Sage (22nd April 2009), Wolverhampton The Civic (23rd), Glasgow The Academy (27th), Sheffield City Hall (28th), Cardiff St David's Hall (29th) and London Royal Albert Hall (4th May). DH

and digital stuff never agrees with me. I find it ultimately more unreliable than helpful. I think it’s very helpful for a person to be able to tune his own guitar. It think it’s also very important because the sense of tuning and the sense of how to tune your own personal guitar is different - you could have the computer tune the guitar and it would still sound out of tune but you tune it and it will sound in tune, because you play a certain way.

Tuning a guitar is like a tempered piano, low string will be a little flat, high string will be a little bit sharp. That to me is critically important.

I haven’t really messed with the self-tuning guitars, so much, it just seems very inconsistent. The digital stuff for me, I’m an old stick-in-the-mud guy, from way back and I don’t really mess with it - that’s for someone else!

How do you go about songwriting?

I usually start with the lyric, I just sort of go from there. I just sort of jam along and sing along and piece it together and all of a sudden, an hour later, it’s shaping up - maybe sometimes two days later, it’s shaping up even more. The best songs I’ve written took about an hour to write, you know. It’s that clear inspiration.

Can you tell us a little about your personal work among the young and in USA schools?

The Blues In The Schools thing for me is a kind of a labour of love and, also, it’s a kind of labour of necessity. I think

Blues needs to be absolutely brought to a new generation of fans and how do you do that without MTV and VH1, and all the other stuff. To me it is monumentally important to go into schools and talk to kids. It’s also important for kids to understand that if they have heard Led Zeppelin, they have heard Blues music!

The UK government recently announced it wants five hours of culture a week in UK schools, from opera to hip hop. This seems to be a real opportunity to introduce more youngsters to the Blues. Can you suggest ways that we might bring more Blues into British schools?

I think you guys have such a stellar legacy of Blues and interpretation of the Blues and, arguably, the biggest bands ever in the world came out of England; Pink Floyd, Led Zeppelin, The Beatles... You guys have such a rich heritage, I would start there. Then you can go back; everyone has heard of Led Zeppelin, everyone’s heard of Jimmy Hendrix… So, to me, you start there and then you go back and teach the classics like Robert Johnson and B.B. King, and all the other stuff.

The Blues seems to be pretty poor at promoting itself, something that you seem to have overcome. What is your advice to young musicians just start-

ing out in this field, to get them noticed? You just have to be yourself and get people talking about you. With a name like Bonamassa, it’s difficult to remember sometimes. But what happened was someone said, have you heard of this guy Bona….? They didn’t know my last name but, ultimately, it worked into something with people remembering my last name.

So, you really want to be able to go out and play good shows – honestly - and not try to follow trends. You want to make it so people bring their friends. If a hundred people show up then next time two-hundred-and-fifty people show up and so on and so….then it grows and grows. That’s how I did it, but it takes a lot of work, a lot of dedication, perseverance - and worrying!

Why am I still doing this? All of a sudden you get a couple of records that click and you’re selling and you just play better. We played that place on Saturday (Hammersmith), that’s a big deal for me and the culmination of a lot of hard work. We started in London about twenty minutes from that place, at the Borderline, with three-hundred seats. Luckily, we sold out London the first time in. It may have been three-hundred seats, but it was a hard sell and we didn’t sell-out until the day.

I’ve notice from your website the ‘street team’. Was that your idea?

It was partly my idea and partly just what everyone does. It’s a good way to keep track of your biggest and best fans. There are a lot of people who are really bent on helping you, who want to spread the word and promote the shows, just promote you in general and that’s a good way to keep the community going.

There are many including yourself, who feel that future of Blues is in danger… There has been an upsurge in the last few years of the genre; do you still feel that, and what more needs to be done to promote the Blues as a creative force once again in 21st century music?

Yes, a lot of young kids are playing it and that’s good. I think the artists have just as much responsibility to the Blues as the general people themselves. Blues artists tend to play the victim and if it’s going to be the Blues and nobody comes to the shows and we don’t get enough media attention and blah, blah, blah… Well, okay, I am the breathing, walking example of what can happen if you work hard enough and you persevere…

If you go, I belong in a small club and this is where it’s always going to be. Then that’s where you’re going to stay. If you go; I want to headline Madison Square Garden or Albert Hall or something like that, it’s manifest destiny. So, to me, if you believe you can go there, then you will do everything you can to strive to get there and you fall forward. Maybe you won’t reach that set goal, but you will come closer than if you just capitulate like the little pub gigs.

I think Blues had a big audience at one time and for some artists, like B.B. King, Buy Guy, Eric Clapton and all that have big audiences, but now we need to take the rank and file of Blues musicians and turn them into household names. So, we have to be more into it. You have people like John Mayer playing a bit more Blues now and that’s a good start. I think, also, that’s really the key to it, with the artists themselves taking responsibility for it and the records they make. If we’re going to do this, we can’t just capitulate to playing little pub gigs. You know there is nothing

“I’m an old stick-in-the-mud guy.”

wrong with playing little pub gigs but generally you, as an artist, would want to get your music out to a wider audience, than a couple of hundred people. I don’t understand why they wouldn’t and the more their music is exposed to younger people, or more people in general, the more the Blues is in people’s psyche. That’s where you have a movement a real movement starting. When everyone plays the victim and capitulates to defeat then its, well, we are doomed!

You have suggested that whatever genre of music you play; you would always be stereotyped as Blues…

Yes! I’m absolutely proud of that, and I’m proud to be a Blues player! There is nothing wrong with playing little pub gigs, I don’t want people to misinterpret me, because I did that for many, many years. I’m proud to be a Blues musician, but what I’m hell bent to do, is to try to change the stigma that goes with it. When you say Blues musician, they think you have taken a vow of poverty. They think you’re a f**king street musician and that’s what they think. To me that really is not what the Blues is about!

When I think of Blues musicians, I think of B.B. King... I think of beautiful old vaudevillian theatres… I think of a man who has been successful at the top of his game for sixty years! There is an aura of…he’s an icon! There’s an aura of success and momentum around him, that’s were I

see the Blues. When I see Buddy Guy, I see the same thing… I see Robert Cray, I see the same thing. You know, what I’m saying is that when I’m seeing the Blues, that’s what I’m seeing. That’s what I’m trying to change; the perception of the Blues! People saying, “You’re a Blues singer, that’s boring. Are you playing outside, dancing about for nickels or something?” That’s not what it’s about. I am here to testify that’s not what it’s about

What are your feelings about this handcuffing musicians to one genre and not letting them create and innovate as simply musicians who play music?

I don’t think any artist is ever handcuffed to any genre. I play Blues but I’ll throw in a Yes cover. I don’t care! To me, it’s like when you play Blues, you’re a Blues musician. I’m a Blues musician and proud to be it, but no artist is handcuffed, there is no law enforcement officer on the side to say, “You can’t!”

I think people, generally, fear the reaction you get from the audience or the fear of the reaction from the Blues purist that get on the computer and absolutely nail you to the wall. To me, I don’t fear that, because they aren’t going to come to my shows anyway or buy records or anything. All they do is bash away. For me go ahead, they are going to do it anyway, so I’m

not handcuffed to anybody or any thing. To me, it’s having that freedom; it’s very liberating, also.

Is there anything Joe Bonamassa wants to say to our readers?

Oh, this for Blues Matters!? I like Blues Matters! I would just like to thank everybody for their support of the Blues and for accepting our brand of it. It has been such a nice organic build for us that has been really exciting to be part of and see resurgence in the kinda music that I’ve loved since a kid. To play such an itty bitty part of it, is such an honour for me and I’m so honoured to have this opportunity to reach out to youth of the world and kinda like say this is what the Blues is and this is what I was into when I was your age.

I’m just really honoured that magazines like yours keep it going. I think the only way I can sum it up is, I look at Blues, and you have the traditional stuff - I share a birthday with Robert Johnson and there’s no bigger fan than me. Then you have the electric prog. side of it, which I kinda grew up on… Then you have all points in between - it’s such a giant.

Ultimately, if we can get past the division “you’re Blues” and “you’re not Blues,” then you have a genuine movement and I think it’s very important to have that. CB

photo: Alex Deforest

oe Bonamassa may only now be enjoying the fruits of his labour, but his influence on the Blues scene has been felt for several years now, with the rise to prominence of many young SRV/Hendrixinspired guitarists.

Joining the ranks of Oli Brown, Scott McKeon, Krissy Matthews and countless others, as a teenage axe hero, is Ricky Paquette, the much lauded Canadian, who signed his record deal at just 14 years old and who had released two albums (including a live collection and the aptly titled “Early For The Show”) before even turning 18 in November 2008. Whilst many will dismiss this new generation of protagonists as lacking enough real life experience to sing the Blues, or being overly indebted to their popular influences, like the classic British acts Ricky favours of yesteryear, their emergence could yet be what carries this vital form of music on to future generations…

BM: Growing up in Gatineau, Quebec, it appears clear that you were just destined to play guitar. However, do you come from a family with strong ties to music?

Ricky: Not really, no-one plays music, but they all listen to music a lot. My sister sings, but that's it. My parents are big music fans, but they do not play or sing at all.

Who were you hearing during those very early years?

Yes, the radio was on all the time in the house - in the backyard, in the garage... I was hearing classic rock like Led Zeppelin, Aerosmith, Jimi Hendrix, Deep Purple, Cream, Stevie Ray Vaughan, and many others who have influenced me a lot. I was a big fan of classic rock before being a Blues fan, although I love both and I play both.

Why the guitar?

I was really interested in playing guitar because my dad's friend, Denis Croteau, came a lot to jam in the backyard parties, and I was just so attracted by the way the guitar sounded. That was the first instrument I played. After, I started playing drums and bass. Now I'm starting to play piano a bit. Can you remember and explain how it felt when you picked up a guitar for the first time?

Well, I could say that the guitar felt pretty big! (Laughs) I also knew that I had a passion for the instrument right away.

If my 10-year-old son is anything to go by, kids just want to fool around. Was it hard for you to combine kids play and music practice - let alone schoolwork?

Not at all, my friends liked it when I played music. I have to say I was very fortunate that it happened like that. Some of my friends were starting to play music as well, so that was cool! School was never really a problem for me. It was never hard really for me to combine both.

Have you even considered a career outside of music… I’ve never really considered a career outside of music. If I can't make a living out of playing music, I would probably work in a recording studio or be a live soundman.

What do you think it was that brought you to the Blues at such a young age?

I have no clue, really. I think it might be that I was hearing that music since I was a baby - it was always playing around the house and I never stopped listening to it. I just like Blues. But what I listen to now, and what I’ve listened to the most, is rock’n’roll with Blues influences, just like the bands I named earlier.

Quite often young children, as you were when you started playing, when exposed to the very adult world of Blues music, have little in the way of personal experience that they can use to relate to the themes or subject matter

“You can't take yourself too seriously, but take what you do seriously.”

within the songs. How did you learn to interpret and approach these themes?

Maybe we don’t live a lot of those things, but we are not dumb, you know what I mean? Without being rude (laughs). We kinda know what it's about, even if we didn't live all of those experiences.

Which guitarists inspired you to progress?

Of course, Jimi Hendrix!...and Stevie Ray Vaughan, but there are other ones that influenced me just as much as those. Like Jimmy Page, Eric Clapton, Duane Allman...

Studying and absorbing those techniques is one thing, but can you tell us if you were conscious of the moment when you were playing as Ricky Paquette and not, for example, as a Clapton, Page or Hendrix clone?

I think kids want to be like their idols, and I surely wanted to be like them, too, but I always wanted to sound like meand that is always a tough thing to do.

Would you say that you were more aligned to European style of Blues or that of those south of the border? Indeed, what do you see as the differences?

I am more into the English-type Blues. I also love all the American Blues... I don't really know which one I like the most. Probably the European style.

The English type is more on the rock-side.

Coming as you do from the French Dominion in Canada, I assume you will be bilingual and I am curious if this extends into your writing and performances at all?

Yes, I'm bilingual, but I rarely sing in French.

With such strong French influences on music, for example in New Orleans, and with fine French players, such as Paul Personne and Karny Moutard, creating great Blues songs in French, do you just, at the moment, feel more comfortable singing in English?

Yes, I do feel more comfortable in English, and English is a more international language...but I am not saying that I don't like French!

Including yourself, there are several young guns on the Blues-rock block, like Andrew Goldring down in the States, plus Scott McKeon over here, making fresh and exciting music. How are things in Canada; are there more young players just off the radar that we should know about?

I personally don't really know of many young artists in Canada, especially in Blues or rock’n’roll. But there is Jimmy Bowskill, who I've played with at a festival in Mont Tremblant, QC. He is very, very good!

In such a short time-scale, your profile has mostly risen through playing festivals. Do you find the broadcast media in Canada supportive of local talent, live music and the Blues in particular?

Canada? Not really… Quebec has been very supportive and still is, not just for me. But I think since I live in Quebec, it's hard to get known in the rest of

Canada and I think that is sad. Not just for me - there are problems, not just in music, between French and English people here in Canada. If you know history a bit, you know what I am talking about. For that reason, it's hard to get support from the rest of Canada.

I have no Idea how I could try to make it easier for me to get into the rest of Canada. I wish I knew what to do.

There have been positive comments attributed to the mature songwriting showcased on your debut album. Is this a process you find quite difficult?

Writing good songs, I think, is the key to success, and is what will eventually set me apart from other guitarists. There are millions of good, amazing, phenomenal guitar players in the world, and as much as I would want to be the best, and as much as I work on it, I think what I need to really do is write good songs. No, it's not an easy process, but its well worth it when you see the end result!

I am currently working on a new album which will have maybe 90% of original material, and I can't wait to put it out. We've been playing the new songs live and we've been getting really good feedback.

What makes a good Blues song for you?

Hard to say...good melody, good groove and good feel. Pretty much anything if it sounds good, then its sounds good!

How easy is it for you to structure a song from scratch, and what approach do you use when writing?

Depends on the song… Sometimes it comes easier than others, and I don't really have any methods I use to write a

song. Sometimes the lyrics come first and then it's music. Sometimes it's the opposite and sometimes both come at the same time, with the melody…it's pretty free.

Was it a fairly straightforward process for you when it came time to select songs for the album "Early For The Show"? Pretty much…we chose songs that we liked.

How was the recording experience in the studio for you? Amazing! I had the chance to work with professional equipment, old pre-amps and compressors. It was a big learning experience. People were very cool, too. They didn't mind answering all my questions (laughs).

You had your bass player, Domenic Romanelli, as producer on the album. How important was that to the very live sound that has been achieved?

We really wanted to try to make the album sound like it's a band playing, so we were a band playing! We did some vocal overdubs, but a lot of the tracks were cut live in the studio with the band. Domenic was very cool with the ideas that I brought in, so I was happy for that!

Whose decision was it to release a live album from your performance at Festival International de Jazz Montreal, for what reason, and what were you hoping to show listeners who had previously only heard the studio collection?

The idea of recording at the jazz festival came from the record company. Since it was a very prestigious festival to play at, they thought it would be a good idea to get it on tape! And I was all for this idea! I had the same opinion on that. The record label and I wanted to show to the people what a Ricky Paquette show was.

It's been a couple of years now since that performance in 2006 (I understand you were just 15 at the time), do you feel you've developed quite a lot in that time and is it strange listening back now?

I think it was a good representation of what my show was back then. I feel that it might not be the same now, but I'm still proud of that album, although I personally think I have improved and changed a lot. At the time I was 15, so two years and bit have passed by since then and fans have been telling us that in those two years I have really matured and improved. It is a good sign, I believe.

I should think that at this still early stage in your career, you have received lots of advice, but what is the most important thing, about live performance, that you have learned so far?

Well, there's a couple. Firstly, not to be afraid of just letting yourself go and jam in the songs. Have fun! That's a big thing. People can feel it when you're having fun. You can't take yourself too seriously, but take what you do seriously.

Much has been made of your axe-prowess, which is demonstrated on the live collection... What do you say to people who criticise modern Blues acts who they say rely too much on technical ability/guitar fireworks and miss the real essence of the Blues?

Much has been made of the young British guitar talent coming through in recent years – as illustrated with Oli Brown’s high placement in the Best Blues poll this issue – but Canada is seeing a similar surge of SRVesque teenage ‘axe gods’, with the Ricky Paquette endorsed Jimmy Bowskill one of the more prolific.

“I just released my third record this past March and have been touring Canada and Europe quite extensively in support,” said the recently turned 18-yearold. “It’s a Blues-rock record consisting of mostly original material, with the exception of Peter Green’s ‘Rattle Snake Shake’.

“We are currently getting ready to record number four this winter… The new record will be a Blues-rock record, as well, but with different influences from the last one.”

The story is familiar, a parent unable to fulfil their own ‘rock star’ dream, but conditioning their offspring from an early age. “I picked up the guitar at age 10,” recalled Jimmy. “There was always a lot of guitar oriented music around the house… Robert Johnson, The Band, Freddie King, Billy Gibbons and Paul Kossoff.”

And what are these youngsters drawing from the Blues? “Emotion is the thing I draw from the most with Blues music,” answered the teenager. “It feels natural to convey the emotion, and incorporate it into different genres and styles and create my own thing. It's the emotion that makes it real and translates it to the audience.”

The audiences are certainly receiving, with Jimmy, like Ricky before him, breaking through internationally in 2008. “The tours went very well for us, as we played Bospop in the Netherlands in July, and Odda Blues Festival in Norway,” enthused the guitarist. “We were also fortunate enough to showcase this year at Popkomm in Berlin, and have been offered a support tour with Wishbone Ash starting 14th January 2009 in Germany. We are starting to receive offers for spring festivals in Holland, France and Germany”.

But there’s one audience any serious musician is keen to impress - “I can't wait to play UK!” exclaimed Jimmy. With the appetite for Oli and co. growing in 2008, few would bet against that dream being realised in 2009. DH

An emotional Jimmy Bowskill.

photo: Allana Haradyn

Yes, it's true that my guitar playing is not really pure Blues, but I am not black, I was not a slave - it's a bit funny said this way, but it's true. I feel that I just do it differently, and that's just as fine. It might just attract a different kind of crowd, and I don't want to pretend that I'm a real Bluesman because that is not what I am. I play it my way and, of course, I admire all the great Bluesmen, but I do it my way and I am still working on 'my way' of playing.

You have taken formal lessons in classical guitar playing and techniques. Those disciplines are worlds apart, but can you tell us what you are able to transfer between classical playing and the Blues?

Nothing really (laughs). They're two different things.

Much has been written in the press about the future of the Blues resting on the shoulders of Joe Bonamassa, for example... Should we be expecting too much too soon from newer artists?

I really don't know if people expect too much too soon from new artists...maybe a bit.

You have got to give time to the artist to get a lot of experience, and all that, to be as great as the big guys. By not giving them time that brings all sorts of added pressures that might be counter productive before they are

labelled the “saviours of the Blues”.

Have you built up a collection of guitars and, in the event of a disaster, what one would you save?

I have two Gibson Les Pauls, one Fender Stratocaster, one Gibson Explorer, one acoustic guitar and one classical guitar. I would probably save my Stratocaster because it is starting to have a sentimental value. I've had that one for the longest time in my good guitars. I've had a guitar before that, but this one is special. It’s the one I've played most.

What old and new music tracks are currently on your iPod/mp3 player?

On my mp3 I have all the Zeppelin recordings and some Cream. I also have some Jet; their last album was amazing… B.B. King, Stevie Ray Vaughan, Jimi Hendrix. Jeff Beck, Paul McCartney, The Beatles, The Rolling Stones, The Who, and a couple of others. For the new stuff, I pretty much only have Jet.

What targets are on your immediate musical horizons?

Well, my targets are to break out of Quebec. Doing my next album, which will be more me; it will be original stuff, more rock’n’roll, but still with a Blues edge. I would love to go and play in England. That's where almost all my favourite bands come from or have started out from. GS

urists may frown ‘cos he rocks too hard, but Walter Trout has acquired enough dirt and life experience under those New Jersey fingernails in the last forty years to play the Blues as genuinely as anybody.

The guitarist played with a who’s who of the Blues (including John Lee Hooker), before cementing his reputation as sideman with legendary outfits Canned Heat and John Mayall’s Bluesbreakers. When the bottle threatened to wreck his life and career, it was Carlos Santana that helped get him back on track, and the last twenty years has seen him develop into one of Blues-rock’s most reliable performers, releasing a string of acclaimed solo albums and extensively touring both sides of the Atlantic.

Although it’s his guitar prowess that has rightly garnered so many plaudits over the years, 2008’s “Outsider” saw at least equal appreciation for his songwriting efforts, as the big man opened up…

BM: On your latest CD, “Outsider”, there is some top class writing. Was there a theme or concept to this album?

Walter: It didn’t start off that way but it might have ended up that way - a portrait of various people who are outsiders in their own way. The opening track is very autobiographical. The second track is about the music business as a whole;

there is always the new thing, the new hype, this month’s flavour - that’s the nature of the business. I feel very blessed to have had a solo career of twenty years, that’s unheard of. Normally, if you think about the ‘flavour of the month’ or the ‘next big thing’, they last about a year. There are many guys who have come and gone. They have their big blowout when they come out, especially over here, then they spend the rest of their lives just trying to hold to something they had. I feel lucky not to have gone through that. The third song is really an attempt at writing a ‘30s folk song of America that would conjure up images of people on the breadline. They were certainly outsiders, rejects of society. Then ‘Child of Another Day’ is four different verses about outsiders…

‘A Matter Of The Heart’ is an insightful comment on love. Is there a place for music to comment on personal, political and social matters?

Of course, I think any kind of art does. ‘Matter Of The Heart’ really is an attempt by me to say, “I’ve been with same lady now for nineteen years and we are still very much in love.” It really is something that it is more felt than thought about. It belongs more in your heart than in your brain. I have some friends, they are single and they are meeting people and getting all analytical. I think you either really feel something or you don’t - love is not intellectual.

Can you tell us something about the musicians on the CD?

The one who really stands on there has got to be Kenny

photos: Jon Trout

Aronoff - don’t know if you’re familiar with his work? He’s quite astounding, he’s recorded with everybody. He is the finest musician I’ve ever played with. When he received his promo copy, he called me up and he said, “Walter, I want to thank you for existing because you have allowed me to be me!” I said, “Hey, Kenny, man, here’s how the songs go, you play them the way you feel it and I’m not really going to be giving direction here. I respect your ability enough. This is the structure of the tune; you play it however you want.” I really gave him free-reign. I’m just blown-out by his drum track, it was an incredible experience.

Hutch Hutchinson, who’s been with Bonnie Raitt on bass for twenty-five years, did the same thing basically. His feel is just astounding. We would barely rehearse these tunes. I would stand there with guitar and show these guys and say, “Ok, this is how the song goes.” We’d roll the tape and play the tune. What you’re hearing on there is really the joy of creating and the fun we were having. There’s a lot of spontaneity because we just talked about them and off we went. I had the time of my life playing with those guys. They were in there for four days, and I had the most fun I have ever had making a record.

Why the Strat?

I used to play, when I was young, a Les Paul, then I played a Gibson 335. I was a Gibson man, but one day, back in New Jersey, in my youth, I was at a jam session at a friend’s house, he had a Strat, and he said, “Try my guitar!” As soon I strapped that thing on, I knew I had found my life-long partner, musically. I don’t know what it is; just the feel of it or the sound of it, but to me the Stratocaster is just the ultimate guitar. I still love to play a Les Paul or a Gibson. As a matter of fact, on the song ‘Can’t Have It All’, the middle solo of that song is done on a 1960 Gibson 335 that John Porter had brought in; a beautiful collector’s item. I think you can hear it makes me approach playing a little differently than I do with my trusty old Strat.

Any advice for young aspiring musicians starting out today?

If you’re going to go into this, keep in mind that it’s all about feeling. It’s all about emotion; it’s all about selfexpression, that’s the most important thing. Approach your music with that in mind - that is the ultimate goal, much more than blinding technique. There’s a lot players out there that have this blinding, incredibly fast technique, but they have nothing to say. Let’s use an analogy. You can have a great poet, who stands up and recites beautiful poetry that comes from his heart and soul, and has a lot

of meaning that grabs you and moves you, or you have a guy who just stands there, spouts huge words, giant vocabulary words that have absolutely no meaning. Try to be that guy, who has meaning in what you do, has heart and soul and feeling. At the core of what you do, should be an attempt at communicating with other human beings.

What is your definition of the Blues?

Well, this is going to sound funny, but after playing with John Lee Hooker and Big Mama Thornton, Percy Mayfield, Peewee Clayton, Canned Heat and John Mayall, I’m still trying to figure out what it is! I know it’s more than a twelvebar shuffle, and I know that it is more than what the Blues purists think it is. It not just somebody imitating Muddy Waters or playing twelve-bar shuffles until they pass out. I think, it is an elusive thing, I’m still trying to grab a hold of and figure out but I do know it has to be rooted in emotion,

For new generations of budding Blues musicians being able to meet and play with artists who have been there and done everything can be vital to their development. Whilst their idols Hendrix, Hooker and Vaughan may have passed on, there’s a lineage of acts that have had direct contact with the greats – and it seems most are keen to embrace the new.

Would Oli Brown have developed and enjoyed the success he did in 2008 without the likes of John Mayall taking him under his wing during his formative years. Walter Trout is another wise head who is always eager to share his knowledge and offer opportunities to talented newcomers, knowing how impressionable young players are, and what a lift having access to your heroes can be.

“When I was 10 years old, I got to spend the day with Duke Ellington and his orchestra,” recalled the veteran guitarist. “I hung out and talked, sat around in a dressing room. I spent the entire afternoon with those guys; they were so warm, friendly, inviting, so much charisma and humour. I thought these are just the greatest people I’ve ever met in my life. I’ve never met anybody like it!“

However, it was perhaps a less than rewarding meeting with a musical icon that ensured Walter would always remain grounded and approachable. “A few years later, I met Buddy Rich,” continued Trout. “He made me think, ‘I never want to be a musician if I’m going to be like this guy.’ I have not ever in my life, in this business, run into a bigger a**ehole.

“Now, when I meet young players, I think back on how great I felt and positive about music after hanging with Duke Ellington. Then I think about how depressed and upset I was after meeting Buddy Rich. I don’t want to be Buddy Rich! The man tried to kill me physically, when I was 14. because I asked him for his autograph! I am not going to be that.”

Walter also recognises it’s not just musically he can offer influence, as adolescents are more likely to develop overinflated egos given such early adulation. “There are some guys out there now that looked up to me,” he said. “Maybe I gave them a bit of encouragement, a bit of help. Showed them that just because you’re a musician, doesn't give you that right to be a pr**k!

“You’d better be a human being in all this. It doesn’t matter how good you play. What matters is how you are as a human being to the people you meet.

“To this day, I don’t want to hear Buddy Rich; I don’t care if he was the greatest drummer that ever walked the face of the earth. When I hear his music, I hear the man that I met. It was a complete horror show. I know that I can have an effect on these kids and try to be an example to them as Mr Ellington was to me. That’s very important to me.” DH

feeling and honesty. If you’re imitating someone, you’re not being honest…you’re not being yourself!

If you could wave a wand to promote the Blues, how would you improve its profile in 21st century?

I would get the media to pay a little more attention to it. Try to get radio stations to play more of it and get behind it, because I find the majority of people are influenced by what the media tells them is cool. I know, there are millions of people that turn on their radio in their cars and the radio plays them the latest Britney Spears. It tells them this is good, this is what you should listen to and these people blindly follow where they’re led. If that radio station put on a record by Buddy Guy and said, “Listen, this is good,” 90% of those people would go out and buy the record.

Everything now is so formatted and corporate that this music has been in a lot of circles, but not supported where it should be. That’s what I’d do, I‘d want all the classic rock stations to have this music as part of its programming. Have it taken for granted that this is good music.

What does the future hold for Walter Trout?

After this tour, I‘m going to go home, sit on my couch, stare at the wall for awhile and put the guitar in the closet!

Are there any musical ambitions left?

I would love to get up one time and play a song with The Rolling Stones - I’m their biggest fan! ‘The Restless Age’ on the new CD was my completely transparent attempt at writing my version of a Rolling Stones song. Coming up with my version of a Keith Richards intro lick, and even playing a guitar solo that is blatantly Keith plays Chuck Berry. I told Kenny and Hutch, "You be Charlie, you be Bill Wyman, and I’ll be Keith Richards!”

Is there anything you would like to say to our readers?

I think it is really great that there is a core audience in the UK for this music and they have supported me for twenty years now – they keep coming to the shows, year after year. I just love them from the bottom of my heart for how they have supported me and given me a career. God bless them for that! CB

Walter Trout offers guidance.

t’s a mighty long way from Denmark to the Mississippi hill country. But if you think that’s far, consider the distance between Whitney Houston and Robert Belfour.

Morten Lunn, the lead singer of The Fried Okra Band, has covered both. A native Dane, like the other three members of the band, he came of age listening to what everybody else was; Whitney Houston, Michael Jackson, Madonna, Dire Straits, a bit of heavy metal, a lot of Bruce Springsteen. Now he and his band mates play music that is so far out of the mainstream as to be unheard of by most of his countrymen. Not to mention most Americans, as well…

The Fried Okra Band play primarily Mississippi hill country Blues. On its most recent release, “This Is Your Chance, France Baby!”, the band covers unvarnished, gritty hill country artists like Robert Belfour, RL Burnside and Junior

Kimbrough, as well as people like Corey Harris, Tom Waits and Robert Johnson.

Hill country Blues is an acquired taste. Either you get it or you don’t. The melody is almost irrelevant. Don’t wait for the killer chord changes, because they won’t come. Many of these are one-chord songs. What’s important is the beat, the drone, the trance, the hypnosis. This music is as rough as an old board that’s fallen off a weather-beaten shack with the nails sticking out.

For some people, it’s monotonous – literally, monotone. But for others, the lack of polish lays bare the raw emotions of the heart. And, even in Denmark, this music is finding an audience.

“I think the fact that the hill country style is different attracts some Blues lovers to it,” Lunn said, “because, in my view, it might help cut away the clichés that some people among the rock and mainstream audience associate with the Blues.”

The members of the band are Lunn on vocals and guitar,

Thomas Foldberg on guitar and harp, Kare Joensen on bass, and Thomas Crawfurd on drums. They came to this music through different routes.

Lunn started out in a children’s band, playing rock’n’roll, The Beatles and even ‘Hoochie Coochie Man’, though Lunn didn’t have the vaguest idea at the time who Muddy Waters was. Later, after his Whitney Houston period, he got into The Rolling Stones and Chuck Berry; an interest in Bluesmen naturally followed.

Foldberg is the band’s co-leader, second to Lunn (the bass player, Joensen, calls him the vice sheriff). He grew up on British invasion music: The Animals, The Stones, The Beatles, and so on, along with a bit of Jimi Hendrix.

But the Blues? “My first encounter with the Blues was Elvis Presley’s ‘Blue Christmas’,” Foldberg said. “Not exactly a Blues song, but almost. I was blown away and thought the piano work and the groove was amazing.”

But it’s still a long way from Presley to Kimbrough. For both Lunn and Foldberg, the journey had a couple of significant turning points.

Most important, perhaps, was a trip they and two other friends made to the United States in 2000. They visited New Orleans, Memphis and Clarksville, Mississippi. Clarksville bills itself as “Birthplace and world capital of the Blues” – not to mention the location of the Crossroads of Highway 61 and 49, where Robert Johnson is said to have

sold his soul to the devil in exchange for musical genius.

In New Orleans, Lunn went to hear RL Burnside live. Talk about raw. Burnside farmed most of his life, had slept-in hair, a hung-over look, and titled one of his albums “A Ass Pocket Of Whiskey” – likely in honour of what he carried around in his own ass pocket.

Burnside claimed to have been convicted of murder once and sentenced to six months in prison. His boss, it is said, used connections to keep the sentence short because he needed Burnside to drive a tractor.

“I didn’t mean to kill nobody,” Burnside said later. “I just meant to shoot the sonofabitch in the head. Him dying was between him and the Lord.”

After a heart attack, Burnside’s doctor told him to him to stop drinking. Burnside complied but said the change left him unable to play. He died in 2005.

In Memphis, on the same trip, Lunn met a guy who showed him the remains of Junior Kimbrough’s famed juke joint, which had burned to the ground earlier in 2000. And the guy drove him around the North Mississippi hill country, where this hypnotic, one-chord trance Blues originated.

That trip piqued the interest of Lunn and Foldberg in hill country Blues. But, just as it took Elvis to open the ears of many listeners to black music in general, it took a relatively famous artist to bring prominence to the obscure hill country style.

British fans may be casting an envious eye on the Blues’ rise to prominence in Scandinavia in recent years - outside of America, few territories can compete with the Nordic countries for top quality Blues entertainment.

Sweden attracted the likes of Eric Bibb, Bobby Rush and Super Chikan to line-up alongside local talent at 2008’s Copenhagen Blues Festival; The Lakeside Blues Festival, Finland boasted Big Jack Johnson, Duke Robillard and Delbert McClinton; whilst surely one of the very best festivals in the world, Norway’s Nottoden Blues Festival managed to bring together Ray Davies, Koko Taylor, Mick Fleetwood, Kenny Wayne Shepherd, Little Feat, James Cotton, Janiva Magness, Pinetop Perkins, Ian Siegal, Bob Margolin…okay, I’m running out of space!

“The scene is very strong in Norway and Sweden,” admits Lunn, “which we, in Denmark, benefit highly from.

“We have opened for guys like Magic Slim and Sherman Robertson, and it has been great.”

Whilst there could be fear that booking a number of high-profile acts will stifle the opportunities afforded to the country’s own talent, promoters have managed to strike a fair balance in their line-ups, and acts like The Fried Okra Band only seem to have benefited from their exposure to top-calibre international acts

“I think it’s always nice to se the ‘real’ stuff, and acts are getting more recognition from the world outside of Denmark,” enthused Lunn.

From Sweden, Little Jenny & the Blue Beans, Slidin’ Slim and Peder af Ugglas have all made an impression in this magazine; Finland has given us the Wentus Blues Band, Dogbreath, Erja Lyytinen and Black River Bluesman; and whilst Norway may not boast the high-profile international acts to match their festival, The Fried Okra Band’s Danish counterparts Thorbjørn Risager and Tim Lothar have produced two of the most impressive collections received at BM! in recent years.

As if we weren’t envious enough, Lunn continued: “The place we play regularly is Mojo Blues Bar in Copenhagen. It’s one of the coolest Blues bars outside the US - even according to artists form the States, and the UK! It has live Blues every day the year round - and opens till 5 in the morning!”

Even in this tough economic climate, British Blues fans may see a holiday to Denmark as an essential outgoing in 2009. DH

That artist was Buddy Guy. In 2001, the year after Lunn and Foldberg’s trip to the United States, Guy released “Sweet Tea”, his hill country album, on which he covered two of Kimbrough’s songs. Lunn and Foldberg’s interest grew more intense.

“I think it took some time before the music really got to me because it in some respects differs from other Blues styles”, Lunn recalled. “I have always liked the first recordings Burnside made in 1968. Listening to the live CD, ‘Burnside On Burnside’ (also released in 2001 - MD), made me think that it was the sound I wanted.”

He hauled out a Junior Kimbrough album he had bought on the trip, listened some more, and was hooked. Foldberg, too, acquired the taste slowly rather than overnight.

“Morten started to talk about these guys,” Foldberg said. “I didn’t really understand the stuff at the time. But a few years later, I couldn’t avoid these great artists. And suddenly it seemed so obvious to me. Hearing those guys gave me the same feeling as hearing Muddy for the first time.”

Lunn and Foldberg formed The Fried Okra Band around 2004. The other two band members had backgrounds in different styles. The bassist, Kare Joensen, had played with a variety of Danish rock bands. The drummer, Thomas Crawfurd, has experience in Balkan, Gypsy, jazz and ethno pop.

The Fried Okra Band do not attempt to replicate the hill country originals exactly as performed by the original artists. So, the diverse backgrounds of the band members – including those with no background in hill country Blues – adds to the flavour of their covers.

Finding their own version of a song usually starts with just a riff or a beat. Then the band jams, each member adding something until the final version emerges.

“It sometimes takes a while,” Lunn said.

“Regarding this band, I see the hill country style as a starting point and a base,” Foldberg added. “Me and Morten had this idea of how we wanted the band to sound, but the influences from Crawfurd and Kare have obviously made it different. I mean the hill country style is still there, but mixed with other sounds and influences. And important to note is that, since we’re not from Mississippi, we’re not playing the hill country style right as it should be. It’s our interpretation, and we don’t have the roots to do it like Mississippians, no

Tim Lothar is spoiling Danish Blues fans.

matter how hard we try.

I try to see this band as a band rooted deep in the Blues, but it should develop its own sound.”

The opening of the album “This Is Your Chance France Baby!” sounds like something wild coming at you from inside a cave. There’s a throbbing drum, a feral guitar, then an explosion of hill country Blues.

Through the individual contributions and the jamming, the band has come up with a sound that is noisier and more electric than on the hill country originals. But the slide stings, the drums clatter, Lunn’s vocals are gruff – and the gritty feeling is exactly the same.

The tracks were recorded live, but have some overdubs. The result is the best of both worlds – the immediacy of live performance combined with the discipline of the studio. It’s a fine album –and about as far from Whitney Houston as one can imagine.

“I really like music raw,” Foldberg said. “I think that too clean and flawless music is uninteresting. For me, Burnside plays flawlessly. It goes straight to the heart.

“I get so mad when people think Steve Vai is God – and he is very skilful – and a guy like John Lee Hooker can’t play. I know it’s a cliché, but for me the Blues is about a lot more than only technique.”

Gradually, the audience is catching on. But music like this not the route to stardom, in Denmark or anywhere else. “The

audience for hill country Blues is not very big and it is not like we sell a lot of records,” Lunn said.

“No Blues albums do in Denmark. But still, in Mojo Blues Bar, in the centre of Copenhagen, there is a crowd all week listening to the Blues.”

“They’re getting used to us slowly,” Foldberg added. “But for a lot of Blues puritans, I guess were just four people making noise.”

The band plans to release a new album next year –recorded, band members hope, in the United States. They’ve already begun talking to different producers. And the new album, in contrast to the last, will include a

lot of originals and perhaps only one or two covers.

In the meantime, the band plays gigs in Denmark. On good nights, people in the audience listen in silent concentration, showing that they’re into the music. Sometimes, even better, they dance and yell.

“To quote Mr Burnside,” Foldberg said, “Blues ain’t nothing but dance music.”

And little by little, the word is spreading. People are starting to understand. “The ones we talk to most are also Blues fans, so they know about the music,” Lunn said. “But I don’t think the audience in general, on any given Saturday night, is familiar with Kimbrough or Belfour. But that doesn’t matter if the music makes them feel good.”

And with that good feeling comes an appreciation of this obscure but hypnotic musical style.

“Even though it gets zero attention from the mass media,” Foldberg said, “I guess a lot of youngsters have discovered that it’s so much more than guys with pony tails, beer bellies and thirty-minute-long guitar solos.” MDS

essica Davies and Katherine Blamire have been playing the Blues since they were only 11 years old. Feeling decidedly different from others at school, they formed a musical partnership fuelled by escapism and ambition. Writing songs about dead pets was an early measure of their dark and brooding potential. Now in their early twenties, they can almost claim a veteran status, having lived and gigged in New Orleans, banked an archive of songs in the studio and by digging their heels in when tempted to stop.

As the Smoke Fairies, Jessica and Katherine have built a growing reputation across the pubs and clubs of London, enjoying diverse alumni from Bryan Ferry to Ed Harcourt and best friend status with Congregation, and are now considering the next steps, with a full studio album and bigger venues inevitable...or maybe not. It seems the Smoke Fairies put their creative vision and musical mysticism first, ahead of an urgent desire to be MTV queens…

BM: Smoke Fairies is a great name for a band - cool and evocative. What’s the story?

Katherine: Basically, it sort of evolved from when we lived in the country around Chichester, where we grew up.

Jessica lived in a small village and I was on the edge of Chichester, and when we went between each other’s houses, we had to go down these country roads and would notice the mist gathering in the hedgerows to create these ghostly people-like shapes. We called them Smoke Fairies, and one day thought it was also a good name for a band.

How old were you then?

Jessica: We must have been 17, but we’d been playing since we were 12 under various names, which weren’t sticking at all.

Katherine: We were in a band called Elves In A Pie for about a week, just to enter a college battle of the bands. We won called Elves In A Pie, but then thought it was a bit silly. Your music is clearly of a worldly nature. There are so many

genres and sub-genres, and genres of genres around at the moment; where would we file the Smoke Fairies?

Jessica: I would say it crosses over from Blues, folk and country, mixed with slight creepiness. Some people describe it as gothic, but I don’t know whether I’d describe it as that.

Gothic folk?

Jessica: Yeah!

Katherine: It is hard to say, we’re not trying to go for a specific genre, we just want to fuse our experiences and musical influences, and they are quite wide.

You’ve travelled to New Orleans and Vancouver. What stories do you have to tell?

Katherine: We always wanted to go to America. Both of us were obsessed with it growing up, listening to American music and generally the idea of escaping. I guess it was the fantasy of America; we were quite innocent and so wanted to get out there on the road and to travel.

When we finally went to university, to do History, an opportunity came up to study in New Orleans. We both went for it and both got through! So, we went to study there. It was interesting doing the history of the place and we did the history of jazz. So, being there, we basically just did as many gigs as we could.

Jessica: Once we went on this Greyhound trip for two months, and only did a week of it, and within that first week we’d gone to New Mexico and borrowed a car and blew it up in the desert. And then had get a ride in one of these eighteen wheel trucks that stopped by, and so we left the car there. Trouble is, it was my mum’s high school friend’s car – I’d only met her once when I was 3– and she was quite distressed to say the least that we had been out in the desert with a burnt out car.

Any rare or interesting gigs from those times?

Katherine: There was a gig we had at Tipitina’s, the legendary New Orleans venue. That was fun. For some reason Tim McGraw was doing a gig after us. We saw at the gig that there were thousands of people there with cowboy hats on and we thought, “Wow, we’ve got really popular

We are judged on the basis of being girls and some people expect us to be not very good at the guitar and sing songs about some crappy ex-boyfriend.”

with the country crowd.” We saw him come by and I snook into his dressing room, said hello, and then he let all my friends come in, too, but then there was a bit of punch-up. I don’t know if you should put that in!

So, who are your musical heroes – living or dead, traditional, modern and, with this magazine in mind, from the Blues?

Katherine: I was saying just the other day about a Skip James album that Jessica picked up in New Orleans that we listened to over there, and it really influenced us. Every time I hear it, it reminds me of New Orleans.

Jessica: There’s also a Blues festival down in Chester called Blues On The Farm where we used to work every summer, and they have artists from the States come over. We got to meet and talk to lots of acoustic Blues artists. Just meeting them inspired us.

Katherine: People like Eric Bibb… It was brilliant exposure for us.

Have you got iPods? Who are you listening to at the moment? Do you get hooked onto a certain star, style, or person? And do you mix in musician circles?

Jessica: I’ve got an iPod - but the batteries aren’t working.

Katherine: And mine’s broken.

Jessica: Our friends have a new album out. They’re called Congregation. We’ve been going to a lot of their gigs. We’ve also been digging out old records like Crosby, Stills & Nash, Grateful Dead, Traffic…

Katherine: And that band America. It’s what we were listening to growing up, and it’s really great to go back over it. You just can’t beat the old stuff, when you listen it to it, it’s like, “Oh, my God, this is so good!”

Do you get out to many live shows?

Jessica: Not really, it’s kind of hard to stop and go to someone else’s gig when you’re doing your own all the time... I really like it, but it’s a real luxury.

I saw you listed at the What’s Cooking Festival in Edmonton last summer, with Holly Golightly, Pete Molinari and The Broken Family Band, amongst others… Katherine: We didn’t play.

Well, you were on the poster…

Jessica: That’s good publicity! We’ve got a few festivals coming up. We’re playing a zoo, and a farm, and a bluegrass one…somewhere. I should know, I suppose.

What’s it like gigging in London? Packing them in and doing an encore at the recent the 12 Bar gig must have been satisfying but, in terms of paying your dues, it seems to be a bit of slog for the most part?

Katherine: Oh, yeah, it’s an amazing experience playing to so many people, but it takes a really long time to build up the fanbase you need to get…well, paid!

Dragging amps and guitars up and down escalators and into squashed tube trains, and trying to get changed in some crappy toilet isn’t always fun! But that’s not a complaint; it’s what you have to do.

Does that pain give you a creative buzz?

Katherine: Most of the time it just makes us really tired!

Jessica: Maybe we’ll look back on this time and be able to write songs about struggling.

Two tall girls with guitars; they say “sex sells,” some say “cool and evocative,” some would also say hot and provocative. Do you feel vulnerable on stage? At the 12 Bar gig there were guys who started watching you because you were girls but by the end of the gig you got them turned around and they were hooked on the music…

Katherine: That’s something we think about a lot. We feel quite empowered in a way. We are judged on the basis of being girls and some people expect us to be not very good at the guitar and sing songs about some crappy exboyfriend, but what we’re trying to do – well, we’re not even trying to do it - is establish that we do play the guitars well and we’re serious about what we do. It’s great to see people thinking one thing and then by the time we’ve finished realising that they got us wrong.

Is your music an aphrodisiac? Or is that a bit of creepy?

Jessica: (Pauses) Yes, that is a bit creepy, but hey, maybe for some people it can turn them on.

Didn’t you have a seafood experience in Birmingham recently?

Jessica: Yes, basically we were really hungry after the gig and wanted food, and the only thing we could find to eat was a battered scallop for thirty pence. I don’t even think it was a battered scallop. I think it was part of a dish rag! And then there were the burgers in Bristol!

photos: Steve Double

It seems odd that there’s still such expectancy when acts like Smoke Fairies and Gemma Ray appear on the sceneafter all, women have been dominating the airwaves and charts for a few years now in the name of ‘the Blues’.

“It's always great to hear women doing well, especially as they don't always seem to get the attention they deserve in the music press,” insisted Gemma Ray, “but the downside to this is that they tend to get lumped together when they do get noticed, even though they usually have nothing in common with each other than the lack of a p**is.”

Whilst the likes of Duffy and Norah Jones may have a discernable sound from one another, the lack individual inspiration and copious amounts of gloss added too much of their output, which has seen them become such safe international commodities, is ultimately why they fail to stand apart.

“I would primarily describe my own music as honest soul and Blues rooted pop,” said the Essex songstress, “with a nod to the ‘50s and ‘60s, and an eye on the future.”

Gemma may be looking back at a similar era of music as recent success stories Duffy and Amy Winehouse, but perhaps the time spent looking at the finer details rather than adopting the latest en vogue producer accounts for the “breadth of talent” showcased on 2008 debut “The Leader”.

“I like the perverse sense of order and neatness of some ‘50s and ‘60s pop music that conceals the filth and dirge that lies beneath it.

“I was quite inspired on tracks like 'Bring It To Me' to emulate the way a lot of those lyrics seem cheesy upon first listen, but then you hear hidden facets and double entendres which secretly scuzz up the song without sacrificing the dignity of the singer.”

And whilst she wields an axe as confidently as any man – “maybe we (Seasick Steve and I) should have a guitar dual crossroads style” – don’t expect the latest female version of Mr. Vaughan.

“All my music is blue blooded, I think you are either that way inclined or you're not. I don't think it will sound like it to people who generally relate to Blues being twelve bar stuff, but it depends what element of Blues you're passionate about really.

“I just need the soul that a lot of Blues music has.” Don’t we all! DH

Read the full Gemma Ray interview online at bluesmatters.com.

Katherine: We don’t have much luck with food on tour. Perhaps we shouldn’t go for the cheapest options. Moving north, have you ever toured, or do you have plans to tour Scotland? There is Scottish folk in your song ‘Sea Shanty’, and I wondered how you’d go down up there?

Katherine: We played in Scotland when we toured with Bryan Ferry and people were into us.

We’d definitely love to go back to Scotland if we can make the time. We’d love to get invited to a festival up there.

Away from the live scene, what’s the latest with studio work?

Jessica: We have recorded an album - some tracks appear on the nine-track demo we’ve done - and we’ve recorded four new tracks quite recently. For now, we’re just going to keep on recording and recording, and maybe release it all at once, or maybe no-one will ever hear it!

How does it work in the studio?

Jessica: We do both the guitars live, playing together because there is such an interaction that we can’t record them individually and get the same connection. The singing we do separately, and maybe go back and look at it and play off what each of us has done.

Your guitar playing is what I’d call co-operative, rather than competitive in ‘Duelling Banjos’. Do you ever fight?

Katherine: We don’t fight about who’s in charge!

Jessica: We’re not concerned abut who’s in charge; we just want to make the song sound good. We certainly don’t want to mess them up by being egotistical about it.

The Smoke Fairies doesn’t have to be only two, of course. Any brothers and sisters with musical inclinations?

Jessica: We’ve got brothers and sisters but none are very musical. My brother used to play drums with us in our first band but it was horrendous.

We do get mistaken for sisters and I don’t know why because we look completely different.

With track titles like ‘Living With Ghosts’, ‘Bones’ and ‘Lost Our Minds’, you clearly have a dark side?

Jessica: I can’t actually think of a single title that is uplifting. That’s a bit sinister don’t you think? GH

Gemma Ray is a little dirtier.

What we said: “Evocative guitar and haunting vocals grace this impressive collection of Delta Blues.”

Provogue/Shrapnel

What you said: of, but it sure kicks ass!”

Timothy

Gray

SUGARS

Bad Sneakers

What we said: “This CD is as fresh as a daisy but, somehow, it's as old as the hills.”

We had submissions from all around the world for this year's Best Blues poll, with many great acts/releases not gaining enough votes to make it into the top-50

What

“Even after all these years, Bonnie Bramlett is still the first lady of the Blues. Long may she reign.”

2008 not only saw a number of contemporary Blues artists releasing their best material to date, but also a string 'best ofs' and rereleases to remind us where they had been taking inspiration

NICK CAVE AND THE BAD SEEDS Dig!!! Lazarus Dig!!!

Mute

Nick Cave, alongside Tom Waits, has been the credible act to cite for many years now of course but, like Waits, the critics’ favourite has built a reputation of being difficult to listen to. Not so on “Dig!!! Lazarus Dig!!!”, which, despite the usual dark and disturbing lyrical themes, is arguably the band’s most accessible album to date, managing the difficult task of appeasing long-term fans whilst attracting non-believers thanks to a number of melodic Blues-rock numbers.

What we said: “Nick Cave’s music is complex, but the rewards are great.”

What you said: “Never been a massive Nick Cave fan, but after reading so many great reviews I picked up ‘Dig!!! Lazarus Dig!!!’ and was simply blown away. An awesome album that has completely changed my opinion of the man.”

Mark Byrne Southampton

OLI BROWN Open Road

Ruf

It was hard to avoid Oli Brown’s rapid ascendency in 2008. With the likes of Walter Trout and John Mayall already singing his praises, the 18-year-old signed to Ruf Records at the start of the year, who released his debut to widespread critical acclaim shortly after. Whilst his UK support-slot performances, to the likes of Johnny Winter and Robben Ford, left his more esteemed headliners floundering in his wake, Oli also enjoyed several successful tours Stateside, which only confirmed his position as the best of the new crop of English Blues slingers.

What we said: “This is a talent that could explode in the next couple of years.”

What you said: “The finest British debut Blues album in some time, Oli’s first album is very promising and hints at a great future.”

Duncan Beattie, Edinburgh

SEAN COSTELLO We Can Get Together

Delta

Groove

The Blues community was saddened in 2008 with the news that Sean Costello had passed away from a drugs overdose, just a day before his thirtieth birthday. The loss of such a young talent was compounded by the fact he had just released the acclaimed “We Can Get Together”, which had many drooling at the prospect of a contemporary Blues great. To illustrate the high regard Sean was held in, “We Can Get Together” was the runaway winner for your Best Blues album of 2008.

What we said: “Sean Costello knows his stuff. One of the rock-Blues albums of the year.”

What you said: “This young man was the REAL thing, and his sound harkened back to an earlier time, when the music you played came from your soul. Period. End of story.”

John FitzGerald Old Saybrook, CT, USA

s every written word about the album would tell you, “Bone Machine” was conceived in a concrete basement. This location makes way for the added blood-soaked imagery of a slaughterhouse or a medieval dungeon. The recording studio, which is usually pictured as a medically sterile environment, has become a torture chamber where it is impossible to ignore the brain matter on the walls. In fact, it is possible to compare the nightmarish underbelly of “Bone Machine” with Leonard Cohen’s “The Future” and Nick Cave’s “Murder Ballads”. Where all three place alienated, used up and dried out characters in a desolate and merciless world, “Bone Machine” evokes a hauntingly timeless feel that is usually associated with Lightnin’ Hopkins.

By hand-picking his supporting players, Waits’ manages to encase his work in a schizophrenic personality. On the one hand, Les Claypool’s neo-Neanderthal bass playing satisfies the MTV generation, whereas Keith Richards’ inclusion on “That Feel”, creates a spiritually traditional vibe that could only be forged by the man who brought the Blues to the band who took it to England.

“Bone Machine” begins with a call to impending doom. The use of the glockenspiel clanging is designed to sound skeletal, thus bringing meaning to the title of the album. It serves as an opener created to invite the

listener into something extraordinary. Hyperbolic language crawls from Waits’ mouth sounding like a soothsayer’s prediction. We believe that “crows are as big as airplanes,” in this place he speaks of, and, by the time his gospel gothic tongue gurgles the words “dreaming of you,” we realise this is the place Waits now lives.

The album, in its entirety, moves equally through genres and moods. ‘Dirt In The Ground’ acts as a sombre ballad, whereas ‘Such A Scream’ breaks from this into a dance track for vampires and werewolves. The punk rumba of this song quickly diminishes into the archaic ‘All Stripped Down’ - a distant relative of The Rolling Stones’ ‘I Just Want To See His Face. Its metaphoric description of the song itself echoes and blends into the track-listing, leaving almost no trace by the time ‘Who Are You’ gives us a taste of Waits’ classic songwriting.

The presence of ‘Jesus Gonna Be Here’, ‘Goin’ Out West’ and ‘I Don’t Wanna Grow Up’, arguably the album’s three signature tracks, gives the album chart quality, but it is the adventurous turns taken by Waits to include heart-rendering ballads (‘Whistle Down The Wind’) along with his dark star (‘Black Wings’ and ‘In The Coliseum’). But for all the blood, guts and gore, the unwinding sensation is the optimism felt from the closing track, ‘That Feel’, where the wisdom from witnessing all of it pours into a wish for wanting hope to come out of the carnage. And it is that wish that picks the Bone Machine up and makes it human. MC

A FAVOURITE BLUES ALBUM?

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

GOTTA SERVE SOMEBODY

Bob Dylan

This track never fails to blow me out. It is sheer genius. The reason why it is so devastating is because it is so simple. He reels off a list of characters through the song, everyone from boxers to council men to barbers to preachers, and then ties it up with the chorus: "You gonna have to serve somebody/It may be the devil/It may be the Lord/But you're gonna have to serve somebody.”

REVELATOR

Ian Siegel

I have always loved songs that are a bit fire and brimstone. The album Dylan did called "John Wesley Harding" was steeped in religious imagery, and I have always found that album quite spooky. ‘Revelator’ I don’t find spooky, but I think it is a powerful song and just downright cool. Not many people can pull off a song like this, but Ian can.

THE BOY WHO WOULDN'T HOE CORN

Alison Krauss & Union Station

More bluegrass than Blues, but a huge, huge song. The live version is just ridiculously good. Every time the band kick in, after the free time Blues singing guitar bit at the start, the hairs stand up on my arms. Love the lyrics, too, about

Following the success of “The Rattling Wheel” in 2007, Derrin’s new album, “Skin Of The Earth”, has a lot to live up to. "I wanted to make an album of music that supported lyrics that are very stylised and broad for interpretation,” said Nauendorf. “I didn't want to spell out a specific journey in the songs. I have tried to create a wide spectrum of lyrics that could apply to the listener’s own journey.” We have 3 copies of the new album to giveaway, courtesy Ruf Records. For your chance to win, tell us:

The lyrics to which Derrin song were published by Cambridge University Press in a text book for English Literature?

a boy who is a lazy farmer - too lazy to look after his crop. Towards the end of the song, he goes to his neighbours house to ask the hand of the girl in marriage, and she says she wont maintain a lazy man, and tells him to bugger off. He then says: “Little miss you will rue the days/For giving me the devil because I wouldn't hoe corn."

PHONE CALL FROM LEAVENWORTH

Chris Whitley

I am a big fan of Chris Whitley, and this is pretty Bluesy. This is a piece played just with voice and steel bodied dobro. It is about an inmate at a penitentiary in Kansas, called Leavenworth prison. The lyrics are written after the character has all but given up. At one point he sees Jesus come through the walls and disappear as the character feels completely abandoned.

THE THRILL IS GONE

B.B. King

My father drilled this song into me from a very young age. It just never seems to date and always sounds fresh to me.

SINCE I’VE BEEN LOVING YOU

Led Zeppelin

Just put it on and turn it up loud! What Blues fan could not love this tune? Zeppelin at their best!

MANNISH BOY

Muddy Waters

The ultimate Blues song. So many bands and artists (including me) have had attempts at this kind of feel and song, to varying degrees of success, but no-one

things. The music transports you to broken, desolate middle USA. This related to me growing up in Australia - it fit with the landscape there, also. It is kind of one long song, more than an album.

VOODOO CHILE

Jimi Hendrix

Hendrix at his dizzy peak. Have you ever heard anyone play like that! There are people that changed the music world, like Dylan and Stevie Ray - and this song didn't just change it, it shook its foundations. This is the kinda song that makes people give up their day job and play guitar for a living. How many songs could stake claim to that?

SHELLSHOCKED JOHNNY

Kevin Brown

Kevin is a hidden jewel in the UK Blues scene. I love Kevin's music. He is a beautiful slide player and a wonderful songwriter, too. This song is Kevin at his best. Such a well written song and achingly tasteful guitar playing. "Too many voices calling/Too many shells a falling/They call him Shellshocked Johnny". DN

The thrill is still there for Derrin Nauendorf.

can lay it down like Muddy. The vibe out of the speakers is incredible.

DEAD MAN

Neil Young

Okay, this one is a bit of an odd one, but no album has had such an affect on me and my music as “Dead Man”. It is not Blues, not Americana, but it is all of these

JW-JONES

“Blueslisted” is the fifth CD by Canadian singer, songwriter and guitarist JW-Jones. It’s far more guitar driven than his previous recordings and the guest-list of musicians onboard is impressive. He has Little Charlie Baty and Junior Watson playing together for the first time in three decades and an impressive rhythm section in Richard Innes on drums and Larry Taylor on bass. It was recorded in Jones’ living room, but the recording is superb and the whole thing has a wonderful jam feeling, very spontaneous and fresh. Jones managed to cover a range of styles from West Coast jump to Chicago and Texan Blues, with some ‘50s rock’n’roll and ‘60s R&B thrown in for good measure. Like many Blues guitarists, on the more polished numbers his vocal is average but get him into the more gritty Blues tracks and he’s up there with the best. ’Can’t Play

A Playboy’ is modern Chicago Blues - there’s some good semi-tone string bends and subtle vibrato on show here from Jones. ‘Bogart Bounces Again' is the Blues bouncing via fine instrumentals. ’Out Of Service Blues’ is a slower Blues ballad, with some superb instrumentals on this from all and great harmonica work. ‘Heavy Dosage’ is an instrumental and classic swing with guitarists Jones, Watson and Baty trading licks. A diverse CD with great Blues.

Carol Borrington

CLAUDE BOURBON The Travellin’ Man Frog

With a name like Claude Bourbon, your mind strays perhaps to Louisiana, but this packed double CD set was recorded in Southsea. CD1 is a showcase for Claude’s guitar-playing skills and, make no mistake, they are considerable. Instrumentally, there’s a variety of guitar styles here, from the opening ‘Medieval’ and the Andalusian flavours of ‘Echo’, yet track six, ‘A Light In The Night’, immediately puts one in mind of Ry Cooder’s “Paris, Texas”. If this collection just included Bourbon’s guitar playing, it would be well worth having for its mesmeric quality. But on CD2 he accompanies himself singing nine songs, which perfectly match the rolling, meditative mood of the first CD. It’s all like a more nimble-fingered version of JJ Cale, so it’s no surprise to discover a Cale song included - ‘Sensitive Kind’. So, here we have another fine example of the prodigious talent, which is

treading the boards in UK clubs. That said, if you see his name flagged up in your area, go along – based on this set, you could be in for a very entertaining night.

Roy Bainton

EG KIGHT

It’s Hot In Here

M.C.

EG Kight has produced a work that teeters between hot, sensuous Blues and ‘20s vaudeville. Guitarist and vocalist Kight has surrounded herself with a plethora of great players, including Bob Margolin, who plays slide on ‘Then There’s The Truth’a raunchy Blues about man’s infidelity. In fact, this album sizzles with lyrics about the relationship between man and woman. Opening with the funky ‘I Want You Cause I Want You’, Kight is taking her love life into her own hands and followed by ‘It’s Hot In Here’ you can sense the passion when she croons “…is it me or is it hot in here.” ‘Through The Eyes Of A Child’ is a pleading simplistic song about how uncomplicated children are and the joy that should accompany childhood. Of the twelve cuts here, eleven are originals, with the ‘House Of The Rising Sun’ being the cover. I’m not sure that with the inventiveness, poetry and downright sensuality that is elsewhere on the CD, it actually works - it sounds dated and somewhat of a dirge. There is some sweet clarinet playing in the vaudeville styled, jazzy ‘Sugar’ - a song that is a little too syrupy for my taste. My favourite here is ‘Southern Woman And A Nawthern Man’, a duet with Sean Farley, where the innuendo, “Now I know there’s good lovin’ below that mason Dixon line,” and excellent piano/guitar interplay makes this song easily standout.

Merv Osborne

RAMON GOOSE BAND Journey Into The Blues

Tekni

Like most serious recording artists who play the Blues, Ramon Goose is a competent musician. His up-tempo opener is like a funny joke, but this comes at the price of a set which is comprised of crude wisecracks. In this case, it really is an unfortunate result. The first few songs are welcomingly interesting. Following from ‘Rude Mood’, ‘Everyday I Have The Blues’ is a standard play-the-Blues-by-numbers track with weak vocals until a jazz break breathes life into an otherwise dull song. ‘In My Father’s House’ is a warm, acoustically-based track. It is enjoyable but you cannot help but feeling it loses what it gains in technical proficiency through the vocal performance. This is

IAN SIEGAL

The Dust

Nugene

Once again, Ian Siegal has proved he is the Blues singer and guitarist that everyone else has to beat with a stripped-down collection of thirteen tracks. It’s just him and his guitar, although famed pedal steel player BJ Cole turns up for a couple of tracks, as does Sam Hare on vocals and guitars and Nikolai Torp on pump organ. The highlights include the stirring American spiritual ‘I’ll Fly Away’ and a stunning live recording of ‘Mary Don’t You Weep’. Siegal’s voice is as impressive as ever, and his gruff, raspy vocals suit the material perfectly. “The Dust” should be required listening for anyone who is thinking about starting a Blues band. There’s none of your usual twelve-bar dirge, just pure talent on display. This is British Blues at its very best and Siegal is at the top of his game. The only drawback is the CD’s availability. It is only being sold at Siegal’s gigs or online and won’t be in the shops in the UK. So, everyone should go out and catch Ian Siegal live, and while you are at it, buy this CD. You won’t regret either, frankly.

one aspect that Ramon’s “Journey Into The Blues” cannot escape. It also travels frequently into the realm of the inevitably stale Blues band cliché of rocking standards partnered with soft acoustic tracks intended to display a softer side. There is no doubt that the Blues can work this way but, tragically, Ramon Goose offers nothing that we don’t already own in our record collection. The Hammond organ of ‘Heard The Angel Sing’ goes only part of the way to demonstrate this. The execution of such an instrument can be vitally important to a record’s success, but coupled with Goose’s struggling vocals and feeble lyricism, the song falls flat. For soul AND technical prowess check out the Nicholas Barron Band; genuine satisfaction guaranteed.

Matthew Clarke

MIKE MARKEY & NICK JONES

One hates to be too negative about this album, because both of these Welch sidemen are highly competent players. But competent can be a damning word in music. The best Bluesmen – all of them – have brought something original to the table. Not so here. Mike Markey & Nick Jones have backed the likes of Water Trout and Zoot Money. Out on their own, on this album, they offer typical pre-war twoman Blues: one guy on acoustic guitar and slide, the other on harmonica and vocals. Jones’ imitations of the guitar styles of Robert Johnson and other old-time greats are skilful. Markey’s harp playing is equally so, although his singing sounds deeply rooted in the white experience. There are fast songs, slow songs, humorous songs and songs where they perform the old trick of having the slide and vocals track exactly. But nothing makes you sit up and take notice. They do a cover of ‘Fishin’ Blues’, but if you think this matches Taj Mahal’s version – talk about original personalities – you’re mistaken. Not even close. The music here, while well-played, is

indistinguishable from any number of artists on any number of albums. Something’s missing, and it’s this: Markey and Jones have completely neglected to include anywhere in their music something of themselves.

M.D. Spenser

JZ JAMES & THE WEST MEMPHIS TURNAROUND

JZ James & The West Memphis Turnaround Moon Sound

Listeners who value tasteful musicianship and quiet originality will find much to enjoy on this CD by the German Bluesman JZ James. With his mix of acoustic and electric guitars, and his jazzy take on the Blues, James creates mood poems that go down sweet as honey. The album’s dedicated to the pianoman Eddie Boyd, who fled America and settled in Europe, helping plant the Blues over here. James counts himself among Boyd’s children – metaphorically, we assume. These eleven originals are marked by great chord changes and intricate rhythms that make even slower numbers toe-tappers. The opening track sets the tone: a rolling, gentle mix of acoustic and electric guitars topped by mournful harmonica. There’s a wonderful jazzBlues tribute to Nina Simone: “But lady why complain/I believe that the songs you sung were not in vain,” he croons. Okay, he says “not in wain,” but Bluesmen have always been allowed their idiosyncrasies. ‘Ballad Of Sallie Mae’ tells of the murder of Robert Johnson over up-tempo fingerpicking on one acoustic guitar and percussive strumming on another. Most songs feature acoustic rhythm, electric lead, tasteful drumming and upright bass, sometimes in a minor key. But the mood varies, as does the tempo; James always keeps our interest. One love song even has an exuberant bluegrass feel. If you play this when friends are over, sooner or later they’ll prick up their ears. Spread the word!

M.D. Spenser

KATIE MELUA

The Katie Melua Collection

Dramatico

To get a ‘best of’ from a musician so early in their career is becoming an unfortunate cynical marketing ploy from labels. However, the CD is a good sampler of what a talented Blues

Jamie Hailstone

singer and also eclectic musician Katie is. It contains a collection of songs from her first three albums and three new bonus songs, including her duet on ’What a Wonderful World’ with Eva Cassidy. ‘Two Bare Feet’ is the first of the three new songs. It’s a bouncy Blues/jazz number - great vocal, brass and piano setting it off to perfection.

‘Toy Collection’ is a beautiful song of childhood innocence bemoaning its loss in adulthood. The song has some wonderful musical imagery of a child’s nursery and marching wooden toy soldiers. ‘Somewhere In The Same Hotel’ sees Katie shift with ease into a sultry Blues number. Her warm sensual vocal underscored with some impressive instrumentals, especially through the guitar work, echoing the vocal as it tells its tale. The DVD was filmed live in Rottenham in 2008 and runs to a ninety minute performance. It depicts vividly what a talented musician Katie Melua is in the situation where it really counts – live! This is a superb performance vocally and instrumentally. Top class!

Carol Borrington

RON HACKER

juvenile retention centre he was sent to after being caught robbing parking meters at the age of 11, and Blues became the centre of his life from then on. After teaching himself to play, he became friendly with Yank Rachell, the former partner of Sleepy John Estes. Rachell became his mentor and trained him in the finer points of Delta Blues. Hacker plays guitar and is a fine mean slide player, but he also possesses a good vocal tone. For proof of Rachell’s influence, listen to the solo ‘Blues For Yank’. On ‘Hear Me Sing

Like Elmore James’, Hacker proves that he can mix his styles a little with some great slide playing. Using only bass and drum backing, his overall sound is simple and uncluttered, allowing the songs to shine through. ‘Mambo For Albert’ tips a hat towards Albert King, whilst ‘Diddley Widdley’ does the same for Bo. This release is a collection of remastered songs from Hacker’s twenty years of writing. On CD, he certainly sounds the business, but he is also an artist that I think would rip the place apart live. Hacker’s take on the electric Delta Blues is one I have really enjoyed - bring on his first UK tour!

Merv Osborne

CATFISH HAVEN Tell Me Devastator

Secretly Canadian

Two releases can show a lot. For one, a sophomore album can show improvement where the debut was all about the promise. It could mean a break from genre or style, or it could mean a new producer or a different sound. For Catfish Haven, none of this applies. “Tell Me”, their debut, begins with the confused ‘I Don’t Worry’, a misanthropic track with a genius chord progression. It is a clever vehicle for George Hunter’s strong vocal chords, and it is one feature which continues throughout. Many of the songs here are vicious in there undertaking. Externally, the gleeful horn section and jangly guitar make way for the fun times had by the Barenaked Ladies and Jack Johnson, but the lyrics point to a different side of Catfish Haven, one which explains why ‘If I Was Right’ has more about it than the Beatles-esque opening. That track in particular manages to conjure up a slow, spaced out vibe where Hunter forces the words to escape in the manner of Thom Yorke. The sun drenched music is often propped up with an air of nostalgia and regret but, like English contemporaries The Zutons (a most fitting comparison), songs of heartbreak rupture into stories of an optimistic future. And this is where the link between “Tell Me” and their second release “Devastator” becomes obvious. Where “Tell Me” is a subtle voyage into all that is upsetting, “Devastator” is all about the big rock’n’roll sound. In no way is there a better of the two, they are both equally enjoyable, yet “Devastator is less about the bad times than it is the good. Think of this as a Saturday night to “Tell Me” as a Sunday morning.

Matthew Clarke

The CD almost acts as a CV of his talents. It’s very eclectic in make-up, with a lot of jazz, but containing Blues, funk, R&B, soul and some solid rock Blues. The instrumentals are impressive throughout. Thornton’s vocal is distinctive and, at times, has all the credentials of old-school crooners, yet acquiring true grit as required. The opening track, ‘Bukowski’s Blues’, has a wonderful feel of old New Orleans jazz. Contrasted with the next song, ‘Someone Like You’, featuring Hayley Gratarnick in a classic ‘70s soul duet, but with more the modern funk feel. This is then added to by a jazzy brass section to bring about a combination of well-matched musical textures. ‘Wine, Women & Song’ again sees another change to a New Orleans jazz/Blues combo. The vocal on this is not only impressive in register and intonation but has an added characteristic of almost sounding like, as the lyrics suggest, that a glass of Bourbon or two has been imbibed. ‘Miss Rose’ is an interesting track, starting off with what sounds as if it going to be a solid jazz number, it soundly burst into guitar driven Blues-rock, and then returned at the end to finish as jazz. It’s somewhat reminiscent of the music of King Crimson, as it swings to and from, between styles and adding contrast.

Carol Borrington

SCOTT ALBERT JOHNSON

Umbrella Man CoolByMe

It’s always difficult when an album like this comes along, as it doesn’t readily sit into preconceived labels and, in many respects, that is a very healthy situation. To make matters more pertinent is the fact that Scott Albert Johnson is a harmonica player, and what a polished and exquisite player/songwriter he is at that. “Umbrella Man”, his debut, was three years in the making and, whilst I had reservations on first playing, I must say that the end result justifies the time taken. There are ten tracks here, nine of which are originals, and the cover is a

true representation of Wynton Marsalis’ ‘In The Court Of King Oliver’. The music veers between the country influenced ‘Spaceship’; the up-beat tempo of ‘Turn Out Fine’, an ode to a former lover, the jazzy sway of ‘What About Your Man’; the epic rock sound of ‘Hollywood’; and Blues influenced ‘The Yuppie Husband’s Lament’. Throughout, his voice is strong and on the mark, whilst his playing changes from track to track, sounding like Toots Thielman, Larry Adler and then Sonny Boy. Favourites here are ‘Walkabout’, an aboriginal inspired instrumental complete with Didgeridoo; and the beautiful ‘Magnolia Road’, a melancholy walk through pleasant memories, and a song that will tug at plenty of heart strings. This release has proved to be an unexpected and very pleasing surprise.

Merv Osborne

EARTHLESS Live At Roadburn

Tee Pee

When I see a double CD recorded at a festival, with less than a handful of tracks, I know I’m in for a lengthy shock, and this was no surprise on that front. Earthless are a three-piece instrumental psychedelic rock/metal band from California who, here at least, mix the ambient space rock of Hawkwind and Porcupine Tree with the West Coast rock of Grateful Dead and Man. Disc one is 47 minutes of ‘Blue’/‘From The Ages’, and quickly builds to solid and driving if monotonous bass and drums rhythm with a long extended guitar solo. It is, however, broken up later on by the odd riff and drum burst, and when the bass starts

playing more of a riff line, it gives something to bounce the guitar off and becomes more interesting. ‘God Speed’/‘Sonic Prayer’ on disc two has its similarities but with a gentler start. This is clearly something for the festival crowd to enjoy. Psychedelic metal with a nod of Blues and ambient and plenty of riffs and solos. There are enough good ideas for plenty of songs here, and they blended well into one, but the lack of any vocals, during or between songs, does add to the monotony.

Joe Geesin

HOTEL LaSALLE Wild & Alive

Black Cat

Hotel LaSalle is a band from Italy, and this live album was recorded between 2005 and 2007 in both Germany and Belgium. They are a trio with a three-piece horn backing section on six of the twelve cuts. Overall they sound as though they are enjoying themselves, with good audience reactionalthough, on ‘Memphis Dream’, there are some questionable notes and rhythms played. Sadly, the mix on this live album leaves a lot to be desired. Sounding as though it was recorded from some distance behind the mixing desk, in a two track mono format, it loses much of the excitement of the live environment. Opening with Leiber & Stoller’s ‘I’m A Hog For You Baby’, they then stroll through covers of Chuck Berry, Dave Hole, Sonny Landreth and Danny Gatton, with only a couple of band originals - ‘Hobocar Blues’, with some excellent harp, and ‘Mystic Barefooting’. Unfortunately, the vocals are very difficult to hear throughout, being lost in the mix. Best track here is Gatton’s ‘Fun House’. The CD may serve well as a memento to those who attended the band’s live shows but, sadly, there are too many flaws here for it to do well outside of that forum.

Merv Osborne

THE FELICE BROTHERS

The Felice Brothers

Loose

How down home and ‘ornery can a band get? Well, here’s the measure – a lilting slab of pure American heritage, with all the prairie grass appeal of Bob Dylan’s late lamented Band, and a whole clutch of new songs to bring the genre into the 21st century. The songs are brilliant and, when it comes to rural American attitude, the titles tell it all – ‘Frankie’s Gun’, ‘Don’t Wake The Scarecrow’, ‘Little Ann’ and ‘Whiskey In My Whiskey’. And if we want to talk about real grits’n’chitlin’ roots, take on board that their first album, “The Adventures Of The Felice Brothers” was actually laid down on a two track machine in a chicken coop, ’fer chrissakes! Apparently, you can only buy that particular album from live gigs – so there’s one more incentive to seeing them play. But don’t let my rugged blue-collar enthusiasm steer you into thinking these guys aren’t sophisticated, because the way they play, and the texture of the moods they achieve, proves that they’re developing at a rate of knots and are on the cusp of a great career. This is new America with all the best of the old thrown in – classic stuff. Fire up the barbecue and get some beer in the icebox (sorry, I’ve just remembered that we live in Britain and we don’t

AC/DC Black Ice

Columbia

Immediately evident is the impact of producer Brenda Obrien on AC/DC’s first album in seven years. The band seem more controlled than on previous efforts, and the overall quality of the songs is consistently high. The opener ‘Rock N Roll Train’ is typical AC/DC, a pounding riff courtesy of Malcom Young gives you some insight into the rest of the album, and all the hard-hitting, straight forward rock credentials hit you like a tonne of bricks - this is what you want from AC/DC! One exception to the rule is the ballad-like ‘Rock N Roll Dream’ - an unexpected and melodic effort by the gang who seem to be showing the world they can do ‘serious’ if they want to. It’s an epic track that still retains all of the AC/DC charm, while showing a slightly lighter side to these ageing rockers. Songs like ‘Anything Goes’ and ‘Spoiling For A Fight’ make you wish you were driving a Cadillac down Route 66. Pounding anthems galore and the slightly ridiculous image of 53-year-old Angus Young in school uniform pales into insignificance next to such a great set of songs. This album proves they still have what it takes, and that their recipe is timeless. Good time ol’ fashioned rock’n’roll with a Bluesy flavour. Keep it up grand-lads!

Samuel Pentony

have summers any more…but you know what I mean!). It’s that kind of music – well cooked and tasty.

Roy Bainton

SCISSORMEN

Luck In A Hurry

VizzTone

When I read the words, “Special thanks to my spiritual advisors past and present,” on the sleevenotes, I feared the worst. Self-indulgent message laden songs! But I was very pleasantly surprised. Scissormen is a two-piece group playing out of Nashville, with Ted Drozdowski on slide guitar (in the R.L Burnside tradition) and vocals and Rob Hulsman on drums. This album brings nine originals and two cover versions of Son House material - ‘Death Letter’ and ‘John The Revelator’ are tasty interpretations featuring some great riffing. ‘John The Revelator’ even reminds me of Bo Diddley, but with a country feel. Of the originals, the best is ‘Mattie Sweet Mattie’, featuring some good fiddle playing in a slow Blues. The band is joined by veteran Blues pianist Teo Leyasmeyer, who lends some subtlety to every track he appears on, but in particular on ‘Whiskey And Maryjane’. For my money, the best of the bunch is ‘When The Devil Calls’, a slow burning moody acoustic Blues with a tasty bit of slide backing, but if you prefer full on electric Blues, lis-

KELLIE RUCKER

"Being five feet tall has never been an issue – the little ones are the mean ones!"

JIMMY GRISWOLD

"I was sick of freezing (in Connecticut). I packed everything I owned in my car and made it to Florida, with eight dollars to my name."

OLD CROW MEDICINE SHOW

"Well, the music’s full of fireworks... I mean, you know it from the body of American Blues music."

To access interviews online during Feb-Mar 2009, you need to enter the following access code: bm8852

Enter exclusive competitions not available in the magazine.

Find Blues events in your area with the self-service Gig Guide.

Read latest Blues News from around the world.

Chin-wag with fellow Blues lovers on the forum.

LARRY GARNER

Here Today Gone Tomorrow

TOM PRINCIPATO

Raising The Roof

BIG ED SULLIVAN

It Takes A Big Man

JOE LOUIS WALKER Witness To The Blues

DixieFrog

DixieFrog offers a contemporary vision of Blues and American roots music. The CDs under review present four stars of the guitar. Larry Garner’s skill as a guitarist and songwriter, have established him as one of the most gifted Blues musicians of his generation. Awards including, BBC Jazz FM Bluesman of the year, underline the fact that Larry is one of contemporary Blues finest musicians. “Here Today Gone Tomorrow” unsurprisingly has a strong Blues core, but the production is a little too slick. Contemporary twists like the rap on ‘Keep Singing The Blues’ don’t do the CD any favours, even if the song’s theme, of educating the younger generation on their musical heritage, is an admirable one. ‘The Last Coke’, ‘Someplace For Evil’ and ‘Show Me That You Love Me’, with great guitar from Larry and Nelson Blanchard’s excellent piano playing, all bring back some welcome credibility and ultimately Larry’s class shines through. Tom Principato has an eloquent and expressive guitar style and “Raising The Roof” is a worthy showcase for his talent. ‘Mi Solea’ and ‘Bo Bo’s Groove’, with nice Hammond organ from Tommy Lepson, betray a strong Santana influence. The outstanding ‘In The Middle Of The Night’ with its reggae feel and soulful vocals, a grooving ‘Lock And Key’, and an interesting take on Louis Jordan’s ‘Fish Fry’ all contribute to a varied and classy CD. “It Takes A Big Man”, from Big Ed Sullivan, is an excellent effort. Rockabilly and Blues influences, understated production by Popa Chubby, strong material and some fantastic playing all combine to wonderful effect. ‘Bury Me In Black’, ‘The Cheating Kind’ and a cool cover of, ‘I Fought The Law’ all standout. Joe Louis Walker is a modern day Blues great. A true Blues virtuoso guitarist, singer, and songwriter. So, expecting great things from “Witness To The Blues”, I have to say it quickly became a disappointment. The CD has a good mixture of modern and traditional influences, with Joe Louis exploring Delta and Chicago Blues styles, adding some southern soul, gospel and even some rockabilly on ‘Midnight Train’ (an interesting take on Junior Parker’s ‘Mystery Train’). More than half of the album’s eleven tracks were written by Walker, and he adds interpretations to covers, including ‘Rollin’ & Tumblin’’ and ‘Sugar Mama’. ‘Lover’s Holiday’ featuring Shemekia Copeland is a very weak effort and I didn’t like the irritating soulful ballads ‘Keep On Believin’ and ‘Witness’, which drags aimlessly on for far too long, to the extent where it became just plain boring. In fact, most of the tracks are long and even ‘Rollin’ & Tumblin’’ stumbles on for almost five minutes. ‘100% More Man’ salvages some respect, and ‘Highview’, a grooving instrumental is clearly the best track, with the CD’s producer, Duke Robillard, adding guitar and some fine Hammond organ from Bruce Katz.

ten to ‘Preachin’ The Blues’ with its screaming sliding guitar break. The set is recorded live in the studio, but I get the feeling it doesn’t quite do justice to the live shows. My only gripe is that, at times, the vocals are a bit grey and lacking some oomph, but this is a quality set by Scissormen.

Kevin Wharton

KEITH THOMPSON Steel Strings & Bruised Reed Density

Normally to be found fronting Strange Brew, alongside members of the Climax Blues Band, this new collection of tracks finds Keith in mostly stripped back acoustic form and in the company of saxophonist Patsy Gamble. To be honest, I had not heard of Patsy before but I can well understand now why she is held in high regard by the likes of Mick Jagger and Ruby Turner. Perhaps it is not a mix of sounds that might immediately float

your boat but it does work, and well. What I like particularly about this CD are the audio dynamics of the production - the clarity is exemplary. The sax playing is certainly complimentary and held beautifully in check, so that it is not overpowering. 'Why Can't You Be Good' kicks the album off with a nice driving beat. Then it is off to the Mississippi Delta for the tragedy of the floods in 'Bad Rain'. When I listen to 'Heart & Soul', I hear Bad Company's 'Seagull' in places. This is due to the sound of Keith's acoustic guitar and the pace of the track not in anyway related to the lyrics - those are completely different. Loads here to enjoy, in particular

'Sinner Boy', 'Feel The Kiss' and 'Stealin' Back My Heart'. As a duo outing, I liked this a lot.

Graeme Scott

This album has been nearly ten years in the making, and if anyone’s caught Hoth live along the way, they would surely have glimpsed at how good these songs are. On record, Hoth covers almost everything, from rhythm guitar, bass, drums and lead vocals, with Nick Marland and Sam Barnett splitting the lead guitar duties. This Bluesrock album is sharp, punchy, bright, and very inyour-face. The mix of rough vocals, fiery guitar and some strong production works well, and the mix is very loud. Think a mix of Pat Travers, George Thorogood and Nicky Moore, with influences mixing ZZ Top, AC/DC, Lynyrd Skynyrd and more. Opener ‘Mississippi Burnin’’ really smacks you hard, and ‘Mobile Alabama’ keeps up the furious pace. There’s a touch of boogie in ‘Roll Down Dirdy’ that becomes a real foot stomper. The guitar work is outstanding throughout, and the change of pace works well. Hoth’s rhythm guitar backs up well and intricately. The mix of electric and acoustic in ‘Sleazy Hussy Fever’ is a good touch, and the harmonica adds a good dimension. Head banging Blues that is really worth checking out.

Joe Geesin

DAVID GOGO Vibe

DixieFrog

This is the seventh album from the Canadian Blues-rocker. Ten tracks, forty-two minutes and it’s his first full collection of original material. Opening up with some good time rock on ‘Love In The City’, dropping the pace a little for the growling ‘Hit Me From Above’, before slipping into one of the album’s highlights, a slow, soulful Blues entitled ‘300 Pound Shoes’. Then we are off into light summer country rock with ‘Hey Juanita’. By now, you should have got the picture that to a certain extent this album is trying to be all things to all men, and I feel that leads into the album’s main problem. Although the musicianship is fine, the songs are good and David is an accomplished guitarist, with a quality vocal, the production is a bit too slick, smooth and reminiscent of ‘80s AOR. Also, the drums are a tad high in the mix for my liking. Thus the emotion of the music is to a degree hidden, if not completely lost on a couple of tracks. This is a shame because I feel there is a good album in there which struggles to get out. The second half plays a good deal better, with a return to rock on ‘Cry Harder’, before closing out with a trio of slower Blues tracks including ‘She’s Alright’, which features a fine contribution form Jeff Healey.

Thomas Rankin

lars in the US album and singles charts - with very close links to ill-fated southern rock band Lynyrd Skynyrd. Two of lead singer Donnie Van Zandt's brothers have been frontmen for Skynyrd, and 38 Special, formed in Jacksonville, Florida in 1975, have also toured with them as opening act. They really took off in the early-80s, but this album is their first for the A&M label, originally issued in 1977. There are the obvious and expected influences from The Allman Brothers, and much of the set is straight-ahead southern boogie and country flavoured rock. It is a bit of a surprise to hear them tackle Chuck Berry’s ‘Around And Around’ (the set’s only cover song), drawing on The Rolling Stones early recording, at a guess, and with a fine roadhouse feel. ‘Just Hang On’ is a fine, muscular slab of Blues-rock, and even includes some gospel overtones, too. If you enjoy the Allmans, Skynyrd, or simply the rockier side of Americana, do check out this CD.

Norman Darwen

BABEL

Crooked Timber People Tree

This is Bristol based Babel’s debut release on People Tree Records, the UK label championing “folk/psychedelic/folk rock.” Babel give us traditional folk influences, both instrumentally and lyrically and some perhaps not quite so traditional, but equally valid. For example ‘Piece Of Me’, with its Jimmy Page style guitar riff blended with a folksy string backing, or indeed the contrast between the acoustic country stomp of ‘Apple Crack’ and the rock riff providing the back bone to ‘Never Had The Heart’. The material remains interesting throughout and I think Babel achieve this through seamlessly blending influences with fine instrumentation, clever use of dynamics and contrasting rhythmic ideas.

‘Cellophane Jam Or The Line’ brought Al Stewart to mind, but there is one striking influence that keeps rearing it’s daffodil waving head and that’s Morrissey, or perhaps I should say, The Smiths. Both vocally, and in style, you need no further evidence than the hauntingly seductive ‘Police Car’. Elsewhere, I really liked ‘Seachange’, with its nautical imagery no doubt appealing to Bristol’s historical past, and the country gospel of the closing track ‘It’s So Hard To Love You’ is a really excellent ending to this surprisingly enjoyable CD.

Davide Styles

SECKOU KEITA SKQ The Silimbo Passage World Artventures

A&M/Lemon

38 Special are “wild-eyed southern boys,” to quote from the title of one of their ‘80s albums – a time when they were regu-

Senegal's Seckou Keita is a master of the kora, the West African 21-string harp-lute that is known to be a centuries old tradition, with a truly ancient repertoire (if you ever saw “Roots”, it was a kora player who finally unravelled Alex Haley's long search for his ancestors - though opinion nowadays is that it was probably set-up). Seckou lives in Britain, and this fusion album reflects the myriad influences that abound in today's multi-cultural Britain. His band comprises himself and his sister (a good, Bluesy singer), an Egyptian violinist, a Gambian percussionist and an Italian bass player, and the music ranges from traditional songs played relatively straight to some very

experimental sounds and passages that almost venture into classical music. Jazz and the Blues are certainly in the mix, too. Whether you choose to call it 'roots' or 'world' music, this does have a peripheral connection to the Blues - and there is some truly beautiful, haunting and inspired music on offer here.

Norman Darwen

KEN WILL MORTON AND THE WHOLLY GHOSTS

Hailing from Hartford, Connecticut, Ken Will Morton has dedicated over twenty years to his craft, firstly with local rockers

The Groundhogs, then after relocating to Atlanta, Georgia in bands like punksters Wonderlust and the more pop oriented The Indicators. I believe this is his third solo release in which he further pursues his songwriting craft on all eleven tracks, and lays it down through the vehicle of a power rock trio. He sings with a coarse and weathered voice, and most of the tunes rock in an accomplished garage band sort of way. There are some great guitar breaks from Morton and the backing is supplied mostly by Brandon Hicks (drums) and Jason Bradbury (bass), who provide a solid foundation. I prefer the rock of ‘Boogie Shoes’ to the more poppy and wordy ‘Still Look Pretty’ and ‘Faith Healer’.

Sometimes promising introductions are followed by a weaker song and incongruous breaks, such as the frantic ‘Release The White Doves’. The album’s highlights are the rocking opening title track, the groovy ‘Further Down South’ and reflective ‘Muscadine Wine’.

Noggin

FREDDIE KING

Texas In My Blues

Acadia

Acadia has released a compilation of live and unedited music recorded in Texas and Oklahoma. No details are given on the CD sleeve as to when in his career this was recorded, but I guess it was towards the end of his life - i.e. the early70s - because his guitar work is really potent and, at that point in his career, he was playing the role of the conquering guitar hero, outplaying the young long haired guys. The CD opens with perhaps the weakest cut, ‘Mojo Boogie’, before a rousing ‘Messin’ With The Kid’, where the vocals are a little lost in the mix, and then a storming ‘Boogie Chillun’, with King pulling out all the stops. Sanity returns with a controlled and sensuous ‘Have You Ever Loved A Woman’ - King having some sweet interplay with the keyboards. The backing musicians provide that all important crutch for the main artist. Playing proficiently, but knowing their place, creating the perfect live environment. Plenty of classics are here‘Sweet Home Chicago’, ‘Going Down’, ‘Let The Good Times Roll’ and my favourite, his version of T-Bone Walker’s ‘Stormy Monday’. I know the world doesn’t need yet another version of this song but, in King’s hands, he really makes it come alive. An excellent CD for anyone wishing to get to know this influential and innovative musician.

Merv Osborne

TK WEBB & THE VISIONS

Raised in Kansas City, TK Webb picked up his first guitar at age 9 and by 13 had graced a number of local bands. Relocating to Brooklyn, Webb built a strong reputation for his live performance and, by the late-90s, his ability to perform traditional acoustic Blues had come to the fore. Forming The Visions in the summer of 2007, his songwriting ability pushed his music into a new direction, turned the drive up on his amplifier and the result can be heard on “Ancestor”. There seems

ZZ TOP Live From Texas

Eagle

ZZ Top were responsible for some of the finest dirtiest grittiest Blues-rock and boogie in the ‘70s, and for bringing it to the masses in the early80s, albeit with the help of drum machines and synthesisers. This acclaimed live set sees the trio mix songs from across their catalogue in rough and raunchy fashion. The set opens with a stripped down and beefed up ‘Got Me Under Pressure’. Take the polish away from the original studio version and you do get a remarkable song presented in a way that will please Blues purists. ‘Waitin’ For The Bus’ is a stronger number, with a decent groove in the drum line, and ‘Jesus Just Left Chicago’ showcases the band’s Blues roots. The vocals, shared between Gibbons and Hill, are rough, and that’s the way it should be.

‘Just Got Paid’, ‘Rough Boy’ and ‘Pearl Necklace’ all go down a storm; the huge crowd sound indicative of the stadiums the band now play. A couple of slower Blues numbers that almost drift into ballad territory, and ‘Gimme All Your Lovin’’ picks things up. The much covered classics ‘La Grange’ and ‘Tush’ finish the set. The accompanying video shows close up just how good these musicians are, but is probably of more interest to the diehard fan. But the casual fan could do a lot worse than to check this set out - a one concert show that runs like a ‘Greatest Hits Live’.

Joe Geesin

Death’ and ‘Time To Go’ taking me to places I don’t really want to go. TK Webb’s playing and that of his band members sounds organically cool throughout and if you like guitar driven rock, this CD is well worth a try.

Davide Styles

ELVIN BISHOP The Blues Rolls On Delta Groove

“The Blues Rolls On” is very much what I have come to expect from Elvin Bishop over the years. This album is a solid piece of Blues music that delivers in every aspect and on every level. Bishop has travelled far and wide to record this with many friends and colleagues, including a live ’Yonder’s Wall’, recorded with Tommy Castro and Ronnie Baker Brooks on the Legendary Blues Cruise. The title track opens with some fine harp from Kim Wilson and excellent slide from Gov’t Mule’s Warren Haynes. A short interview with B.B. King precedes ‘Keep A Dollar In Your Pocket’, with Bishop asking King if he knew or played any Roy Milton when he worked as a DJ. There’s a sweet reprise at the end of the song as B.B. denies ever calling himself “King of the Blues”. ‘Black Gal’ takes the music south with a Cajun feel, as the sound is stripped back to basics with guitar drums and accordion. ‘Oklahoma’ is an autobiographical solo outing for Bishop as he details his life’s journey accompanied by guitar and foot. ‘Send You Back To Georgia’ features George Thorogood and swings as only George does. Best cut on the album is Bishop’s own song ‘Strutting My Stuff’ that sees two superb slide players in action, Haynes and Allman Brothers Band sidekick Derek Trucks, with superb playing between the two. A very satisfying set from one of the Blues’ survivors.

Merv Osborne

Q65 The Best Of Q65: Nothing But Trouble 1966 - 1968

Rev-Ola

No, I had never heard of this outfit before either, but Q65 was a five-piece Dutch group that took its name from The Rolling Stones' versions of 'Route 66' (dropping down a digit) and 'Suzie-Q'. So, yes, Mick Jagger's crew were an inspiration - and not just musically it seems, as these guys were rather less lovable than the ‘60s' favourite moptops. Other influences, to judge from the twenty-four tracks on this retrospective, seem to have been Bo Diddley, maybe The Kinks in their earliest days, The Yardbirds - there is certainly plenty of freakbeat, shading into psychedelia, here - and most definitely The Pretty Things. These guys sing and play with enthusiasm - sometimes more enthusiasm and ideas than ability - and lots and lots of attitude. This is certainly raw, noholds-barred music, and the several Blues covers included ('Spoonful', 'I'm A Man' - very close to Keith Relf's mob's version - 'Down In The Bottom' and 'No Place To Go' - three of them associated with Howlin’ Wolf, of course) all fall squarely into this category, too. If you enjoy the darker side of the sound of the ‘60s, then this is most definitely for you.

Norman Darwen

ANDY LESTER’S BLUETRAIN Weatherman

blue-train.biz

This album was recorded back in 2007, but I must confess to not knowing anything about Andy or his rather good band. Graham Johnston (bass) and Sean McGran (drums) provide the platform for Andy himself (guitar/vocals) and Al Clark (harmonica). Not credited on the front cover but present on all bar two of the tracks is also Perry White on keyboards. The album opens strongly with 'Sins Of The Father'. Not too keen on 'Magic Girl', but he gets back on track with the title track, before hitting his stride on 'Piece Of Your Love'. This is stripped back to almost nothing and it works really well. I like the way 'Down The Line' opens up with a fade in. It almost sounds like a live cut before it fades itself out again. Normally this ploy does not do it for me but here it works just fine. 'The Highest Jumper' relates to drug problems done in a kind of half spoken word fashion. Throughout this album, there is perhaps more of a soft country kind of feel to proceedings rather than it being an all out Blues album, but good music is good music. 'Get Your Hands Dirty' is enhanced by some good brass work before the album closes with the very short 'Bill Chinnock Blues'.

Graeme Scott

ETTA JAMES

Mystery Lady: Songs Of Billie Holiday

SPV/Blue

Normally, one might see a collection like this and mutter, “Oh, not another collection of Billie Holiday songs…” but in this case you have to stand back and take a breath – this is the mighty Etta James, and if anyone is going to do justice to the Holiday canon, then Etta is that lady. Eleven songs, just fifty-one min-

DAVE LENNOX Before Beyond & Blue DAMON SAWYER Struttin’ South

Note

utes in total, backed by a lovely lounge-style septet, which features Red Holloway on sax and Cedar Walton’s sensitive piano. To Etta’s credit, she’s avoided the obvious temptations most female singers are faced with when interpreting Billie – there’s no ‘God Bless The Child’ here, and she’s wisely left ‘Strange Fruit’ out of the equation, but what there is represents a batch of handpicked musical gems, including ‘Ghost of a Chance’, ‘The Man I Love’ and ‘You’ve Changed’. Etta’s powerful, romantic delivery is thrilling, and the mature arrangements frame the songs perfectly. This is music for late nights, rainy streets - music of love and of loss. Definitely my album of the month, and when one considers Ms. James is 71, the emotion in these classic songs seems all the more poignant.

Roy Bainton

LITTLE RICHARD The Very Best Of Little Richard

Universal

This is not just music, this is the very sound of the times changing. This is a ball of energy erupting from the dark underside of America, roaring out of the R&B charts and onto the radio waves and cinema and television screens and into the lives of teenagers and (to their regret) their bewildered parents in America and beyond. Nothing was ever going to be the same again. This is a man who does not even know (or likely care!)

Note Music is one of the more interesting labels releasing UK Blues and related stuff – and these two releases fall firmly into that latter category. Dave Lennox’s previous CD, “Lufthalle”, was musically quite a varied affair but for the follow-up he opts for a tribute to the greats of the Hammond organ. Now, the likes of Jimmys Smith and McGriff and Brother Jack MacDuff were immensely popular in London’s hip clubs in the early to mid-60s – and for those who wonder if this music was jazz or Blues, the short answer is, it doesn’t matter! Smith had hits with covers of Muddy Waters material, Jimmy McGriff had successes in the R&B charts and MacDuff often used Chicago saxman and Blues session musician Red Holloway. Dave stays true to this format, mixing up Blues, funk, jazz and rock, and treading the thin line that keeps both Blues and jazz fans happy – and even including a tribute to his former employer Art Wood. This cool and grooving (or groovy if you prefer) CD is lovely listening and contemporary instant nostalgia. Damon Sawyer is a drummer who has worked with The Sonny Black Band (whose leader repays the favour by guesting impressively on two numbers here), The Barcodes, Bill Wyman and others. His CD leans a little more towards jazz territory but still keeps the blue vibe throughout, with plenty of funk and driving jazz from the eight-piece band. Damon even manages the nearly impossible feat of keeping this non-drummer interested throughout a three minutes long solo piece! From a strictly Blues point of view though, go for the Dave Lennox release first, and if you find you enjoy the jazzier numbers, do try Damon’s album, too.

Norman Darwe

CONIL Strange Part Of The

Great Hare

Country

There can’t be many artists who can create a diplomatic incident with their debut record, but Londoner Conil certainly has. Apparently, the Chinese authorities were none too impressed with the opening track ‘Dog Meat Stew’ on this CD and wrote to tell him of their displeasure. Conil might not be getting any bookings in Beijing soon, but this CD is a warped and murky mix of country, rock, Blues and everything else besides. Producer Tchad Blake, who has worked with Tom Waits and Bonnie Raitt, amongst others, has crafted a fine selection of recordings. Bassist Danny Thompson also lends a hand, which also adds a touch of class to proceedings, particularly on ‘Years Between’. It is hard to listen to Conil’s dark and rough voice and not instinctively think of the aforementioned Mr Waits, but this record is anything but predictable. Like a more cosmopolitan Gomez, Conil takes the Blues on a 21st century journey. There are times when the music crashes and bangs, and there are times when tenderness is the order the day. The title track is modern rock music at its very best. The final track ‘Camden Town And I Should Be Happy’ is not only a great title, it is a haunting piece of work. This has to be one of the most original artists out there at the moment.

what a piano stool is for. You can’t separate the music from the images of Richard’s painted face and orgasmic squeals, or from the anguished cries of, “But he can’t sing,” and his lyrics are as outrageous as his hair style – just what is going on in ‘Long Tall Sally’ – and come on, I mean, “awopbopaloobop alopbamboom”? And it is no wonder the piano sounds so beatup when you see how Richard plays it…nor do his saxophone players sit down to play or respectfully move to the front of the stage for a solo. They do move – god, how they move - but it’s not the same, is it? Ooh, my soul!

Norman Darwen

GREG ZLAP

“Road Movie(s)” is the baby of artistic director and bass player Yvinek, a sort of panoramic meld of Blues and cinema, combining Yvinek’s artistic direction and Greg Zlap’s musical ability. I have to say from the start that the concept behind this CD leaves me a bit cold, and I really don’t see the point to this musical cinematic experience. Having said that, and having listened to the CD a few times with the most open of minds, I begrudgingly accept that the idea does work - if you like that sort of thing! The result is an emotive musical journey and the quality of the music, particularly Greg Zlap’s excellent harmonica playing, saves the day. In fact, if you are a fan of great Blues harmonica, the CD is worth buying for that reason alone. Other than that, ‘Who’s Gonna Take My Damn’ Soul’, featuring Ian Siegal on vocals and guitar, is the standout track. Elsewhere, ‘The Right Spot’ ticks the right boxes, but an awful vocal performance on ‘Moon River’ totally destroys a lovely song. Short interludes, such as ‘The Harmonica, The Devil & The Chaplin Piano’, and the rather odd

LAURIE MORVAN BAND Cures What Ails Ya

Screaming Lizard

Davide Styles

Laurie is a singer/songwriter and guitarist. Her vocal is superb, alto in register, deep smoky and full of passion. As a songwriter, Laurie writes highly structured powerful lyrics and pulls no punches. Laurie’s guitar work puts her among the best, reflected in those she has already played alongsideWalter Trout, John Mayall, and Robben Ford, to mention just a few. The band are tight with excellent harmonies and instrumentals. Laurie hits you with that Strat firing gold topped notes from the first minute of ‘Kickin Down Doors’, which includes cracking vibrato, bending and immaculate phrasing, and she doesn’t stop till the last note of the wah wah driven wailing chords of final track ‘In The River’. ‘Where Are The Girls With Guitars’the answer’s on this CD and this girl rocks with the best!

‘One Little Thing’ is a Blues ballad with a lot of soul, impressive lyrics and vocal, all underscored with haunting guitar that hit you right in the solar plexus. ‘Family Line’ rises and falls with joy and pain as the lyrics weave the intimate narrative, whilst Wiggle Room’, an instrumental, allows Laurie to show-off with great fretboard gymnastics. A dynamic CD.

Carol Borrington

STEVE BROOKES

Thankful

myspace.com/stevebrookesmusic

This is an album of ten original songs by UK singer/songwriter ‘newcomer’ Steve Brookes, who has just started his musical

Jamie Hailstone

‘Knocking On The Devil’s Door’, add to the mystery of the thing, but a mystery that I wouldn’t bother solving.

career after bringing up a family. He lists the likes of Muddy Waters, Keb’ Mo’, Ray Charles and Taj Mahal among his influences, so it’s easy to spot where he is coming from! The first track is a jazzy and upbeat moan about money, with the excellent chorus “too much month at the end of the money.” ‘Fast Women And Slow Horses’ is a nice laid-back song based on an old theme. ‘Picking At The Bones’ raises the tempo and is again a nice track and gets closer to Keb than some of the others. ‘Friend For All Seasons’ brings some tasty slide work and adds some contrast to the collection. This album is very well done and a nice listen, with some very nice playing and vocals from Brookes.There is also some good sympathetic backing from Steve Faithfull on drums and Ian Mitchell on harmonica. The writing is good, too, although, inevitably, there are one or two weak tracks. However, I would have to say that the album, as a collection, never gets above average because there is too little variation between the songs.

Kevin Wharton

THE CADILLAC KINGS

Trouble In Store

33

After what seems far too long, The Cadillac Kings release their second CD on 33 Records and prove that the wait was well worth it! Fifteen solid gold originals from this great outfit, which encapsulate just what this band is about! Very much to the fore is singer and slide guitarist Mike Thomas’ wicked way with words and wry wit, with songs such as ‘(I’m In Love With The) Chief Of Police’, ‘Fries With That’, ‘Mr Nip & Tuck’ and ‘She’s My Sugar Rush’, which sees him likening his lady friend to Belgian chocolate and French patisserie! Tasty!

Gary Potts contributes several numbers, including ‘Hot Rod V8 Ford’, about his passion for American hotrods, whilst the keyboard maestro Mike Adcock, sadly no longer with the band, cowrites a couple of numbers with Mike. No Cadillac Kings CD would be complete without some of their trademark instrumentals, of which there are three great examples here, including ‘Blue Cap Bounce’ from guitarist Mal Barclay and a great boogie woogie cut featuring Mike Adcock, ‘North Sea Jump’. This is an absolute cracker of a CD from a band that is deservedly right up there at the top of the premier league when it comes to Blues, jump & swing, and a band whose live performances are an experience not to be missed.

Ashwyn Smyth

LINDA HOPKINS The Living Legend Live!

FreeHam

Recorded over two days in April and May 2006 at the Catalina Bar & Grill in Hollywood, California, with the Bluesy but jazzily sophisticated accompaniment of Michael Konik & His Tasty Band, this is a fine set from a New Orleans–born veteran vocalist with almost sixty years of experience in the music business. In that time, she has been associated with the likes of Johnny Otis, Mahalia Jackson, Louis Armstrong, Louis Jordan, Esther Phillips – the list could go on and on, but some are referenced on this disc. Big voiced Dinah Washington was a favourite and Linda pays her tribute here with a lively version of her ‘Evil Gal Blues Matters! 96

HELIUM SOUL 3

Miles High

heliumsoul.com (single)

This is Helium Soul’s debut single (there’s a series planned), released for free, with the band actually encouraging people to copy it, to help spread the word and to promote a full album due in 2009. ‘3 Miles High’ has a very retro feel of ‘60s progressive rock and Blues but, at the same time, they managed to give it a contemporary feel. Russ Blaber's vocal has good intonation and range, with first class harmonies, and that menace of a good rock/Blues singer. The keyboard work has an extensive ‘60s feel, and there’s impressive cross play with Russ’ lead, all held tight with Sam Edwards’ aggressive drumming. Band to watch!

Carol Borrington

PEGGY SUE AND THE PICTURES

The Body Parts

myspace.com/peggysueandthepirates (EP)

The girls’ music is unique, moving from almost childlike nursery rhyme to sinister macabre. What is evident throughout the EP is the musical talent that is growing and maturing. The inclusion of more instruments than on their previous output has added to the whole. ‘Gettysburg’ has powerful cadences of music and emotional vocals, all twisting, weaving, building to emotional crescendos of highs and lows.’ Pupil Blink’ is a wild frenzied dance, recalling swing Blues, but with a modern twist. These girls are different, but they are good!

Carol Borrington

SERIOUS SAM BARRETT

The Yorkshire Rambler

sambarrett.co.uk (EP)

‘Tongue Tied Blues’ is an entertaining, slide accompanied track that keeps grounded the classic worries of the Bluesman. ‘Stella’ keeps to this formula, a romantic ballad of a woman who “drinks too much whiskey.” It is with these themes of runaway loved ones that make the Yorkshire accent all that more endearing. On the second side of the record, Barrett takes his hand at three traditional numbers including ‘Rolling In My Sweet Baby’s Arms’ and ‘Adieu Sweet Lovely Nancy’, a song so bittersweet with regret it could easily be confused as an original composition. Sam Barrett is a man who can only be accused of being serious about his love of the roots, and that is nothing to be ashamed of.

Matthew Clarke

JERSEY BUDD

Wonderlands

Bandstocks (album sampler)

Occasionally, you will hear something and think, “Why isn’t this act in the charts?” Jersey Budd is one of those guys. Like a latter-day Bruce Springsteen, Jersey Budd sings well-crafted rock Blues. All of the four tracks on this sampler make an instant impression and the single, ‘She Came Back’, should have been one of the biggest tunes of last year. Except, of course, it wasn’t, as everyone was too busy downloading the latest X-Factor single instead. Jersey Budd has clearly listened to lot of Bob Dylan and Springsteen over the years. ‘Bright Soul’ feels like vintage Chris Rea or Van Morrison. If the rest of the album is as good as these four tracks then “Wonderlands” will be one of the best releases of 2009. Give this man your support now!

Jamie Hailstone

MANFRED MANN

Hit Mann! The Essential Singles 1963-1969

AL KOOPER

I Stand Alone/ You Never Know Who Your Friends Are…Plus BONNIE BRAMLETT

Piece Of My Heart: The Best Of 1969-1978

Raven

Manfred Mann were one of Britain’s most successful acts in the ‘60s and this twenty-eight track disc is a neat overview of the bands singles and major hits. The band definitely had the commercial touch, blending R&B and pop with a fair sprinkling of the Blues. The disc features both eras of the group, the Paul Jones early years, then Mike D’Abo’s tenure as lead vocalist. There are a lot of throwaway pop tunes, but ‘Smokestack Lightning’ has a nice Blues feel to it, whilst ‘Tired Of Trying’ boogies along nicely. There’s obviously plenty of enjoyable Blues harp from Jones, but the highlights are the Dylan covers that the group pull off so well. The Kooper double set features his first two solo albums and a smattering of bonus tracks from his early-70s album “Easy Does It”. It’s pop-soul with different genres thrown into the melting pot. Kooper is something of a musical chameleon and changes into different styles from track to track, unfortunately there is very little Blues on offer. The first album is very dated with sound effects linking some of the tracks, which after a few listens can become tedious. ‘Toe Hold’ is a good little rocker with a funky soul feel. “You Never Know Who Your Friends Are Plus” is a more confident effort and is very horn driven. Clearly very Beatles influenced, it has some good pop songs on offer and it’s good late-60s pop. The Bramlett disc is from her glory years, and includes six tracks with her ex-husband Delaney, as well as later solo material. This fine white rhythm & Blues singer along with her musical partner melded soul, gospel, Blues and rock in a way that won some superstar admirers such as Clapton, Duane Allman and Leon Russell, and this disc highlights her talents. ‘Able, Qualified And Ready’, just about sums her up, with some fine vocal workouts on songs by the likes of Robert Johnson, Bob Dylan and Steve Winwood. ‘Your Kind Of Kindness’ has a real funky feel to it whilst ‘Two Steps From The Blues’ enforces the fact she’s a terrific Blues shouter. If you liked her downhome output with Delaney, this is well worth picking up.

Andrew Baldwin

Blues’. Linda recalls Ray Charles with ‘Drown In My Own Tears’ and ‘Georgia On My Mind’, and other Blues greats are also brought to mind, such as ZZ Hill, T-Bone Walker and Etta James. There are also a couple of ‘dirty songs’ (Linda’s words, not mine!). Linda Hopkins is a quite remarkable performer, caught, on this CD, if not in her prime, still with all her powers intact – and a twinkle in her eye.

Norman Darwen

THE DOORS

Live At The Matrix

Rhino

This double-disc set is taken from one of the bands earliest series of gigs in San Francisco from March 1967 (two months after their debut album hit the stores). They originally played four sets over two nights, and the best of those cuts is represented here, totalling twenty-four different songs. The sound is pretty good, although it does vary on certain tracks. The band, and especially Jim Morrison, sound quite restrained on these performances, they were obviously still honing their craft, and were not as explosive as they were to become. Organist Ray Manzarek pushes the music along in his distinctive style, and most versions are fully realised, just not extended or jammed out. Their cover of ‘Money’ seems surprisingly low-key, but we get a splendid early version of ‘Summer’s Almost Gone’ that wouldn’t be released in studio form for another couple of

years. It is strange for them to finish classics like ‘Light My Fire’ and ‘Break On Through’ only to have a smattering of applause from the assembled. Better live offerings are already available, but this is a historical document from their formative years, and Doors fans will lap it up.

Andrew Baldwin

SEAN WALSH BAND timetravellersexmachine

CoraZong

Opening with ‘Mr Crankypants II’, you get the feel of a jangly indie garage rock/guitar pop. But underneath that is a Hendrix oriented riff. ‘Hey Babe’ opens in similar fashion before moving in a more jangly ambient direction. When it picks up again, you still get a song structure that is very Hendrix with a touch of Cream. ‘Cinderella’ is a ballad that builds up in cluttered fashion, and is very typical of the sound. The overall feel is at times messy, jangly, the riffs are Bluesy and, when you can hear the bass, there’s plenty of fuzz. The use of effects is homemade ‘80s

indie, the whistling and church organ are original (if brief), but the underlying feel is Blues - from Hendrix to Gary Moore, just without the finesse. Both vocals and guitar seem to paper over weaknesses by shouting. Very modern and equally vintage; an original take on a cliché, something I’m not sure the world is ready for yet.

Joe Geesin

LIGHTNIN ROD & THE THUNDERBOLTS

With Lightnin Rod Wilson’s latest release, I really am struggling to find a positive viewpoint. What is remarkable here is that it is truly unremarkable. Production is fine, musicianship of the band adequate, yet there is no spark whatsoever from this Michigan Blues-rock band. The pedigree of backing musicians is good considering who they have played for in the past, yet the whole does not gel, or perhaps the quality of songwriting isn’t there. Furthermore, in an era of quality guitarists, Rod’s guitar playing is on a par with my own - i.e. not that good - and to hear solos that I relate to diminishes the whole. Even the vocals leave something to be desired. The one saving grace throughout is the tenor saxophone playing of Eric Korte, who lifts the overall work from its basement position. The best track on the whole album is the simple solo acoustic tune ‘Flight Of The Free Spirit’ that (or perhaps because it) closes the album.

Merv Osborne

STUART TURNER File Under Carnal Knowledge

Sun Pier

If I didn’t know better, I would probably have placed the origins of this album somewhere North of the Mississippi and definitely in the sphere of the likes of Junior Kimbrough or RL Burnside – not in the Delta of Rochester, Kent, England. Mr Turner’s gruff vocal makes for a perfect accompaniment to his roughhewn slide guitar, strummed electric and the various objects he “hits with hammers.” The songs have the same hypnotic qualities and underlying darkness of the earliest recorded Bluesmen. Some of the sounds he makes are positively otherworldly, especially when he introduces what sounds like a strangled trumpet - John Whitaker - behind his howling, “Full moon gonna fix you/Full moon you’re gonna die,” on the cunningly titled ‘Track 3’. The music has great variety, and Turner actually manages to deliver a feeling of loss on ‘Track 4’ while still screaming his vocals over a quietly picked guitar. For some reason, I get the impression of water themes and influences but ‘Track 6’, featuring Kris Dollimore and Andy Harding, is an old fashioned walking Blues. He has been compared to Tom Waits and Howlin’ Wolf, and for originality and delivery respectively that’s understandable. There are eleven highly individual curios here and the only conclusion the listener can make is that he is a true original with his own sound and mannerisms – music with this much heart and soul is rare.

Andy Snipper

FRED EAGLESMITH Tinderbox

Sonic Rendezvous

“Tinderbox” is Canadian singer/songwriter Fred Eaglesmith’s seventeenth album. You get an idea of what Eaglesmith is about when you open the package. Both the front and back cover of the album feature Mennonite church congregations, one in Mexico and one in Bolivia. The insert features a church in Mississippi. This album of eighteen self-penned tracks is more message

PETER GREEN The Anthology

Salvo/Union Square

This is a magnificent 4CD box set, covering all stages of this fine guitarist’s career. From his early work with John Mayall’s Bluesbreakers, through Fleetwood Mac, his solo years, and then his comeback with his own Splinter Group - it’s all here. The four discs are in chronological order and are cracking value for money. It features work with other Blues greats, such as Otis Rush, Otis Spann, Buddy Guy and Hubert Sumlin, amongst others. There’s well over sxity tracks to be found, and all the old favourites are here, including ‘Black Magic Woman’, ’Albatross’ and ‘Green Manalishi, as well as fine interpretations of Robert Johnson’s songs in his more recent years. But there’s also dark work here, with tracks like ‘Homage To The God Of Light’ and ‘The Answer’, with Peter Bardens, and other late Mac cuts before he became another acid casualty. The ‘70s and ‘80s were largely lost years for Green until his comeback in the ‘90s. Whilst not of the standard of his earlier successes, disc four is a nice collection of his work after he had ‘conquered’ his demons, even though he was still a very fragile character. As you’d imagine, this collection is overflowing with heartfelt performances from one of Britain’s finest guitarists. This is now the ultimate Peter Green package, and a set that even casual fans should own.

Andrew Baldwin

standards like the ‘Chain Gang’, ‘Shoulder To The Plough’ and ‘Shoeshine’. I suppose you could argue that the messages running through the album are bleak, so the feel of the music is too. I found it slow and dull. There are some uplifts, and I liked ‘I Pray Now’ - a more upbeat gospel song, with a simple but effective lyric interspersed and some good instrumentation. The album is a mix of darkness and faith - not my cup of tea.

Kevin Wharton

SPENCER DAVIS

Davis has been in this game since the early-60s and has released albums sporadically over the years, but he knows how to write a tune, and this album shows that. His style on here is generally soft-rock with a rootsy feel to it, but it most certainly has some Blues flourishes going on. The album, whilst not a concept album, is loosely connected together by his childhood in Swansea, and his early success in the music business.

‘Comin’ Home’ has good lyrics describing how he always loved returning to his hometown after he had been on the road, and contains a nice slide solo courtesy of Mississippi Slim. While ‘I Ain’t Gonna Go’ tells how the likes of Elvis Presley and Fats Domino attracted him into trying his own luck in music. ‘Berlin’ is a rocker about him losing his heart to a girl on the East side, until the erection of the

Wall divided them permanently. The final track features a duet with the late Dusty Springfield that was originally recorded in 1984, but it seems somewhat out of place to the rest of the music. This is an enjoyable that the likes of Radio 2 would likely pick up on, but wouldn’t pull me back too often.

Andrew Baldwin

JOE SHELTON

Black Prairie Blues

ALT45

Inspired by the music of Black Prairie Bluesmen, Big Joe Shelton was born and grew up in the Black Prairie region of North Mississippi and from early childhood was exposed to African-American music. He was befriended at an early age by Big Joe Williamsm who encouraged in him a love for the Blues. This was further underlined with a move to Chicago and his time spent in Market Street and exposure to the urban Blues of the city. Shelton proves himself throughout to be a songwriter seeped in the old school Blues tradition and a writer of merit. Opening track, ’Ribs And Cat Whiskey’ sets the scene back in the juke joints, with bellowing smoke, the smell of liquor and feet tapping. ‘In The Mississippi’ sees Shelton’s gritty, vocal and wailing harp reminiscent of the days of Howlin’ Wolf. ‘Mississippi Night’ is a beautiful Blues-rock ballad for long nights on the banks of the river with your babe in your arms. ‘Hope We Live To See The Day’ opens with a slide guitar playing pure electric Delta before you are suddenly jolted into a deep felt protest Blues-rocker. The lyrics are right up to date but the music supporting them is from an older period of protest. Good old Mississippi Blues, with a hint of gospel on the fellowship of humanity!

Carol Borrington

DELANEY BRAMLETT A New Kind Of Blues

Magnolia Gold

“What do you do about the Blues?” is the kind of question that has been asked of musicians since the dawn of the genre. Well, in my book, there is really only one answer to the question and that is to play it - simply play it. That is what the recently deceased Delaney did on his 2008 album of eleven tracks. The title may be a little bit of a misnomer, though, as, in truth, there is not really anything new here in the way of styles. However, do not miss out on this CD, as it is very good indeed. Apart from the great Sam Cooke's 'A Change Is Gonna Come', all the songs are Bramlett originals. For example, 'Ol' Moaning Blues' and 'Mighty Mighty Mississippi' are so redolent of the area that you are right there on the banks of the river. So much history of fine music making over the last forty years surrounded Delaney that I do not need to refresh your minds as to whom he worked with. Suffice it to say, he was making music to rival his best ever up until his passing. The title track provides us with just such an example of the excellence of both his playing and his fully matured voice. He really did sound like he was living the heartache.

LORDS

I never liked any of the other bands that my fellow college friends would sway their inebriated heads to on a Friday night. And, equally, most of them had never heard of Son House or Charley Patton. If I were 17 again, Lords are just the sort of band that my Strongbow swilling buddies would be throwing up in unison to. Just another one of those bands, fresh out of dad’s garage, throwing together a mashed pulp of influences from both sides of the Atlantic, you know the sort of thing? A little bit of Blues, hillbilly tunes, southern rock, ‘70s Brit rock and metal. Think Neil Young, Lynyrd Skynrd, Captain Beefheart, Led Zeppelin and Black Sabbath all rolled into one. Nowadays, I take a far more open-minded view of any new band that falls in my path. But in some cases, and Lords are a fine example, my patience is pushed to the extreme. Forty minutes that I’m never going to get back again! I couldn’t begin to decipher the first nine tracks, I even found it difficult to tell where one ended and one started. Thank God for track ten, ‘The Remember’ – ironically, the only one I did remember.

Davide Styles

MIKE SANCHEZ You Better Dig It!

Doopin/Raucous

Well, he’s got the pompadour, the sharkskin suit, the swing and the honking horns, not to mention the tinkling piano, but is he Little Richard or Jerry Lee Lewis? Truth is, Mike Sanchez probably wants to be the love child of that union, but he’s not quite pulled it off! This is full of big swaggering rock‘n’roll, and Sanchez has a fine voice that can turn itself as easily to the Little Richard-esque ‘She Can Rock’ as the Jackie Wilson-like

‘I’m Shakin’’, and his piano playing is true to the style and rhythm of the original rock‘n’roll and rockabilly styles…but I’m not totally convinced. There isn’t a bad number on the album; the musicianship throughout is excellent (checkout the horn on ‘Boss Chick’ or the vibrato guitar on ‘I’m A Fool To Care’) and his vocals are varied in style, turning his voice to outright rock as well as rockabilly and doo wop, but deep down this feels like Sha Na Na or one of the other rock‘n’roll revival outfits. One of the better tracks, ‘Bom Bom Lulu’ sees him firmly into jive territory, with a terrific horn solo from Nick Lunt and piano work to beat the band. There are three ‘bonus’ tracks that sound as though they have been played live - ‘Talahassy Lassie’ and ‘Heebie Jeebies’ are really rockin’. I need to see him live!

Andy Snipper

JIMMY THACKERY AND THE DRIVERS Inside Tracks

Telarc

For top guitarists like Jimmy there is probably some frustration that people focus more on how many notes he plays rather than on what those notes are trying to portend. It is, therefore, no surprise that “Inside Tracks” is a much more roots based album, focusing on the country and R&B that Thackery grew up listening to. The song content and feel plays a much more central role to the overall sound and, in fairness, on that level it works very well. Where the guitar sings, as in ‘Blinking Of An Eye’, it elevates the mood to another level, and does not override the feel of the piece. There are nine originals, with a cover of Chuck Berry’s ‘Promised Land’, which doesn’t add anything to Thackery’s rating. I don’t subscribe to those who feel his voice is poor - in fact, I hear character in the same way that Johnny Cash and Bob Dylan have used their voices. ‘Change The Rules’ is a song that bene-

Graeme Scott

fits by the gruffly half sung half spoken vocals. ‘Eat It All’ is an upfront southern bayou stomp with the band sounding as if they are enjoying themselves. At times the retro sounds as if Burl Ives and The Shadows have taken residency in the studio. Whilst I don’t like Jimmy’s turn in writing, I have to admire him for taking the stance and hope it is successful for him.

Merv Osborne

JEFF DAHL Battered Stuff

Jeff Dahl has been in the music business since the ‘60s, and had a prolific recording career. In the ‘80s, he was lead vocalist of The Angry Samoans, considered one of the most influential LA punk bands. This 2007 release is dedicated to Niki Sudden, who died in 2006. All the songs are self-penned and Dahl handles all vocal, instrumental, production, engineering and mixing duties. It’s a CD of deep sincerity in its dedication, and Blues rooted. ‘Vaguely Picasso’ has strong hints of Bolan and Jagger, vocally, with wailing Blues-rock guitar riff supporting vocal and lyrics. ‘California Blues’ is pop-Blues, West Coast fashion. It’s a profound comment on the lifestyle – it’s sweet, good lyrics, haunting Blues guitar and a vocal reminiscent of Ray Davies. ‘Sandwich’ is solid Blues but beautifully childlike in composition with some good Blues harp. On ‘Damaged Goods’, the lyrics run deep on this country Blues ballad. ‘Outta Luck’ closes the CD, and is folk rock infused

BIG BOY BLOATER That Ain’t My Name THE CITY SHAKERS The Very Best Of… The City Shaker

Azan

Blues, the lyric echoing deep social concern of justice and injustice in modern society. One interesting observation on the content of this CD is that it shows the importance of the Blues as the root of modern music and myriad of paths the Blues can lead to when the musical tools of creativity and innovation are added to it. Not for the purist, but well worth a listen.

Carol Borrington

JAMES COTTON/BILLY BRANCH/ CHARLIE MUSSELWHITE/ SUGAR RAY NORCIA

Superharps

Telarc

Clocking in at over an hour, and with four well known exponents of the Mississippi Saxophone, one might expect this to be an absolute ‘must have’. This is a reissue of music recorded in Portland, Maine in 1999. The backing, provided by the likes of ex Fabulous Thunderbird Kid Bangham (guitar) and David Maxwell (piano), is cool and understated. The best work comes when Sugar Ray Norcia’s vocals are added to the mix, as, for example, in the opening groove ‘I Put My Baby Out’. James Cotton next takes the lead on ‘The Hucklebuck’, a routine instrumental, lightened by some splendid piano work. Next it is Charlie Musselwhite on an extended ‘Blues, Why Do You Worry Me?’, featuring harp solos from Musselwhite and Norcia respectively. Another highlight is ‘Life Will Get Better’, with a soulful vocal from Norcia and some great acoustic guitar by Bangham. The jaunty ‘Mean Little Mama’ features Bill Branch. My personal favourite is Norcia in Kim Wilson style mood exploring the tuneful ‘I’m Gonna Steal Your Baby’, with a great harp solo and a Kid Bangham picked accompaniment. Though perhaps this supergroup does not quite live up to the sum of

Since Mark Lamarr stopped hosting “Never Mind The Buzzcocks”, there’s been nothing decent to watch on television. But television’s loss is someone else’s gain and he now hosts a rather excellent show on Radio 2. One of the artists he has championed this year is Big Boy Bloater, who specializes in rough and ready Chicago Blues. Lamarr has given a lot of airplay to ‘Whammy!’, which is one of the tracks on “That Ain’t My Name”, and deservedly so, because it is one of the best slices of R&B you will hear this year. It’s also a master class in how to play Blues guitar and every 14-year-old kid who hears it will be reaching for the tremolo bar – and the rest of the album is pretty good, too. Big Boy and his band tear it up with some real Blues classics, like ‘Gangster Of Love’ and a selection of originals. The attention to detail is staggering as they recreate the late-night, bourbon-drenched vibe of ‘50s R&B. The City Shakers’ CD is more Blues focused, with some great guitar playing and vocals from Big Boy, and some scorching harmonica playing by Laurie Garman. The group has a residency at the Ain’t Nothing But Blues club in London and, again, the CD is a mixture of covers and originals. Highlights include the rocking ‘Shake That Thing’ and Willie Dixon’s ‘Mellow Down Easy’. On both releases, Big Boy channels the likes of Howlin’ Wolf for some truly memorable vocal turns. Of the two, “That Ain’t My Name” is definitely the party record, while The City Shakers is more of a late night, half a packet of a cigarettes and a glass of whiskey kind of record!

Jamie Hailstone

the parts, there are moments of brilliance and warmth within the whole album that make repeated plays worthwhile.

Noggin

STEVE BAKER & DICK BIRD

When I saw the title to this, I shuddered: the kazoo isn’t the most inspirational of instruments, is it? But this is a great album! The pair have played together for almost thirty-five years and this is their first album as a duo. ‘King Kazoo’ features a range of acoustic instruments (not just kazoo) around the general theme of country Blues and jug band music. Along with many original songs, there are a few Blues classics, ‘I’ll Never Let You Go’ and ‘Cool Operator’ by Tampa Red and ‘Sliding Delta’ by Mississippi

John Hurt being the best of the bunch. Of the self-penned numbers, ‘No Doubt About It’ and ‘Too Long’ standout. However, it’s all good. The guys are quality players and the wide selection of music and the considered changes in tempo means that the listener never loses interest. There are guest appearances by Martin Roettger on drums and washboard, Henry Heggen on jug and Martin Wichmann on upright bass. My first thought was they

WEST, BRUCE & LAING Whatever Turns You On Live‘N’Kickin’ JACK BRUCE AND FRIENDS

I’ve Always Wanted To Do This

Esoteric

sound like Sonny Terry and Brownie McGhee, although it has to be said that the guitar work is far better. What about the kazoo then? Well, if that’s what one sounds like when it is played properly, wow! There are also the lyrics, keys, guitar tunings and harp information to be downloaded if you desire.

Kevin Wharton

MIRANDA LOUISE A Sure Cure For The Blues

Ripete

Based in Nashville Tennessee, Miranda Louise is a well respected member of the southern Blues scene. Apart from her own recordings, she has sung, recorded and performed with a list that reads like the who’s who of the Blues, including Albert King, Bobby Bland and John Lee Hooker. With a big, powerful and soulful voice, she carries on very much in the tradition of such female Blues luminaries as Koko Taylor and Big Mama Thornton. “A Sure Cure For The Blues” is her third solo release and displays a versatile Blues repertoire, ranging from the storming boogie of the opening track ‘Queen Of The 88’s’, to a powerful, gritty rendition of Big Jay McNeely’s ‘There’s Something On Your Mind’. In between, there’s an excellent version of another queen of the Blues, Memphis Minnie’s ‘Me And My Chauffeur Blues’. Despite the varied material, Miranda Louise effortlessly slips from one style to the other, ably backed by an excellent collection of musicians, particularly Mike Holmes on Piano, Wayne Jackson of the Memphis Horns and some really nice guitar from Jack Pearson on the ballad ‘I Can’t Get Enough Of You’. “A Sure Cure For The Blues” can only enhance Miranda Louise’s already grand reputation.

Davide Styles

“Whatever Turns You On” was the short-lived band’s second album and, surprise, surprise, a cross between a Cream and Mountain album. It’s very guitar driven, and Bruce gets plenty of bass action. The sound quality is a little muddy, with the vocals a little low in the mix. ‘Token’ has some nice low down, earthy guitar from West, whilst ‘Slow Blues’ does exactly what it says on the tin. Vocal duties are shared between the two guitarists, and ‘November Song’ is a slow burning Bruce song, with hints of psychedelia that brings the bassists strong vocals into play. “Live‘N’Kickin’” was recorded live in concert in 1974, and turned out to be the band’s final release. It only features four tracks, but ‘The Doctor’ is a good song – heavy, with a fabulous slide solo. They open with a version of the Stones’ ‘Play With Fire’ that starts off really well, but seems to lose its direction midway through. Billy Cobham (Miles Davis), David Sancious (E-Street Band, Sting) and Clem Clempson (Humble Pie and Colosseum) are Bruce’s ‘Friends’ on the 1980 reissue “I’ve Always Wanted To Do This”. It’s a solid studio effort, which is let down by its thin, shiny ‘80s production. The music herein is superbly performed (as you would expect), but it is more of a soft rock album than a fusion masterpiece that one would have probably hoped for. Opening track, ‘Hit And Run’ is a catchy tune, and closer ‘Bird Alone’ has a nice feel to it, but on the whole it just left me a little cold. The lyrics are decent enough, from all four members, though mainly from Bruce and his long-time writing partner Pete Brown, but whilst they could have produced a real winner in the Blues and jazz field, it all just sounds a little sterile for this listener.

Andrew Baldwin

BYTHER SMITH Got No Place To Go Fedora

An alumni of Muddy Waters, Junior Wells and Otis Rush, and a cousin of JB Lenoir, Monticello, Mississippi born Byther is steeped in the Blues tradition. Moving to Chicago in the early50s, Byther cut is teeth initially on bass before switching to rhythm and eventually lead work in the ‘60s. Following an appearance at the 2007 Fresno Blues Festival, producer Chris Millar cut these eleven tracks with Byther, and there is a real touch of class about them. The short but sweet 'I'm A Honey Bee' is the opening gambit followed by the tasty groove fest that is 'I Had My Fun aka Goin' Down Slow'. His vocal delivery on 'Monticello Lonely' reminds me a little of B.B. King. Half spoken but, at the same time, musical phrases spring from the speakers always underpinned by Chicago rhythms. The pain and heartache of a lost love is examined in 'I Know That's Grace'. Giving due acknowledgement to the influence the music of his cousin has played on his style, Byther covers 'How Much More?', but I was disappointed when it faded quickly away. '35 Long Years' is a much more balanced cut and one of my favourites on this collection, as is 'Every Woman I Meet'. The wonderfully politically incorrect 'Come On In This House' sees Byther finally settled with the woman of his choice. A nice album from one survivor of Chicago's post-war elite artists.

Graeme Scott

GARRETT MASON Love & Sound Soul In Sound

Another day, another trio playing Blues-rock, but before you head on to the next review, there are a few things you should

know about Garrett Mason and his fine band. Yes, the Canadian does sound an awful lot like Stevie Ray Vaughan, particularly on tracks like ‘Grapple Hold’ and ‘Pink Flamingos’. His rhythm section of Mike Farrington Jnr. on bass and Damien Moynihan on drums are rock solid, and as tight as Tommy Shannon and Chris Layton (Double Trouble) ever were. More importantly, Garrett has added more than a dash of soul to the proceedings. The opener, ‘And Everything’ shuffles along with a beat that is definitely ‘too cool for school’. The stripped back playing is insanely tight and Garrett’s vocals are spot on throughout. This might only be their second release, but Garrett and his band have refined their sound and show a solid working of the Blues on every single of the eleven tracks on offer here. The tracks sound like they were recorded live in the studio with very few, if any overdubs. It’s often said that the Blues is no longer cool, but if there were more people like Garrett Mason out there, the genre would be hip again.

Jamie Hailstone

THE HOAX Humdinger - 10th Anniversary Edition

Credible

It’s barely credible (pun intended) ten years can have elapsed since the “great white hope” of British Blues, The Hoax, released their third and final studio album, “Humdinger”. But

NINE BELOW ZERO

Both Sides Of MAGGIE BELL

Best Of: Sound & Vision

THE JOHN DUMMER BLUES BAND

The Lost 1973 Album

Angel Air

Nine Below Zero will celebrate their 30th anniversary this year, which is celebrated with the CD/DVD set “Both Sides Of”. The CD was recorded live in the Baltic’s in 2006 and is all electric. Several tracks have a real punk vibe to them, especially ‘11+11’, where they incorporate lyrics from The Who into the song, and ‘Three Times Enough’, which sounds similar to The Jam at times. Dennis Greaves lets rip with some Bluesy guitar on ‘One Way Street’, whilst the set is given a solid foundation by bassist Gerry McAvoy, and drummer Brendan O’Neill. The DVD is an all acoustic affair from Cumbria in 2007, and whilst it isn’t very exciting to watch, the musicianship is again of the highest order. Mark Feltham steals the show with some excellent harmonica playing that shows real character. The Maggie Bell “Best Of” is also a CD/DVD set, and is essentially a solo greatest hits package; as, unfortunately, there is no work from her years as vocalist with Stone The Crows. The set also features four live cuts, including two with Taj Mahal. The first thing that hits you is her fine, smoky Blues voice, that in most respects far outshines the actual music. Some pleasant Blues is brought with ‘As The Years Go Passing By’, whilst FREE’s ‘Wishing Well’ is given the laid-back funky treatment and, yes, the “Taggart” theme tune is here! The DVD is from Montreux in the summer of 1981, with her band Midnight Flyer, and it looks very dated, however, the music is very good, and is a nice companion to the CD. Guests including Taj Mahal and Albert Collins appear with Bell on the closing tracks. The John Dummer Blues Band recorded one last album before disbanding, and for the first time it has now been issued on disc. It features Dave Kelly on guitar and vocals, as well as, what is thought to be, the last recordings by ‘60s Bluesman Graham Bond, who died early the following year. It offers a few different styles, mainly country, rock’n’roll and the Blues, on tracks like the upbeat ‘Goin’ Home’ and country Blues on ‘Short Haul Line’. The music is decent enough, but it didn’t particularly excite me either.

here it is confirmed in black & white, in the form of a very attractive, value-for-money double-digipak, offering the original album’s ten tracks, plus three bonus cuts and a DVD featuring the band’s previously VHS-only live video, loads of outtakes, pics and other goodies. The original album tracks sound every bit as fresh, energetic and exciting as they did first time around – an irresistible blend of Jon Amor and the Davy Brothers’ original songwriting and cool Blues influences, notably Stevie Ray Vaughan, the T-Birds and Lester Butler’s Red Devils. The bonus tracks include ‘C’Mon Susie’, a previously unavailable live favourite, more than a little reminiscent of FREE, and the funky shuffle ‘The Night Will Come’ from the band’s hard-to-find EP of the same name. The live DVD is a real gem, capturing The Hoax at their funky, high-energy best, capable of incredible whisper-to-a-scream dynamics - not to mention incredible, heart-stopping virtuosity. The Hoax were a truly great band, and in terms of sheer musical talent, a true band of equals – every member as brilliant as the next. This package hits the spot.

Tim Aves

NINA SIMONE

To Be Free: The Nina Simone Story

Sony BMG

Eunice Kathleen Waymon was born into a large, poverty stricken family in North Carolina. She began playing piano in church at the age of 5, and by the early-50s, although now trained as

a classical pianist, took on work in a bar, playing a mixture of jazz and Blues. Her recording career began in the late-50s and soon she had a hit in the form of George Gershwin’s ‘I Love You, Porgy’. Through the ‘60s and early-70s, she recorded for a number of different labels, displaying her large repertoire of jazz, Blues, spirituals, soul, folk and original compositions, including songs reflecting the civil rights message that had now become part of her life. “To Be Free” is a three CD/one DVD collection, charting the development of her career. Included are the standards ‘My Baby Just Cares For Me’, ‘I Put A Spell On You’ and ‘Feeling Good’, re-workings of Bob Dylan and George Harrison (‘The Times They Are A-Changin’ and ‘My Sweet Lord’) and some interesting live and previously unreleased material. The additional DVD is a short film from 1970, with both interviews and performance. Although comprehensive, this collection does not sustain any punching power, and for every ‘Feeling Good’ there is an off colour ‘Mr Bojangles’. Unless you are an established fan or collector, I would investigate a less comprehensive collection first.

Davide Styles

This is a re-issue from 1972 that is heavy and hypnotic, if pretty standard Blues-rock fare. Opener ‘I Love Miss Ogyny’ is a slow, dirge-like Blues, with a dark undertone that has a menacing feel to its sound. Much of the album follows in a similar vein, with simple, riff-laden music that is repeated over and over until you feel its power and aggression. It borders on progressive rock, at times, but creative force - Tony McPhee’s vocals suit the music perfectly, whilst bassist Peter Cruickshank keeps the whole thing grounded with some bottom heavy rhythms. Fan’s favourite ‘3744 James Road’ is a lengthy piece and is typical of the ‘Hogs sound of chugging Blues-rock with a funky riff. Closing track, ‘Mr Hooker, Sir John’ is an acoustic homage to the bands mentor, John Lee Hooker, and is probably the most genuine Blues on offer. This release didn’t achieve the success that earlier albums, such as “Thank Christ For The Bomb” and “Split”, had, but it is a solid work and enjoyable enough listen.

Andrew Baldwin

COUNTRYBOY

Countryboy’s Blues Logistics

Independent Release

Countryboy first came to the Blues at the age of 6 and this CD follows in the wake of the album “Countryboy Blues”. It features the vocal of Shirley King and sax playing of Gerald Noel on certain tracks. It is a mixture of instrumentals, as well as vocal lead tracks. The first two tracks, ‘Clyde Stump’ and ‘CB’s Experience’, are traditional and very simple Blues instrumentals. ‘Louise’ features the harmonic drone sax playing of Gerald Noel (of the late Junior Walkers All Stars band). ‘You Got Class’ features the vocal of Shirley King, who is, of course, B.B. King’s daughter, and she follows in the family footsteps of being true blue! Shirley was mentored by Etta James in the old school style and has all that powerful, gritty and sexual drama in her vocal of the Blues mamas preceding her. ‘Official Blues’ certainly evokes early Blues and the music that was to inspire the British Blues generation of the ‘60s. Fundamentally, this is a good album, which has a real old school Blues feel throughout.

Carol Borrington

BOO BOO DAVIS Name Of The Game

Black & Tan

This is definitely “the Devil’s music.” Fifteen tracks in fifty minutes that can be described as dark, funky, raw and dirty. The opening track, ‘Dirty Dog’ says and does it all. A ‘Nutbush’ rhythm driven by some stunning, growling wah wah guitar from Jan Mittendorp who, because the band no longer includes a bass player, uses some real heavyweight strings. Boo Boo is a mighty fine harmonica player and is blessed with a big bellowing vocal that does the memory of Muddy Waters and Lightnin’ Hopkins proud. After a couple of slowish stompers, the mood and feel is changed as we slip into a laid-back harp led shuffle, ‘Want Nobody Tell Me How To Live My Life’. Then for the next

three tracks its back into that meaty, muddy groove that you can just get lost in, culminating in the excellent pulsing ‘Who Stole The Booty’. More variation comes with the soulful ‘Why You Wanna Do It’; a heartfelt Blues in ‘Lonely All By Myself’; and a wonderful piece of ‘50s rock’n’roll in ‘It’s A Shame’. ‘Hot Foot’ brings a return to power wah wah. Then we finish the whole thing off with a good Blues-rocker, ‘St Louis Woman’, which again allows Boo Boo to showcase his harp skills.

Thomas Rankin

CANNED HEAT The Boogie House Tapes Vol. 3

Ruf

This is the last volume in the band’s series of unreleased material, featuring both studio and live performances. The music is spread over two discs, and the sound quality is variable as is to be expected. We have live selections from venues such as Fillmore West, Hollywood Bowl and Carnegie Hall. This is a good collection of raw Blues that ranges from 1967-1978, and is funky as hell at times. Some dirty, grungy Blues guitar is laid down in ‘Project Blues’, whilst John Lee Hooker guests in a lengthy live performance of ‘I Feel Good’ that is a real treat. The likes of Gatemouth Brown and Curtis Mayfield also help them boogie along on a couple of the tracks. ‘Too Many Drivers’ from 1970 proves this band could groove with the best of them, and a thirteen minute-plus jam on their classic ‘On The Road Again’, from 1968’s Kaleidoscope series, is another highlight. The band were dogged with hard luck and tragedy, and this release goes to show just what could have been.

Andrew Baldwin

GEORGE MELLY & THE MICK MULLIGAN JAZZ BAND Nothing Personal

Lake

Any British Blues prior to Alexis Korner is regarded as prehistoric – except, maybe, “skiffle king” Lonnie Donegan. This double CD set is subtitled “Recordings From 1950 To 1957”, and besides being a true historic document, it is also very fine listening. Most readers should be familiar with the late George Melly, who died on 5th July 2007. He was a surrealist, author, critic, personality, and bon-viveur. He was also a flamboyant jazz/Blues singer and a devotee of Bessie Smith, and I recall him being popular around the time of the punk explosion of ‘70s – and many punks liked him. It seems unlikely now, especially when listening to these recordings. The first CD includes George’s first album from 1957, with material from the folk-Blues right through to ‘50s’ rock’n’roll (a remake of ‘Hound Dog’). George sounds quite at

ease with this diversity – he brings a very British approach to his vocals, though his enthusiasm is certainly infectious and the band surprisingly accomplished given it is usually classed as a ‘trad jazz’ outfit. The second CD contains earlier titles, some without George, and is rather raw. Nonetheless, this is a warmly recommended slice of British Blues history.

Norman Darwen

GUITAR RAY & THE GAMBLERS

Poorman Blues

bluesgamblers.com

Guitar Ray is an Italian Bluesman who has collaborated with Otis Grand for this release. Otis fills the roles of writer, horn arranger, as well as album production and arrangement. In fact, eight of the twelve songs here are Grand originals and, at times, I keep thinking its Grand playing, although he is never credited as such. Guitar Ray has a number of collaborations, both in Italy and abroad, to confirm his artistic stature - and I don’t doubt those credentials based on the evidence here. Ray plays guitar, lap steel guitar and sings, and is backed by a fine line of Italian musicians that produce music a la Grand.

‘Darling Wait For Me’ has that trademark guitar sound that Otis is famed for, ‘Conspiracy Boogie’ rolls like a big band with driving boogie woogie piano and chirping horns. ‘You Are Still The One’ is a fine slow Blues with rolling piano and muted guitar. Of the non Grand tracks, the opener, Bland’s ‘Teach Me How To

Love You’, swings with great horn backing, and Sam Cooke’s ‘Somebody Have Mercy’ standout. Whilst Ray is a fine player, and the album is well produced, the fact that there is a total lack of original numbers, and with Grand’s considerable presence, it is difficult to detect the true nature of Guitar Ray & The Gamblers as to whether they possess that which is required to make it.

Merv Osborne

THE WHY AND WHEREFORES Alright Dusty

The Why And Wherefores are a very talented band that are not afraid to push the boundaries of genres, sounds and musical textures. Making this a very eclectic CD, yet firmly rooted in the Blues. Every track brings something different of the band’s vocal, instrumental and songwriting talents. It’s all self-penned, with exception of the last track, which is a cover of Bob Marley’s ‘Lively Up Yourself’, and what a version - they have made a musical dimensional shift with this rendition, taking it out of reggae into a nearly pure Blues song, but retaining just a hint of the original beat. Steve Jones guitar work throughout the CD is impressive, exactly what you would expect from a quality luthier. ’Alright’, the title track, actually lulls you into a false impression of what is come. It’s a combination of Blues, jazz and swing and has a very retro feel of the ‘50s, with some impressive ostinato drumming by Marc Layton Bennett. Then you get ‘Black And White’, a complete contrast, which is in the Holly Golightly school of the Blues - you get the first taste of what a really good vocal Emily Druce has got. It doesn’t stop there, ‘Rev Gel’ is Blues-rock tinged with early Tyrannosaurus Rex, very progressive feel but pure Blues footing.

Carol Borrington

SPV are doing a good job of helping us to re-evaluate Aretha’s career prior to her Atlantic Records contract. In the past, these recordings, made for Columbia in the first half of the ‘60s, have been dismissed as “derivative,” “lacking in direction,” or, horror of horrors, “jazz!” This CD provides justification for all those epithets, but it does also prove the old adage, “she could sing the phone book and make it interesting.” There are a variety of styles on offer here –Blues with Dinah

Washington’s ‘Evil Gal Blues’, a Ray Charles/Sam Cooke influenced ‘Trouble In Mind’ and the organ-led powerhouse vocal on ‘Nobody Knows The Way I Feel This Morning’; jazz – there is a fine cover of Billie Holiday’s ‘God Bless The Child’, stringladen ballads, and pop (‘Walk On By’ is virtually note-for-note). There is even some rhythm & Blues/early soul material. So, yes, Aretha may have needed to find a direction – but her amazing voice was almost there already on these tracks.

Norman Darwen

CHUCK BERNSTEIN

Delta Berimbau Blues

CMB

This is a unique CD from an artist who was caught up in the late-60s San Francisco music scene. Chuck has a varied musical background, predominately playing drums in jazz, rock and Blues outfits, with the likes of Barry Melton, Charlie Musselwhite and John Cippolina, and he has now turned his attention to playing the African Berimbau, described in the sleevenotes as a “Brazilian Diddley Bow” - basically a onestringed bow instrument. The sounds conjured up on the Berimbau are very mystical and, throughout the album, support is provided by several guitarists, including the talented Gregg Douglas. The majority of the sixteen tracks are instrumental, the couple of exceptions include the only cover trackPete Seeger’s ‘One Grain Of Sand’. You are unlikely to ever come across such a diversified Blues sound as you will hear on this album, and credit must go to Chuck, who many years ago identified the Berimbau as an instrument he wanted to learn to play, and since the ‘90s he has received tuition from the master Dennis Broughton. This album represents Chucks foray into Blues, and I am sure the experimentation will follow and other genres will soon experience the sounds of the Berimbau. If you want to broaden your Blues horizons, this album is a good place to start.

Adrian Blacklee

FLIPRON Gravity Calling

Tiny Dog

This is the third CD by Glastonbury band Flipron. It’s Blues, punk, rock’n’roll, ‘60s psychedelia, jazz and a lot more. Lyrically, the CD is complex, intense and full of abstract imagery, black satire with wry humour - think of the magic of Ray Davies’ writing. The lyrics dissect the human condition and

its failings. They are beautiful encased in vocals once again reminiscent of The Kinks. The intonation is clear but tinged with a cynical and a damning edge that cuts to the bone. The instrumentals are produced by the myriad of instruments all played with skill. There is some impressive guitar, including lap steel, Dobro, and mandolin. The drumming on the CD is superb and the band is exceptionally tight. These instruments are mixed and matched to produce a collective of diverse and creative sounds that build on and compliments the lyrics. There is an overt air of vocal and instrumental sincerity that says these guys have something to say. All twelve tracks are of equal merit, but ‘Zombie Blues’ strikes home hard in its lyrics. Very much punk-Blues in vocal and lyrics, all wrapped in raising and falling tempo of guitar and ‘60s R&B keyboards, it’s a damning protest that is worthy of the best.

Carol Borrington

KING CLARENTZ Day Of The Supermodel

Super Sweet

You wouldn’t think this was a Blues album, if you only judged it from the album’s cover of a female superhero standing over the planet in a comic book style, but this is most definitely a Blues album. It’s Clarentz’s second effort, after a nine year hiatus, and it has a rough, but authentic old style, with a punk attitude, and is just essentially a three-piece with the King on dobro and slide guitar. Clarentz’s harsh and, at times, witty lyrics are delivered in a growl like fashion. His take on ‘Down On The Burying Ground’ chugs along infectiously in a boogie Blues, whilst the following ‘Rim On The Koochie’ is a saucy, humorous tale that needs no explaining. He takes a real stab at Republicans on ‘New Gop’, and it’s quite clear where his politics lie. It’s an enjoyable album that will have your foot tapping along without you realising, and tracks like the excellent ‘Martha Stewart’ and ‘Hurricane Party’ will keep you coming back on many an occasion. This is raw, energetic, hypnotic and a little different, but it’ll appeal to most Blues lovers.

Andrew Baldwin

the CD captures Stone The Crows reaching their full maturity and musical intensity as a band. Something to be cut short only a few weeks later by the tragic and sudden death of lead guitarist Leslie Harvey. The five tracks are Stone The Crows at their height. The CD Opens with ‘Friends’, a reminder of the innovation and creative juice flowing round the British Blues scene in the ‘60s. Cream-like guitar riffs, driving percussion and that ace vocal of Maggie Bell, with its power and sheer guts. Psychedelic Blues personified! ‘Penicillin Blues‘ showcases what a loss this band was to the music scene. Maggie’s Blues mama vocal powering through, proving that she truly was and still is Glasgow’s Janis Joplin! ‘Love 74’ and ‘Hollis Brown’ are eleven and twenty-one minutes respectively of pure Crows. The DVD features seven songs taken from the band’s Beat Club performance in Germany in 1973. Onboard now was Jimmy McCulloch. Jimmy’s fine guitar work could not, though, mend the internal chemistry of the band that died with Harvey and, eventually, they split. The DVD has two bonus features and includes two historically informative interviews on the band, with Maggie Bell and Colin Allen, and a history of the band by Rich Wilson. A collector’s must!

Carol Borrington

MHMM

Do Not Disturb

Banksville

Mhmm Blues Band have defined themselves as ‘Blues core’, aiming to re-define the typical language of Blues-rock. This CD consists of seven original songs and a cover of Joni Mitchell’s ‘Woodstock’. The CD is released on the new Banksville Record label, which uses Rewave System - the punter gets an LP/CD package. The CD is a copy of the vinyl’s master without any post production. The result is an improved sounding digital version of the vinyl. Another aim of “Do Not Disturb” is to give the album the concept that the album was set in a smoky bar

WILLIE DIXON

The Big Three Trio

I Am The Blues

SPV/Blue

amid whiskey and beer. This is done by a series of inter-track narratives, but it didn’t really work - in fact, it became irritating after a while. The band, certainly from the instrumental and songwriting point of views, show a lot of potential throughout the whole album - the vocals, though, were the sticking point. It felt like listening to Jekyll and Hyde throughout and on some tracks, like ‘The Bridge’, it was very pronounced. This is a good number starting with a soulful Blues vocal then they starting interchanging with a vocal more suited to a metal band - it marred a good song. ‘Because I’m Down’ really showed what good potential this band have – they just need a more consistent vocal.

Carol Borrington

JJ SOUL BAND Bright Lights

jjsoulband.com

The band name is a misdemeanour as the music played on this CD is more aligned to slow funky jazz/Blues rather than soul, although the general feel of the album is very smooth with a laid-back feel to it. I was surprised to find that the band are predominately Icelandic, the only exception being ex-pat lead singer JJ Soul, who jointly formed the band way back in 1993 with keyboard player and current manager Ingvi Thor Komakasson. On this album, the band delivers a very accomplished set of original material. JJ Soul has a very smoky tone to his voice, a cross between Tom Waits and Chris Youlden, and this suits the material perfectly - the arrangements are

“That Willie Dixon bloke must be a brilliant guitarist,” exclaimed my teenage friend in rapture listening to a Led Zeppelin cover of one of his numbers more years ago than I care to relate. “Actually, he’s a bass player from Chicago” replies Mr. Smarty-Pants me. As a child, some years earlier, it had been my task on a Saturday morning to go down to the local newsagent’s on a Saturday to get my older brother’s ordered magazines - JazzBeat and R&B Scene (it used to wind him up if I’d read them first, so, of course !). But back to Mr. Dixon – there are elements around who still regard him as a musical genius. In truth, he wrote – or co-opted – some excellent Blues numbers, but he himself was a pretty good singer, and top bass player for what he did. “The Big Three Trio” presents him as a rather sophisticated performer, with a smooth and urbane Blues harmony group between 1947 and 1952. “I Am The Blues” dates from 1969 and is a stellar Chicago Blues affair, with a backing group comprising harpman Walter Horton, pianist Sunnyland Slim, guitarist Johnny Shines and drummer Clifton James – later to be justifiably called The Chicago Blues All-Stars. The repertoire consists of nine numbers familiar from Wolf and Muddy, or maybe the British Blues boom! The performances may not match those illustrious earlier versions but they are most definitely worth having; maybe if the album had been easier to get on its original release, I wouldn’t have had to correct my mate all those years back.

Norman Darwen

generally uncluttered and fit the stereotype late night jazz club feel. Having been together as a band for over fifteen years, the musicians really jell together - the playing is faultless throughout, with some subtle soloing that never takes away the focus of the song. While this album does not have a strong Blues bias, the overall sounds are worthy of attention - very evident, also, is the influence of the big band sound that some of the musicians experienced earlier in their careers.

Adrian Blacklee

THE BRIDGE

Listening to this record is a bit like stepping back in time. The funky groove screams out Little Feat or Ry Cooder, while the harmonies and mandolins are straight from the Jackson Browne and Eagles school of laid-back music. Make no mistake, The Bridge are pure southern rock boys and this album is all the better for it. Like other contemporaries, such as The Band Of Heathens and the North Mississippi All Stars, their love for this music is unashamed. Singer Cris Jacobs (and that is the real spelling!) has one of those gritty and soulful voices, which is easy on the ear. At times, it’s a little too retro for its own good, but a faithful blend of country, Blues and rock never really fails. Like a decent bourbon, it will always

deliver. Some of the highlights include ‘Heavy Rain’, ‘Old White Lightning 93’ and ‘Let Me Off This Train’. They flex their Blues muscles on the haunting ‘Devil On Me’. This is the group’s second release on Hyena Records and their sound is now fully rounded and developed. “Blind Man’s Hill” is a mature and rich portion of Americana. It will take a couple of listens, but stick with it, because it’s worth it.

Jamie Hailstone

TAS CRU

Gravis-Tas

tascru.com

“Gravis Tas” is singer/songwriter Tas Cru’s follow-up to his CD “Biscuit”, and it’s a CD of highs and lows. Tas’ vocal is strong and emotive, with good range and intonation. His lyrics are a fascinating use of imagery and frank expression of Blues situations, having the added bonus of being seriously amusing at times. The first two tracks are solid good Blues but, when you reach the third track, the CD really starts to punch you in the solar plexus with its power and quality. ‘Feel I’m Fallin’’ starts with a gospel feel and develops into a powerful Blues gospel rock song. Tas’ powerful, heartfelt vocal punching out the lyrics, with guitar accompaniment played in an equally sympathetic and synonymous style. ‘Can’t Help But Wonder’ is a Blues ballad. Vocal and instrumental are full of the pain that comes with the human condition of love. ‘Peach Pickin’’, with its clever and humorously structured lyrics, is a satiric take on lust and is best described as satirical Blues! ‘What Makes A Woman’ is another Blues ballad commenting on the female condition. It is tender and compassionate; full of sympathy but, as the title suggests, confusion over the relationships into which women often repeatedly find themselves. The last track, ‘Too Much Information’, is old county Blues instru- continues on page 112

Little Walter And The Kings Of The Blues Harmonica: Blowin’ And Suckin

Proper

Part of the Peerless series, in this case repackaging music from as early as 1929, there are four CDs in the box set, comprising 108 tracks. The harmonica was invented in Germany in 1821, and first made commercially available by Hohner of Trossingen. The most commonly used instrument is the Marine Band ten hole, twenty reed “mouth harp”, as it became known. It achieved great popularity in the USA when it was introduced to the country by German immigrants in the late 19th century. It was cheap, easy to get a tune from and, of course, highly portable. The first two CDs cover a massive range of artists and styles from 1929 (DeFord Bailey) to the’50s (Junior Wells), including such essential artistes as both Sonny Boy Williamsons, Jimmy Reed, Walter Horton, Snooky Prior and Howlin’ Wolf. Things get much more up-to-date with the advent of Little Walter Jacobs, to whom the final two CDs and fifty-five tracks are exclusively dedicated. He first brought amplified harp to the masses and is rightly regarded as a genius. The material here revisits his recordings from 1947-1957. Joop Visser’s notes and photographs, covering some fifty-three pages, are highly informative, and, when read at the same time as playing the music, adds context and historical background to this wonderful collection.

Noggin

Theme Time Radio Hour With Your Host Bob Dylan

Ace

The fifty tracks on this double CD are all drawn from material played by Bob Dylan on his “Theme Time Radio Hour” show, and whatever you think of Dylan’s own music, he has fine taste indeed. And when one of the most important artists of the last century reveals his likes and influences, it has to be worth a listen. Such is indeed the case with this wonderfully listenable collection of country gospel, raunchy rock‘n’roll, romping rhythm & Blues, vintage and modern jazz, Rosetta Tharpe’s driving gospel, classic soul, beautiful Tex-Mex, fast-paced bluegrass, Jamaican rocksteady, Nashville styled and more rural country, hip jive, western swing, rampant rockabilly, and apocalyptic punk – from Al Dexter’s ‘Pistol Packin’ Mama’ to The Clash’s ‘Tommy Gun’, from Grandpa Jones’ simple faith to Patsy Raye’s wonderful ‘Beatnik’s Wish’ (I’m surprised noone’s covered this yet!), from east Texas’s Eddie Noack to south Wales’ Geraint Watkins. There’s plenty of Blues, too, from Leroy Carr & Scrapper Blackwell to Otis Rush, from

Memphis Minnie to The White Stripes. The whole set is also wonderfully annotated. Some intriguing juxtapositions (courtesy of the Ace team, and I defy you to take a listen to the intro to James Carr’s soul track without expecting a country number), the sheer range of material, and the coherence of the whole set prove that yes, for a guy well into his seventh decade, Dylan still has his finger on the pulse.

Norman Darwen

The Downhome Blues Sessions Vol. 5: Blues Guitar Workshop

Stefan Grossman

No doubt there are quite a few BM! readers – and I’m one – who enjoy a bit of fretted therapy by sitting down with the old acoustic and imagining how good we could be if we only practised. Well, here are five guys who took it to the limit, and have rewarded themselves by earning the tag ‘legend’. Just the names listed on the cover of this CD guarantee you total guitar enjoyment. Duck Baker, Davey Graham, Sam Mitchell, Tom Paley and Mike Cooper are all acoustic Blues troubadours of the first order, and when you hear Tom Paley playing an ecstatic, one minute and twenty second ‘Buck Dance’ - you’ll either throw your guitar in a skip or be inspired to try harder. Listen to Sam Mitchell’s smart slide version of ‘Keep A Bootin’’ (a song which eventually formed the basis for Little Richard’s ‘Keep A Knockin’’) or Mike Cooper’s languid, laid-back ‘Morning Star Blues’, with his great vocals, and you’ll soon realise what magic there is in a good acoustic Blues guitar tune. So, I’ll just pour a beer, listen to this brilliant CD and turn down the lights, and first thing tomorrow, look for a handy skip.

Roy Bainton

Johnny Cash Remixed

Compadre

Remixing Johnny Cash couldn’t be an odder thing to do. Enjoyment of it will always be a matter of taste. Obviously, fans of Cash will notice changes, be it big or small, and country purists (of which there are many) will downright loathe it. People with more liberal views to other genres and styles will accept a clever attempt at a cut and paste shuffle of “The Man in Black’s” greatest hits and, of course, there will be those who prefer these reworkings. Album opener ‘I Walk The Line’ adds to the track in a noticeable way by including Snoop Dogg in the way that Elton John was mixed into Tupac on ‘Ghetto Gospel’. While Snoop Dogg is the most obvious of choices, he doesn’t ruin the song, but its appeal and message is inevitably lost. ‘Get Rhythm’ is a safer bet, opting to remix the Cash’s vocals in the way JXL tampered with Elvis for ‘A Little Less Conversation’ - it makes more sense than ‘Big River’ anyway, which is literally just re mastered. ‘Country Boy’ is all southern hick chic, with all its dancefloor arms-inthe-air cheerfulness which, happily, works well as a substitute to line dance standards. Personal favourite, ‘Folsom Prison Blues’ is probably the most obvious re-working by replacing the drum track and attaching all the necessary bells and whistles giving it that fresh bling sound. Not your average Johnny Cash hits package, but, by far, not the worst.

Matthew Clarke

Steelin’ It: The Steel Guitar Story Proper

The steel guitar is not generally thought of as a Blues instrument, but it has become more so over the last few decades, thanks to the efforts of Hop Wilson, Freddie Roulette, Sonny Rhodes, L.C. ‘Good Rockin’’ Robinson and a small, select band of others – including Joe Louis Walker. Virtuoso guitarists such as Bob Brozman have also drawn attention to the beauties of vintage Hawaiian music, the starting point for this excellent four CD, 100-track collection, with the first thirteen numbers all dating from the ‘20s. Stylistically, this collection ranges from these early acoustic sounds to the newly developed pedal steel guitar of the ‘50s, with the music encompassing Blues, ragtime, jazz, hillbilly, pop music of the time, country and, of course, western swing. Milton Brown gets proceedings underway on the second CD, his steel guitarist Bob Dunn setting the pace and technique for many others to follow –some of whom are included here, notably Noel Boggs, Leon McAuliffe and Ted Daffan. The second and third CDs cover the ‘30s and ‘40s (and just into the ‘50s), and include some fine country-boogie, with CD3 the Bluesiest of the whole collection. The final set concentrates on the ‘50s, from Hank Williams up to rock‘n’roller Bill Haley. A fascinating collection, with strong Blues links all the way.

Norman Darwen

The Downhome Blues Sessions Volume 5: Back In The Alley 1949-1954

Ace

“Well, I’m going back, where I can raise hogs and corn,” sings Johnny Fuller, playing guitar in best Lightnin’ Hopkins fashion on the first of his seven offerings here – and if you ever wanted a single track to represent the downhome Blues, this fits the bill perfectly. The twenty-six tracks here, all by artists connected in some way with producer Bob Geddins, originate from California, so given the migration patterns of the time, it is unsurprising that there is a very strong Texas flavour to many of these performances. Harpman James Robertson worked with Fuller and remains a fairly obscure figure, so too does the doomy sounding James Reed. Others on this set are rather better known – Jimmy McCracklin has five fine tracks and is still active, Roy Hawkins is the man who co-wrote and recorded the original ‘Thrill Is Gone’, and Lowell Fulson had a long and varied recording career and should need no introduction. Famous or not, though, these are all talented artists, and the music is the very essence of the Blues.

Norman Darwen

Up Jumped The Devil: American Devil Songs 1920s - 1950s

Viper

Another anthology, this time themed around the Devil. The album begins with a good rock’n’roller by Gene Vincent And The Blue Caps, with ‘Race With The Devil’ - the quintessential ‘Devil rocker’ from the ‘50s. Fats Waller follows with ‘There’s Going To Be The Devil To Pay’ making Hell sound like not too bad a place to be. Blues is heavily rep-

resented, as you would expect, with Bo Carter’s ‘Old Devil’, in which he used Old Nick as an excuse for his violence to his woman. Skip James weighs in with ‘Devil Got My Woman’, along the same misogynistic lines as Bo’s. ‘Blue Spirit Blues’ by Bessie Smith leads the female contribution alongside Sister Rosetta Sharpe with ‘The Devil Has Thrown Him Down’ being the only religious based song in the compilation. There are also contributions by Washboard Sam, Otis Spann and Jelly Roll Morton, before the set climaxes with the immortal ’Me And The Devil Blues’ by the master himself, Robert Johnson. Surprisingly, this is the only one of his twenty-nine recordings where he mentions the Devil by name! A good compilation.

Kevin Wharton

Rich Man’s War: New Blues & Roots Songs Of Peace & Protest

Ruf

When one considers the opprobrium which befell the Dixie Chicks a few years back for speaking their minds about the Bush administration, one could wonder what the American music scene in 2009 would make of a similar outbreak of courageous honesty. Of course, it’s all hunkydory now – Obama’s about to pick up the pieces, the rapacious bankers have scarpered with the nation’s cash and Godfathers Rumsfeld and Cheney will no doubt have made their profit from the war in Iraq. So, now we have a blistering, angry outburst of comment with various Blues players and folk artists on this CD, and right from the opening track, Bob Brozman’s vigorous ‘Follow The Money’, we’re given a refreshing view of that real, underlying America, the true concern of blue collar folk’, which sometimes seems hidden behind the flags flying on lawns. Norman and Nancy Blake’s ‘Don’t Be Afraid Of The Neocons’ is as fine a piece of political writing as we’re likely to hear. The Blues comes thick and fast – there’s some stirring harp on the Matthew Skoller Band’s ‘Handful Of People’, and Eddy ‘The Chief’ Clearwater gives us a stirring ‘Time For Peace’. There may only be twelve tracks here, but every one is a gem. Perhaps music can’t change the world, but it can make us think and it can make us angry. Put the two together and we might get somewhere. Riveting stuff.

Roy Bainton

M For Mississippi: A Roadtrip Through The Birthplace Of The Blues

Broke & Hungry

This CD accompanies a DVD release. Here are eleven genuinely atmospheric tracks by artists currently playing in Mississippi whose names many of us might find unfamiliar. The story goes that Jeff Konkel of Broke & Hungry Records and Roger Stolle hatched the idea for their movie as “a road trip through the birthplace of the Blues” - they wanted to film some of the best and most interesting Blues players working in 21st century Mississippi. So, we have Big George Brock, Wesley ‘Jitterbug’ Jefferson, R.L. Boyce, Terry Harmonica Bean and others providing Blues which is just about as raw as Blues gets. These recordings are not only the sound you’d expect in a juke joint – they’re also shot through with a kind of house party, domestic Saturday night wildness. Tracks like Jesse ‘T-Model’ Ford’s ‘Hip Shakin’ Woman’ are solid fish-fry dance music, and the whole atmosphere here is one of talented plain folk having one helluva time. So, let’s see the movie – if it’s as good as the soundtrack, we should be in for a treat.

Roy Bainton

mentally but the lyrics are hilarious and form a good end to a great CD.

Carol Borrington

KOLVANE

Kolvane has been writing for two decades and all tracks are self-penned, with the exception of ‘Card’, which was penned by keyboard player Steve Kerin. Kolvane comes from Portland, Ohio and his music is rooted in the Blues, but also has a spiritual element through his father, who was a Baptist preacher. This reveals itself throughout the CD as it intertwines into his passionate vocal delivery and guitar work. The opening track, ‘Dying On The Vine’, is a clear demonstration of the link between the Blues and the spiritual. A rockBlues number but with an R&B feel added by the keyboards. The whole thing is reminiscent of The Doors, and there is certainly that Baptist choir thump to its whole make-up. The only way to describe ‘Backside’ is if Jim Morrison meets Blues gospel this would be what it would sound like! The title track, ‘Kill Those Blues’, is ‘60s British Blues and Kolvane would not have been out of place with bands like The Animals or Spencer Davies if he had played at that time, but with contemporary lyrics. ‘Cool Baby’ is very traditional of Chicago Blues. ‘Whiplashed’ is the sound you would get if Ike and Tina Turner met with a Blues slide guitar. ‘Let Me Love You Tonight’ is a slow Blues ballad but with a lot of feeling of Nat King Cole. The whole album showcases Kolvane’s skill. It is a CD of talent.

Carol Borrington

DAVE ALVIN

The Best Of The HighTone Years

HighTone

Dave Alvin first got involved with HighTone and Bruce Bromberg some twenty years ago when HighTone were having success with people like Robert Cray. So, with that in mind, it seems like this compilation is long overdue. Put together by Alvin himself, it’s a measured self-assessment of his work. His desire for balance means it is not a chronological journey but one that allows the eighteen tracks to connect or at least flow. It is Americana, with appropriate sprinklings of folk and Blues, and it is roots; songs of storytelling woes, women and worry. There are four tracks from his 1998 release “Blackjack David”, all accessible folk tunes typified by the harmonious ‘Mary Brown’. Alvin’s deep gruff vocal is best shown off in the rambling ‘Shenandoah’ that also allows some expansive guitar to add to the vista of the wide country. It’s the previously unreleased material that particularly grabs the attention and ‘Dixie Highway Blues’, meant for “Blackjack David”, is a lovely rolling Blues number that evokes a sensitivity of depth and clarity. Equally sensitive is the live number ‘Why Did She Stay With Him’ recorded at the Neighborhood Church in Pasadena, and the album’s treat that is the duet with Katy Moffat called ‘The Cuckoo’. Essential.

Gareth Hayes

CREECH HOLLER

The Shovel And The Gun Bucket City

Songs of love, lust, violence, murder and mystery – yes, it’s time for some old traditional music again. Creech Holler, a trio, originate from the Tennessee/North Carolina area and despite the presence of a sanctified number, such as ‘John The Revelator’ – usually associated with Son House these days – I doubt these guys have ever seen the light, their music is so dark. Four murder ballads - three of them original, plus ‘Darling Corey’ like you’ve never heard it before - comprise the listener’s introduction to this set, their second album. Not that it becomes happy-clappy after this quartet of songs. Fierce, slashing slide guitar, powerful, droning rhythms occasionally –but certainly not always - recalling the southern fife-and-drum bands or the hill country Blues sound, hints of depraved overamplified hoe-downs (with a raw fiddle somewhere in the mix), rough-hewn vocals with equally ragged harmonies and some originals that fit in perfectly alongside the traditional numbers. The term ‘Americana’ fits this perfectly – except that it doesn’t really convey just what a fine release this is – as long as you’re not looking for a sing-along to put a smile on your face!

Norman Darwen

ISSA BAGAYOGO

Mali Koura

Editions Mail/Six Degrees

John Lee Hooker's records inspired Ali Farka Toure in Mali, West Africa. In turn, Ali was the influence on a small musical movement known these days as 'desert Blues'. Singer Issa Bagayogo is backed here by various combinations of traditional stringed instruments (kora, n'goni and others) and western instruments, such as electric guitar, sax, and keyboards - plus drums, African or programmed! The sounds produced - recorded in both Mali and France - are equally diverse, ranging from modern-sounding rock, jazz or funk inflected tracks (try 'Dunu Kan' for a real groove) to some that recall occasionally the propulsive approach of West African popular music and on to venerable sounding 'folksongs' (for lack of a better category). And, of course, there are plenty of numbers that are indeed akin to the desert Blues sound, whilst one or two could be distant relatives of the North Mississippi hill country Blues. Don't use this as an introduction to Africa's Bluesy sounds, but if you already have the taste, by all means give this a listen.

Norman Darwen

TOMMY LUDGATE

Wall Of Words

Noodlehead

22-year-old Tommy Ludgate used slicethepie.com to fund her debut album – it was literally funded by donations from her fans! So does that make this a vanity project? Actually, no, it means that she has made an album on her own terms. It also means that the end result is the music that she has been playing and showcasing for her fanbase for the last few years –they actually did get what they paid for! She has a fine voice,

TONY JOE WHITE

Live At The Basement JOHN CAMPBELLJOHN

Hook Slide + Sinker

Pepper Cake/ZYX

The Basement in question on Tony Joe White’s album is in Sydney, Australia, however, as to when this recording was made is not exactly clear - there is no accurate information contained within the very basic sleevenotes. This lack of attention to detail is an irritation to an otherwise excellent album. Capturing here the growling vocals and, yes, trademark swampy guitar sound that is Tony Joe White is to get a glimpse into the very essence of the man. Tony is on great form over nine tracks that include many classic cuts. Blasting out the starting blocks with 'Undercover Agent For The Blues', you are immediately aware that live is probably the best way to experience this man. I loved 'Steamy Windows', 'Rainy Night In Georgia' and, of course, the ubiquitous 'Polk Salad Annie'. There is a real bit of fun going on in 'Even Trolls Love Rock 'n' Roll' that the audience are really into. No such sleevenote deficiencies with Canadian slide player John Campbelljohn's album. You get the works, including lyrics, production credits and more. Sixteen tracks, and all bar two of them self-penned, this is a good old-fashioned rocking Blues album. There are no frills on the production and this is how it should be, back to basics and it's all the better for it. For example, 'Johnny Rock & Roll' is pure Chuck Berry and a nice tip of the hat to the master. 'I Wanna Get Up' reminds me of Status Quo around the time of "Piledriver". There really is a lot to enjoy on this album. The faster version of Robert Cray's 'Phone Booth' works well but it is the quality of his own writing and, of course, excellent playing that shines throughout this very fine album.

jazzy and soulful, and she writes some pretty good songs, as well. The opener, ‘Nothing To Say’, is jazzily funky with the band laying down a sweet groove and her voice cutting through with urgency and passion. On ‘Pain’ you really can feel the hurt in her phrasing and words; ‘Sweet Release’ is definitely one of the best numbers released as a single recently, and features some fine guitar and voicebox; while the title track, ‘Wall Of Words’, shows that her voice is good enough to stand on its own. Ms Ludgate is sitting in a congested part of the market but she has a more personal take on her music than the likes of Duffy or Joss Stone, and she is a lot less produced than most of her contemporaries. Maybe not yet the finished article, but one hell of a base to develop from.

Andy Snipper

ARTHUR LOUIS

Arthur Louis should be one of the names that we regularly incant when we remember the guitar greats. Hendrix, Clapton, Page, King/King/King, Guy - he has played with all of them and influenced many others since he first broke out in ’74. He had Mike Oldfield as a bass player and ‘gave’ Clapton his first taste of reggae. Unfortunately, he never made an impact on the listening public, and so he became one of the ‘nearly men’ of the Blues. This isn’t quite a ‘best of’, but he has included his favourite recordings, as well as a

few new songs, and it shows the breadth of the musical spectrum he has inhabited for the last thirty-four years. ‘Born To Sing The Blues’ is deep southern swamp Blues with horns, and his slightly high-pitched vocals taking on a really soulful feel. ‘Black Cat’ is a highly melodic Blues/reggae mix. ‘Rescue Me’ is Chicago Blues, with an Albert King guitar feel and impassioned vocals, and then ‘Fast Car’ comes over all ZZ Top. He made his name with his version of Dylan’s ‘Knocking On Heavens Door’, which he plays as a straight reggae piece - frankly, it is probably the best version I’ve ever heard. Throughout the album, his vocals are a feature and the self-penned songs are every bit as good as the rest – ‘Rose A London’ the real knockout.

Andy Snipper

THE CALIFORNIA HONEYDROPS Soul Tub!

TubTone

There are not enough bands out there playing tub bass. No, really, and this album by The California Honeydrops is a little back-porch gem of jazz and Blues. The four-piece, consisting of Lech Wierzynski on vocals, guitar and trumpet, Chris Burns on piano, and Nansamba Ssensalo and Benjamin Malament on everything else (including tub bass, washboard and jug) have come up with an album which is totally unique, but also highly enjoyable. From the downhome Blues of ‘In My Dreams’ to the swing of ‘Squeezy

Graeme Scot

KINGS OF LEON Only By The Night RCA

It is not what you would expect from Tennessee’s grimy, rock-laden, southern sons. “Only By The Night” is a mixture of production adventurism and bold guitar flourishes. These are hardly the same guys you knew on “Youth And Young Manhood” - hardly the same recklessness brash songwriters. Instead, Kings Of Leon’s forth full-length stands as a flood of sweet melody accented by rumbling six strings. A sound encased around the increasingly concise vocals of Caleb Followill. While the diehards of old squirm, “Only By The Night” is without question a defiant step forward for the preacher’s boys. ‘Closer’ ignites the flame in swooping effects and delay. Nathan’s drums drive the number before opening up into chart mainstay ‘Sex On Fire’. It is obvious that they are not the dirty, bearded, barn-dwelling, rock’n’rollers of their youth. The recording is tight. Different is the usual sloppiness of Caleb’s vocals, which were closely tended to for “Only By The Night” and chosen over the course of three separate tracks. ‘Revelry’ is a melodic gem, while ‘17’ feeds the under aged itch. The melodies of ‘Notion’ freeze time before ‘Be Somebody’ speaks the perfect message. The alcohol-laden ‘Cold Desert’ caps the disc. The only thing keeping this recording from a perfect rating is four, overgrown, mustaches. Do yourself a favour and dig the change.

Martin Halo

Breezy’, “Soul Tub!” is a lot of fun. Lech’s trumpet solos are a delight to listen to. This guy knows his jazz. Nice! And the solos are spot on. Like The Subdudes, the joy of this music lies in its simplicity, with all four players riffing and having a ball. It’s a jambaya of various American music styles, but the accent is on fun and good times. Try listening to ‘Cry For Me’ and not ending up with a big smile on your face. Go on, I dare you!

Jamie Hailstone

HOLLY GOLIGHTLY & THE BROKEOFFS

This is the band’s follow-up to the successful 2007 release “You Cant Buy A Gun When You’re Cryin’”. There is confidence now. Its musical roots reaching below the earth’s mantel, with Holly and Dave’s vocals reaching into the core. The guitar work is top notch in technique and feeling, as it compliments the lyrics throughout. The CD paints a tapestry of moods and the use of genre blending produces a solid Bluesrooted yet unique format of musical treasures. ‘Up On The Floor’ is a country Blues ballad, with tender lyric and vocal duet. ’My 45’ is Blues, with a touch of black satire that Holly and Dave can impart into not only their lyrics but in their rendition of songs. ‘Indeed You Do’ takes the Blues into a sinister world of the emotional entanglement of love, with its dark yet emotive guitar riffs and its haunting vocals. ‘Getting High For Jesus’ is pure contemporary 60s R&Bfast moving, mean harp and very typical of The Manfred Mann sound of the period. Good stuff! ’Cora’ is a Dave solo reprising the ‘Navaho Blues’ of 2007! In a just world this band would be main stage at Glastonbury 2009!

Carol Borrington

INDIANA PHOENIX Laugh At The Devil

indianaphoenix.com.au

Dirty, raw and honest boogie led Blues with a southern rock edge made this band right up my street from the outset. Led by vocalist Brian Cain, who also adds acoustic guitar and Blues harp, the band are augmented by several guitarists. The title track opens with harp and slide blending to an almost oboe style sound before some gritty Blues comes in. ‘I Stand Beneath The Flag’ is a slow gritty boogie with a nod to George Thorogood, while the uptempo ‘As Long As It’s Blue’, with its wailing solo, is more up the street of Nicky Moore’s Blues Corporation. Between harp, lead guitar, slide, and even violin, you’re never short of either a solo or a high end Blues riff standing clearly above a boogie rhythm. A nod to Canned Heat, there’s a strong working of the style of Blues that still lingers in AC/DC’s background. That said, ‘Heartbreaker’ has a more acoustic rhythmic riff, the electric solos and big vocals adding an extra dimension. Very enjoyable - I’d like to see this lot live!

Joe Geesin

JOE TEX Get Way Back: The 1950s Recordings

Ace

Joe Tex was never the ‘star’ he should have been. Although he left us with an all-time classic, ‘Show Me’, he only charted once in the UK in 1977 with ‘Ain’t Gonna Bump No More’. Known as ‘The Rock’n’Roll Cowboy’, Tex had a tough, growly voice with a passionate delivery and could cut it in many styles, from straight R&B to almost Sam Cooke level – listen to ‘I Had To Come Back To You’, featured on this twenty-seven track compi-

lation. These are all Tex’s ‘50s singles and it’s a fine piece of compilation work by Ace’s Tony Rounce, who also tells the Joe Tex story in fascinating detail in the accompanying twelve-page booklet. This music may be half a century old, but it’s lost none of the original infectious quality which so characterised Joe Tex’s work. He could rock like crazy – as illustrated on tracks such as the near enough Little Richard soundalike ‘Yum Yum Yum’, complete with one of the cheesiest organ solos you’re likely to hear. Perhaps he covered too many styles – when he sings ‘Grannie Stole The Show’, there’s everything in there (Everly Brothers and the Coasters, for example), then his voice suddenly soars in a heavenly fashion with the beautiful ‘I Want To Have A Talk With You’. There are no weak links in this CD –it’s a delight, and although of its time, what a time it was.

Roy Bainton

MIKE WHELLANS Fired-Up & Ready

Temple

Mike is a brand of musician that is almost in a class entirely on his own. We often use the term one-man-band, however, in Mike's situation that is exactly what he is. Sitting in front of his kick drum and hi-hat, various guitars to hand and with a harmonica around his neck, he is totally self sufficient. I first saw Mike play back in the mid-60s on the folk circuit, but even then much of his set was based on the Blues. Here we are in 2009 and, with this new release, I am pleased to say that he has lost

cover of Rory Gallagher's 'Going To My Home Town'. Anybody who does Rory is just fine in my book, and this just works wonderfully. Other highlights include 'Winding Track' and 'Diving Duck Blues'. Add in 'Lonesome Road' and 'Pinetop Moon/Sandy Cameron' and this should be enough to satisfy the tastes of all Blues lovers.

Unique Mike is, but I like this individuality in a genre so often populated by a certain blandness.

Graeme Scott

CHERRY BRAKEWELLS

First Bite

Ramshakle

A trio of girls singing and playing their own brand of R&B - not the sort of R&B most generic soul/dance/pop vocal groups laughably try to pass themselves off as. Yes, it is modern but it’s very funk oriented, with a nod at the soul/funk end of Hendrix and Zeppelin. ‘7th Sun’ is a slower number, with a good guitar line, very much a sunset feeling, while ‘Cover Me’ nods at power ballad done harsh soul style - very moody.

you’re deep into stripped down Blues territory with some touch-

for many girl groups to learn from! My only criticism of the album is the awful drum sound. They sound hollow, trebly, muffled, programmed and distorted - all at the same time! That said, even with little help along the way (occasional additional guitar and keyboards), it’s a fine debut.

Joe Geesin

JAY McSHANN In Copenhagen

Storyville

Kansas City can stake a strong claim to be the birthplace of the Blues shouter. Count Basie's band roared out of there to international fame with 'Mr. 5 By 5', Jimmy Rushing shouting the Blues, whilst Big Joe Turner worked there as a Blues singing bartender. Jay 'Hootie' McShann never quite hit those heights - for many years he was recalled chiefly as the employer of a certain groundbreaking sax player called Charlie 'Yardbird' Parker, who forged an early reputation with Hootie's swinging big band before striking out on his own, though some might have also recalled Jay's big and influential 1941 hit with vocalist Walter Brown, 'Confessin' The Blues' - and the Blues was what Jay and band played, no doubt about it. The big bands fell from favour, though, and this set was recorded in 1977 during Jay's later career, when he frequently worked as a Blues singer/pianist - sometimes solo, sometimes with a small group. Here he does both on a

programme of vintage Blues and boogie (plus a 'Yardbird Waltz' in honour of the saxman). Nice notes from Paul Oliver complete an admirable reissue from a figure unjustly overlooked.

THE FORTUNATE SONS

The Fortunate Sons

Rollin’

Glaswegian folk/Blues/country/roots – you put a pigeon hole around it because I can’t and, truth be told, I would hate to limit them by doing so. They obviously love The Band as well as (early) Doobie Brothers, and there are hints of Crosby Nash Stills & Young, but this is their music, and they do their thing so well. Sam West lays down a raw and whiskey edged vocal performance, and his rhythm guitar carries songs like ‘Wasted Time’ like a speeding steam train. Graham McGeoch plays fiddle like a demon, as well as delivering some fine backing vocals, and Calum McCann plays guitar throughout with more delicacy than you might expect, but a whole lot of heart. ‘Slave Chain’ is a perfect example of the band laying down soulful, gospel Blues, with all four members of the band adding something to the mix – Michael Law’s dreadnought percussion rooting the song in hardship and giving a real bedrock to the sound. They play softer stuff, as well, including a couple of really lovely, lilting ballads - ‘Over Again’ being a perfect example. Being

Scottish, there always has to be some C&W tendencies showing through, but ‘Starlight’ still has a rollicking feel to it, and some real passion in the vocals.

Andy Snipper

ZEN BLUES QUARTET Again And Yet Again

Shunyata

Any album with a song entitled ‘I’ve Had Harder Times From Better Women Than You’ has got to be worth listening to. Fortunately, the Zen Blues Quartet deliver a tune worthy of such a great title. You might not be familiar with the band itself but, between them, Mike Finnigan (Hammond B3 and vocals), Steve Ferrone (drums), John March (guitars) and Tim Scott (bass and vocals) have played with everybody. Their collective CV includes stints with Hendrix, The Rolling Stones, B.B. King, and Bob Dylan, and many, many more. Their experience means they have the chops to deliver some rocking and very funky Blues. This self-produced CD, which is their second, is as solid and rocking as anyone else. The karmic chant of ‘Again And Yet Again’ might feel a bit out of place amid the rocking Blues, but these guys were born to play this kind of music. Their experience and ability makes this a great romp.

Jamie Hailstone

THE STUMBLE

Houngan

thestumble.com

According to the sleevenotes ‘Houngan’ (Hoon-Gan) is a male High Priest in the Voodoo religion. I can only take the band's word on that fact, however, I can take on the idea that this is a

DAVE GROSS Crawling The Walls GINA SICILIA Hey Sugar

Vizztone/SwingNation

good album. Thirteen songs, eleven of which are strong inhouse creations, along with one Howlin’ Wolf cover and one Porter Grainger & Everett Robbins number. This is the first studio release from the band and it is pretty clear that they had fun making it. I've said it many times before, Blues like this should have an element of roughness and a basic approach to the recordings. You are left with the feeling that if you stumbled (sorry!) across this band playing in a club somewhere you would leave at the end of the night having had a terrific time. I know that they are garnering a lot of rave reviews for their live shows but until you get the chance to sample that experience then you can do a lot worse than invest in this CD. It moves along from the starter of 'It's A Lie' by way of 'Bus Stop', the nice slow Blues 'Nobody's Business', 'Georgia Sun', 'Sugar Don't Taste So Sweet' to the apt closer 'Meet Me At The Bottom'. A fine British Blues outfit well equipped to carry on the tradition of UK acts taking America's Blues legacy and making it sound fresh.

Graeme Scott

BLACK STONE CHERRY

Folklore And Superstition

Roadrunner

Third album from this Kentucky group, who have been much linked with the southern rock scene; think more Black Crowes

The packaging of “Crawling The Walls” is misleading. You see the hip young ‘dude’, black shirt and guitar, and immediately think it must be another hardrocking gunslinger with more riffs than you can shake the proverbial stick at it. However, Dave Gross is anything but another Stevie Ray Vaughan-clone. He is an accomplished guitarist, arranger and vocalist with his own voice. On “Crawling The Walls” he recreates the old-time jazz, Blues and swing of the ‘40s and ‘50s with an astonishing amount of accuracy. Such is his love for this music that there are times when you are convinced you are listening to some lost classic from the Chess archive. There’s a real lightness to this record and songs like ‘It Was Born In The 20s’ and ‘Rock In My Shoe’ are tremendous fun to listen to, and you can tell all the musicians are having a ball. Dave Gross is not just your average musicologist; he really eats, sleeps and breathes this stuff. Dave has also produced “Hey Sugar” by label-mate Gina Sicilia. Her big, booming voice can handle any song which is thrown at her. The slow-burning ‘Jack And Jill’ is a killer song, and the New Orleans-inspired second-line of ‘So Attracted To You’ is a real highlight. Most of the songs are what you might describe as real belters, but the stripped down ‘I Pray Most Everyday’ really showcases the depth of her singing. Gina has a fantastically rich voice, with a commanding presence on this record. “Hey Sugar” might not be as subtle and as intricate as “Crawling The Walls” but they are both solid releases with excellent production values. More please!

Jamie Hailstone

than Lynyrd Skynyrd. There’s also a strong element of the rough end of AC/DC and Led Zeppelin. Right from the opening track, ‘Blind Man’, it’s a full throttle, in your face feel; it’s not as Bluesy as it could be, but does show well the Blues influence in rock and metal. The Blues does show in the riffs, with ‘Soulcrack’ showcasing the big vocals. ‘Long Sleeves’ adds a sleaze edge and, like many tracks, moves away from the southern sound for which the band are known. Some very heavy crunchy riffs, and the occasional upbeat stoner direction, are the order of the day. Touches of keyboards (‘Devil’s Queen’) add a good southern feel, though. The twin guitars from Chris Robertson and Ben Wells interplay well, and Chris’ vocals are strong. Heavy metal on the southern rock outskirts.

Joe Geesin

J T ROSS Loaded

BOB MEYER

Threefold Return

Malicious Damage

The follow up to his 2006 debut "All This Is That" sees the “for real” truck driving man picking up on his Leadbelly and Son House influences, running them through an English lens, mixing them up with a Robert Johnson template and coming out the other side with a very enjoyable album. Apparently, after a childhood dalliance, Mr Meyer didn't pick up a guitar again until the age of 31. With the help of a “Teach Yourself Guitar” book, he was soon off and running, something that should bring hope to many folks who thought guitar picking was something for the young 'uns. This outing sees him progressing from acoustic Blues into the world of the singer/songwriter, something that doesn't particularly work for me, but will have fans of Tim Hardin drooling. I was happiest when he rattled off into instrumental territory, fingers a-flashing on 'Rollin' Pt 3' and 'Fast River Of No Return' where he does things with his guitar that are probably illegal in several Catholic countries. On the vocal turns, it's the gut wrenching 'Mary Lou' that comes out a winner, with his raw rasp burning away. Most of his songs are straight from “The Big Book Of Blues”, with tales of life gone bad, but his instrumental prowess, sandpaper voice and passion for the material, makes for an out and out winner. For those who find Seasick Steve a bit too polished!

Stuart A Hamilton

Taylor. Ross first picked up the harp at only 2 years of age and is entirely self-taught, although influenced by the likes of James Cotton and Junior Wells. He plays both types of harmonica, and after featuring in a number of bands, he was introduced to Jerry Rosen of South Side Records by South Side Slim. As a relatively young Bluesman, he has an immediate appeal to the youth, and his debut album is a solid reassurance that traditional Blues is alive and well and embodied in this now LA resident. This album, produced by Jimmy Morello, was recorded at the legendary Pacifica Studio, and Ross was joined by former members of William Clarke’s band. The whole album is a harp tour de force, bringing to mind the feel of Little Walter, in a contemporary setting. It is all enhanced by Ross’ warm vocals, for example in the topical ‘Too Much Crime In The City’ and ‘I Need Some Money’. The album’s high spot is the slow Blues road song ‘I Need To Go Home’ where Rick Reed’s guitar embellishes a tune - the harmonica tone is simply magical.

Noggin

TODD WOLFE & UNDER THE RADAR

Borrowed Time

Hypertension

Todd Wolfe is a straight down the middle Blues-rocker. Once upon a time he was the lead guitarist in Sheryl Crow's band, before heading off into solo waters, although this album does still feature a co-writing credit for Ms Crowe. His sound harks back to the power trio sounds of Cream and Mountain, which would explain the appearance of Leslie West on 'Baby I'm Down', a cover of the song from West’s first solo album "Mountain". It's predominately original material, although he also has a bash at the Fleetwood Mac chestnut 'Oh Well'. The playing is top notch, but I didn't find myself taken with his vocals, which is why the two tracks that do stick with me are 'If This Is Love', featuring Mary Hawkwins on vocals, and the duet on the Sheryl Crow co-write 'California' that sees Susan Cowsill stepping up the microphone for harmony and backing vocals. Musically, there are some really good songs, and the stripped down two-man-band on 'You're Not The Only One' and the Howlin’ Wolf cover 'Who's Been Talking' sees the players really firing on all cylinders. A special mention must go to drummer Dave Hollingworth, who does a bang up job the whole way through. There is a lot to enjoy here for fans of that powerful ‘70s sound.

Stuart A Hamilton

JEFF BECK

Performing This Week… Live At Ronnie Scott's Eagle

I have never really understood why Jeff is not a much bigger star than he is. For sure, Blues guitar and music lovers appreciate him, but I have always felt that he is a relative unknown. That is kind of strange considering he is a true living legend of the guitar. Perhaps, because of his lack of 'hits', he has remained in the shadow of other maestros. It could be argued that this is a good thing, as it has allowed him to develop a very unique style of playing. Blues and rock based for certain, and yet it is the infusion of jazz to his mix that separates him from the mainstream. Ably supported by Tal Wilkenfeld (bass),

Vinnie Colaiuta (drums) and Jason Rebello (keyboards), any would be buyer is rewarded by sixteen absolutely wonderful, imaginative interpretations of some classic Beck tracks from across the spectrum of his very considerable career. Recorded back in 2007, and finally getting a release, this is a great first purchase of 2009. Tracks include 'Beck’s Bolero', 'Led Boots', 'Where Were You', 'Angels (Footsteps)' and 'Cause We’ve Ended As Lovers'. Add in a stunning take on The Beatles’ 'A Day In The Life', plus his own 'Big Block', and it leaves you in awe at just what is possible with six bits of wire attached to some wood.

Graeme Scott

BOTTLE UP & GO

These Bones Kill Normal

At just over twenty-one minutes, and seven tracks, Bottle Up And Go’s “These Bones” is hardly a mass collection of Blues standards. Nor is it finely tuned to perfection, with the finest session musicians from around the world. Some purists of the Blues may turn their noses up at it. Essentially, it is a bombastic kick in the face of music that doesn’t want to be anything than a singular form. Clapton comes to mind. At the same time, “These Bones” refuses to be a mess. It sounds a little bit like what rock’n’roll might have sounded like to someone who was still listening to big band music in the early-60s. In any

sense, it doesn’t deserve comparison to anything conventional because it is quite obvious the boys are not looking for that. If anything, there is a comparison to be made with contemporaries White Denim, but it is not a serious one. In fact, I’m not sure it needs any comparative backing. From the confused and anxious ‘Wayward Son’ to the remorseful ‘All My Trials’, “These Bones” makes the impact and leaves. It seems to be something that works in their favour, whilst never leaving behind less than bigfoot-shaped footprint on the ear drum of the listener.

Matthew Clarke

PAUL MARKAND THE VAN DORENS Blood & Treasure Radiation

Recorded in Memphis, Tennessee in 2008, “Blood & Treasure” is the seventh release from the talented Paul Mark and the follow up to 2006’s “Trick Fiction”. Although hailing from New York, multi instrumentalist Paul and his equally talented band conjure up all the musical flavours that Memphis offers, blending Blues, soul and rock’n’roll on eleven enjoyable tunes. ‘Wrong Pair Of Shoes’ could have easily come out of Sun records fifty years ago and there is a strong Stax feel on ‘Don’t Get Me Started’ and ‘Raise The Roof’. Paul’s guitar and voice are good throughout and his tone and tasty licks shine through on tracks like ‘Perp Walk’ and the instrumental

‘Ruff House’. Paul Mark is unlikely to get the nod for the next Eric Clapton Crossroads shindig, but although there is nothing particularly remarkable about the musicianship or material on “Blood & Treasure”, I would suggest you give it a try.

Davide Styles

NED EVETT

Ned Evett is a singer/songwriter, guitarist and film-maker from Idaho, USA. Renowned as one the best fretless guitar players on the circuit, he plays a left handed fretless guitar right handed with glass-neck fingerboard. He first performed with a fretless fifteen years ago and this is his latest CD output. He wrote and produced the CD, and all instrumentals, with exception of the drums, are played by Ned. Ned’s vocal, throughout the CD, has good range and intonation. He’s is a complex songwriter of quality material and there is a lot of comment on life in his lyrics, as he poetically bonds words and concepts. The instrumental is good throughout but there is also, as one would expect, some exceptional examples of his guitar work woven into the fabric of the music. ‘Soul Inside’ is a rock Blues ballad with a lot of soul inside. Title track ‘Middle Of The Middle’ has a distinct aura of Crosby Stills Nash & Young, but with more Blues feeling to the song. ‘Living Machine’ is rock-Blues with that unique sounding fretless gui-

tar wailing in intricate patterns throughout, with the mastery of a specialised player and has inflections of Wishbone Ash. ‘Back To England’ is a war protest song based around a Crusades theme. It is lyrical, almost folk mode, but underpinned with a solid Blues guitar riff.

Carol Borrington

JOHNNY CASH

At Fulsom Prison: Legacy Edition

Sony BMG

The latest Fulsom Prison release features a double CD of the live show together with a DVD. The music is well known to most people but they may not have heard the full concert, complete with support act and announcements! The package includes lively openers from Carl Perkins, with ‘Blue Suede Shoes’ and ‘The Old Spinning Wheel’, and some startling vocals from the Statler Brothers, who contribute four tracks - ‘The Ole House’, in particular, is a stunner. Cash is on top form with a collection of songs ranging from well worn classics such as ‘Orange Blossom Special’ and ‘The Green Green Grass Of Home’ to dark numbers, such as ‘Cocaine’, ‘Busted’ and, of course, ‘Folsom Prison Blues’. Given where he sang it, it’s surprising that ‘25 Minutes To Go’ (to being executed) raised a laugh and a cheer. A brave choice of song! The DVD provides more than two hours on the day of the first recording ever made in a

prison, including new photographs and interviews by people who were in the audience, as well as Merle Haggard and Rosanne Cash. It is well put together and evocative of a historical moment in US history. This is four hours of history presented in a way which entertains. At under £20, it’s a steal!

Kevin Wharton

DUB COLOSSUS A Town Called Addis

Real World

Not so much removing the Blues blinkers as taking them to the end of a very long pier and throwing them seaward as far as you can. Ethiopian music may not seem to have much in common with traditional Chicago Blues but some of the general sound is similar to that of the Arab-inflected 'desert Blues' style, and as followers of the acclaimed “Ethiopiques” reissue series will know, the country's popular musicians have also been responsible for some amazing re-imaginings of US funk. Dub Colossus? Well, dub grew out of reggae, which in turn evolved from ska, which was largely based on, yes, American rhythm & Blues and jumping jazz. Although the links from the music on this album to the Blues itself may be tenuous, they are definitely there. Sometimes it can be the feel or approach or the technique, other times it might be something more ephemeral - a guitar riff, a slide across the strings (listen to the slide guitar on the remix of 'Shegye Shegitu'), a piano riff that could be Blues, a sax line that recalls Chicago - or the blistering big-band closer 'Mercato Music'. Yes, you need broad taste and open ears, in addition to an absence of blinkers, but if that description fits you, do, by all means, check this out.

Norman Darwen

PAUL RISHELL & ANNIE RAINES

Paul Rishell and Annie Raines first performed together in a Boston bar in 1992. Paul already a well respected, versatile Blues guitar player/singer and Annie a young, talented Blues harmonica prodigy. Seventeen years later and the duo have built a strong reputation for playing traditional pre-war Blues styles. But as this, their fifth release testifies, their grasp and ability to play electric Chicago Blues, and even laid-back jazz, is equally impressive. “A Night In Woodstock”, recorded live in 2005 as part of a documentary about jug band music, kicks into life with Paul Rishell’s National guitar, backed by Annie’s’ excellent and tasteful harmonica, on a vibrant version of Blind Boy Fuller’s ‘Custard Pie’. ‘Canned Heat Blues’ shows what a strong, soulful voice Paul has and, if this isn’t evidence enough, listen to the medley of ‘It’ll Be Me/I’ll Be Looking For You’. Annie takes lead vocal on ‘Got To Fly’ and ‘I’m A Lover Not Fighter’, but it’s her harmonica playing that steals the show on both tracks. The unaltered production puts you right into the club and, whether it’s the acoustic guitar/harmonica combination of the first few tracks, or the band joining in when things turn electric on ‘Can’t Use It No More’ or

PATRICK DRONEY The Other Side Reform

What do they feed their kids in the US and Canada?

Bonamassa at 12, Tintinalli at 14 and now a prodigious young talent called Patrick Droney at only 16 years of age. Having already played the Montreal Jazz Festival, Antone’s, B.B. King’s Blues Club and more, he was awarded the Robert Johnson Star Award Recipient for 2006 as the country’s most promising Blues musician at only 13 years of age.

“The Other Side” is his CD debut, and all twelve tracks therein are self-penned - there isn’t a bad one amongst them. This young man has absorbed the current music scene and presented a fresh view on some old themes, incorporating many touches from bands spanning different genres. To me he comes over as a Jack Johnson or James Morrison but with an electric edge and attitude, his songs borrowing from the Blues but sitting easily in the rock idiom - many of his songs are also very radio friendly. His guitar work is phenomenal for such a youngster, yet the album is more about melody and lyrics, with the majority of his solos toned down behind the song. Space prevents me from waxing lyrical, but try ‘Save Me’ with its instant sing-along line, including Soundgarden and Zack Wylde undertones. The future of rock and Bluesrock is safe in hands like these. Excellent stuff!

‘Moving To The Country’ (with a few jazzy moments in between including a wonderful version of Louis Armstrong’s ‘Old Man Mose’), there isn’t anything you won’t enjoy about this CD.

Davide Styles

ROXY PERRY In My Sweet Time BluePerry Hill

This lady has a big voice, strong presentation, real presence and a sense that she has lived the Blues. Roxy’s music incorporates swing, jazz, Blues and big-balled ballads, and all of the tracks on this, her third album demonstrate that she both enjoys what she does and knows the history of the music she is making. ‘Roadmaster’ is a case in point: a big swing number with horns tootling away, piano tinkling and her voice strident and leading. When she sings softly on a ballad like Hank Williams (Snr) ‘I’m So Lonesome I Could Cry’, with a simple piano and picked guitar backing, she has a soft vibrato in her voice but none of the Mariah Carey warble. She can funk it up, jazz it softly and play soul, and she demonstrates - song after song - what a confident and fulsome singer can do with a good number. Standout ‘That Night In Memphis’ has a funky Blues groove with the potential of being a blockbuster live numberPerry plays her own harp and she is excellent – but if you

Merv Osborne

MISSISSIPPI HEAT

Hattiesburg Blues

BYTHER SMITH

Blues On The Moon: Live At Natural Rhythm Social Club

Delmark

If you enjoy the current crop of Chicago musicians and, let’s face it, there are a good many of them, then you won’t find three better albums than this. Dave Specter’s was recorded in 2007 at both Buddy Guy’s “Legends” and “Rosa’s Lounge”, with the basic foursome augmented by the silky vocals of Tad Robinson, Jimmy Johnson (vocals/guitar), as well as Sharon Lewis singing on two tracks. Opening with the instrumental ‘Boss Funk/Riverside Ride’, the band stretch their licks, with some great keyboard work from Brother John Kattke, before Tad steps up for three songs, and Dave steps stage left where he both drives the band and solos sublimely. Try the slow Blues of ‘How I Got To Memphis’ for some beautiful smoky vocal chords from Tad. Johnson’s voice is the extreme opposite to Tad, and his guitar work is quite different from Specter’s in both tone and style, but the pairing works well. Try ‘Feel So Bad’, where the laid-back fingers of Specter contrast starkly to the pinch and rush of Johnson. When Lewis hits the stage, the proceedings lift a notch as Specter’s chops suit the deep, gruff voice whilst Miss Lewis commands the boards, his jazz style playing on ‘In Too Deep’ perfectly underscoring the scene. Mississippi Heat’s second album for Delmark is a great production where Chicago Blues meets the Latin tempo. Crafted much more around the band as a whole, the success here is in the overall feel and togetherness of the players rather than individual performances. Guitarists include Cark Weathersby, Lurrie Bell and Giles Corey, whose solo on ‘Calypso Blue’ would sit comfortably with the Santana band. ‘Forgot You Had A Home’ stands out as a masterpiece. Byther’s “Blues OnThe Moon” was recorded on Chicago’s south side amongst a community that originally gave rise to the Blues. This raw, uncompromising and unpretentious performance of a mix of original and cover songs recalls the halcyon days of true Chicago Blues. A solid performance by Smith and his backing band.

Merv Osborne

favour soul/gospel with a smouldering tone then the title track is the one to listen out for. Thankfully, there are still ladies out there who know how to put a number over and the likes of Adele and Duffy could do a lot worse than listen and learn.

Andy Snipper

DEB CALLAHAN

Only two albums in a decade of high activity on the mid-Atlantic live scene may not be a good return, but this effort comes in at an hour and, with some fifteen tracks, gives us a great chance to witness the powerhouse that is Deb Callahan. In your face Blues with sideshows of gospel and soul, tracks like ‘How Many Times’ and ‘Obstacle Of Love’ show off her attitude and range. Think Etta James. Think Bonnie Raitt. Most of the songs are penned by Callahan, or co-written with guitarist Allen James or producer Chris Arms. It’s tight throughout and

engages like a live album. Standout track, right in the middle, and right in the middle of the eyes, is ‘Guilty’, one of those eight minute ‘rather-go-blind’ anthems that you immediately want to play again once it’s over. To compensate for the draining and scorching, she slots in three tracks that come in at less than a minute. Each a nod to, as she puts in her sleevenotes, “Nina, Ray, Aretha, Joni,” which is fair enough but really just an opportunity for us to draw breath. She goes funky and funny on ‘No Taxi Driver’ without losing the pace and pulse before slowing it right down for what she does best, a soaring Blues-gospel hope-filled anthem, ‘Big Wide Space’. A terrific album, where the title itself is the best description of the content.

Gareth Hayes

RICK VITO Lucky In Love: The Best Of Rick Vito Hypertension

For over twenty years, Rick Vito has graced and enhanced, recordings and performances of the likes of Bob Seger, Bonnie Raitt, John Mayall, Roy Orbison and, of course, Fleetwood Mac. His recent tour with The Mick Fleetwood Band refocused attention on what a great frontman, singer, songwriter and guitarist he is. The nineteen track CD begins with ‘Mr Lucky’, the John Lee Hooker and Al Smith song, which Vito covers with classy vocal, fluid slide guitar and some get down Blues. ’Rhumba Diablo’ is a self-penned instrumental with hints of Peter Green

and Santana - the guitar on this track demonstrates Vito’s prowess as a top guitarist with Blues latino chorusing throughout. Peter Green’s ‘I Loved Another Woman’ is a sensational track. To imitate Green takes courage! ‘Meet Me At Midnight’, with its West Coast feel, gives a full taste of Vito’s sultry vocal, backed-up with some sexy riffs. Sam Cooke’s ‘A Change Is Gonna Come’ is the cherry on the CD’s cake. The slow deep felt guitar riffs touching the very soul. The guitar playing throughout displays the phrasing of a master of the instrument. Blues from the ‘50s and ‘60s into the 21st century!

Carol Borrington

DRUMBO City Of Refuge

John ‘Drumbo’ French was drummer and musical director of the Captain Beefheart Magic Band. The CD is dedicated to the late John Peel, like so many others in music, who was the Magic Band’s mentor - ‘To The Loft Of Ravenscroft’ is a direct dedication. Drumbo’s mission in producing this CD was to put new impetus into the work of the legendary Magic Band, whilst producing a piece of work that could stand in its own right - no mean feat! Drumbo is joined in his quest by former Magic Band members Bill Harkelroad (aka Zoot Horn Rollo), Mark Boston (aka Rockette Morton), Greg Davidson (aka Ella Guru) and John Thomas. Instrumentally, Drumbo achieves the early Blues, rock and experimental roots of the group, this is apparent on tracks like 'Bus Ticket Outta Town' and 'Abandon'. At the same time, the music stands in it own right. “City Of Refuge” hold its own in the past and present as a piece of instrumental music, the combination of instruments all doing their own thing, sometimes even sounding in opposition, yet they have the knack of coming together seamlessly. Where the CD had a flaw was in the vocal, Drumbo appeared to putting too much effort into making it sound dated, which did distract from the whole.

Carol Borrington

THE SEATSNIFFERS

Turbulence

Sonic Rendezvous

This is Belgium’s premier rock-roots/rockabilly band. Musically sound and full of fun. Definitely a collection that should be welcomed by most retro rock’n’roll fans. The first half dozen tracks are all highly danceable, slapping bass, prominent sax rockers. Then, just as you start to feel it’s all getting a bit samey, track seven, ‘Boat’, sees the sax being dropped. This coincidently provides the album with what is probably its most memorable track thanks to a great hook in the chorus, which unfortunately is not fit for print. We then progress to a bit of late-70s pub rock on ‘(You Need A) Checkup From The Neck Up)’. For the final three tracks, a foray is made into the world of simple country rock, with ‘Dark In My Heart’, ‘Three Words’ and ‘Thing’. Like many songs from the genre, the tracks here tend to be short, simple and high impact. Thus, for your eleven offerings, you get a running time of only thirty minutes.

Thomas Rankin

PLANET FULL OF BLUES

Planet Full Of Blues

planetfullofblues.com

Listening to this CD, the trumpet was overly intrusive, the Hammond organ was mixed too far up, the vocals were merely strained growls, and the tunes just missed completely. But then, as if by magic, the funk fairy decided to drop in on the recording sessions, sprinkling her dust, and turned the album completely on its head. Songs like 'Got The Blues' and 'You Can't Always Be Right' left me cold, however, once they launched into the funky 'Money' and followed it up with the fantastic 'Dirty Pains', I was wreathed in smiles and dancing like a fool. Well, tapping my foot relentlessly. From then, until the end of the album, it was like a whole new band had checked in to the studio. I even read the sleeve carefully just to make sure it wasn't a split CD, and that I hadn't noticed first time around. Heck, even the horn section settled down and started grooving with the best of them. Essentially, a two-man-band of songwriter and guitarist Johnny Ray Light and drummer Brock Howe, supported by guest musicians. Kudos has to be given for making the leap from covers band to original material. Hopefully, next time round, they'll make a whole album as good as the last five tracks here.

Stuart A Hamilton

WILLIAM CLARKE

One More Again!

Watch Dog

This is the latest recording to be issued from the archives of previously unreleased material from the late great Mr Clarke. The ten tracks included in this collection were recorded live at an unnamed club in Los Angeles in 1993. As well as underlining what a wonderful harmonica player he was, these songs provide ample evidence of what a fine songwriter and excellent vocalist was lost when he passed in 1996 at the age of 45. Hailed as a master, within the Blues community, of both the diatonic and the more difficult chromatic harp, he experienced only limited commercial success until the early-90s. In fact, he only toured professionally for the five years prior to his death. His work during this period would earn him four W.C. Handy Awards. On this album, recorded at the height of his powers, there are a couple of tracks which surprisingly do not feature heavily on his virtuoso playing, but they do allow us the opportunity to admire his rich, smooth Blues vocal. Most, however, provide us with an insight as to why he is regarded as such an influential figure. There are also two untitled instruments which truly show what he could do. It may be that this is a new name to you. If so, and particularly if you are a harmonica fan, it’s time you made an addition to your collection.

Thomas Rankin

BUSHMASTER Live & Blue

myspace.com/bushmasterblues

As the title suggests, this is a live CD from Bushmaster. The CD kicks off with ‘Night Shift’, a laid-back funky Blues number;

Gary’s gritty Blues voice handing over to deep heart felt guitar solo with fluidity. This in turn is passed onto chest gripping modern Blues bass solo from Jay Turner, and then tossed to drummer Mark St Pierre to show he is own talent. ‘Have You Ever Been Mistreated’ is a slower Blues ballad reminiscent of the playing of Clapton and Stevie Ray Vaughan. The song is influenced by an improvisation on material by Sonny Boy Williamson II, Muddy Waters, Eddie Boyd and Buddy Guy. The liner notes give a full explanation of how the song has been combined, but what they don’t tell you is what a fine job these musicians have done both vocally and instrumentally putting them together. ‘Drowning On Dry Land’ shows the influence of Hendrix on Gary and the legacy left by Jimi on a new generation of musicians. ‘Nappy’s Boogie’ is an instrumental slower rock Blues, very funky feel to the whole, displaying good vibrato, string bending and quality phrasing by Gary – and, again, the prowess of the rest of the band as Blues musicians.

Carol Borrington

JUDE JOHNSTONE

Mr. Sun

Bojak

It is difficult to classify Jude Johnstone’s latest exploration into songwriting exposition. It’s generally a happy album full of buoyant themes and optimism, but flavoured like cappuccino, with plenty of froth and spice around the edges that suggest loneliness and longing. Influences range from jazz and soul and, indeed, the Blues, yet it’s clearly a singer/songwriter’s album with an emphasis on mood and maturity. The second number, ‘Over Easy’, lays down the principles of sexy metaphor with muted trumpet and mellowness. And that’s really what the rest of the album is about, toomellowness. Jazz bar framing on ‘Echoes Of Blue’ tell the same story. It’s sensitive and sultry and reflective in a manner that all pianoled singer/songwriters seem to offer. Blues guitar of some attitude is called for on ‘Baby, Don’t You Call My Name’ and is appropriately pitched by the very able Mark Goldenberg. It’s also the catchiest track that may well get picked up by another artist - Johnstone has a reputation for writing for others, such as Bonnie Raitt, Stevie Nicks, Johnny Cash. The standout, ‘So Bad’ is a simple lament of intimacy. No need for muted trumpet on this one. The album ends like it begins, with a series of all too similar ballads that can’t be criticised but can’t be celebrated either. A refreshing cup of cappuccino, but just a cappucinno.

Gareth Hayes

BOOGIE BONE

Boogie Bone

Bone Daddy

Boogie Bone have their roots in Portland, Ohio and this is their debut self-titled CD. This is another band, while solidly Blues rooted, who are not afraid to mix and match genres and add a touch of jazz, funk, soul and hard rock to their music. It’s also a CD which crosses decades and geography, it like a road tour of American music. ‘Ain’t No Good’ is Blues cross fertilized with other genres to give an up-tempo rocking Blues. ‘Cheatin

RAY LaMONTAGNE

Gossip In The Grain

14th Floor

It was at some point in 2005 that Ray La Montagne’s star slowly started to rise. The title track from his first album “Trouble” was getting increased coverage in the UKeven though it had been released over a year before it was making an impact. Oddly, by the time of 2006’s “Till The Sun Turns Black” release, “Trouble” was still making waves in the album chart. It was one of those occasions where you felt the timing just wasn’t right. The general public assumed that LaMontagne’s second CD was more of the same and to this point, ‘Trouble’ remains to be his sole UK hit. So from that, 2008 was a step in a focussed direction. “Gossip In The Grain” still keeps its dignity and warmth and super-producer Ethan Johns continues his work with the singersongwriter but there is only a few new ideas thrown into the mix. The opener ‘You Are The Best Thing’ has all the dynamic horns and multi-layered vocals of a Motown record, where the eerie stomper ‘Meg White’ sounds like a stalker whispering into a Dictaphone. The rest of the record fills in with differing girls’ names and wholesome family situations. There is some slow guitar strumming and a few outside instruments, but nothing to tackle the previous image of a melancholy soul.

Heart’ is slower Blues and jazz combo in the New York vein. Up-tempo and rocking, all topped with a Blues vocal, with a hint of jazz and a mean harp driving through some heart driven bass. ‘What I Need’ takes you in a slower Blues song and off to Chicago with that harp again, topped with good guitar work showcasing some tasty violin and highly impressive sax work and driving drums. ‘Weekend Blues‘ is a swinging jazz/Blues number that has you tapping your feet and clicking your finger to the beat. ‘Blues Sea Boogie’ has some great sax work and a late-50s feel in the vocal. ‘See It Through’ mirrors the transition period of Blues to rock-Blues. Musically, this is a versatile band, with good musicianship and vocals – and, if this is their debut, it shows some really potential for future ventures.

Carol Borrington

MIKE CULLISON

Blue Collar Tired

mikecullison.com

Mike Cullison has released a fine album of country rock music here, even if, from my perspective, slightly too heavy on the honky tonkin’ and definitely lacking in real inspiration, although covering the classic Canned Heat track ‘Going Up The Country’ gets a vote of respect from me. There are some notable players on this album that have some true musical pedigree, including drummer Billy Block (New Country) and Johnny Neel

Matthew Clarke

(Allman Brothers) who, besides providing keyboards, also produced the album. While the majority of material does fall into the traditional country rock category, the title track, ‘Blue Collar Tired’, is a real Blues-rocker, highlighting the artists future Blues potential, another strong track is ‘This Old Heart’, which benefits from some tasty lead guitar work. Overall, this is an excellent album highlighting Mike Cullison’s strong vocals and songwriting skills, yet interest is only heightened on the harder rockier material.

Adrian Blacklee

TEN YEARS AFTER Evolution

tenyearsafternow.com

It's over thirty years since Alvin Lee left Ten Tears After. The band have made a few attempts to reconcile with Lee, and even managed to make one album, "About Time", but Lee has left again after each effort. The latest near reformation was in 2001 when the band’s entire back catalogue was reissued, but Lee declined the opportunity to tour in support of them. So,

Years After - Leo Lyons on bass, Chick Churchill on keyboards and Ric Lee on drums - got together with the youthful guitarist and vocalist Joe Gooch. Not content to sit back on their laurels, After…Now", and they’ve been on the road pretty much ever

since. Now it's time for a new studio release, and "Evolution" is the result. And it's…well, OK. I wanted it to be more than that, butit isn't. If it had any other name on the front, I doubt it would be receiving much attention, as they plod their way through ten fairly pedestrian pieces of routine Blues-rock. There are a few beacons of light dotted around here and there, with 'Slip Slide Away' and 'Tail Lights' well worth repeated plays, and the Hammond work of Chick Churchill polishes many a turd. Overall, though, I'd be hard pushed to pick out more than a handful of songs I'll play again.

Stuart A Hamilton

KATE HART Alone Again With Friends

katehart.com

Detroit-born Kate Hart delivers her first album for nearly a decade, as part of a career that goes right back to the’60s. The best and worst of times are apparent in this fourteen track exploration into superb Blues and soporific jazz. It’s that unwanted mix that makes it feel more like a compilation album than a novel delivery of all-original songs. For Blues lovers, there is enough here to make the trip worthwhile, though. The first three tracks are true embers of burning Blues, with the mellowest harp, courtesy of Dave Morris, accompanying Kate Hart’s overflowing vocals that settle freely into gospel repeat. They drawl and drain with pained perfection and then suddenly,

with track four, and ‘Bad Girl Blues’, we get coffee-shop jazzBlues with floaty keys and a different mood. We then move into elements of swing and a new era. The gospel element, so strong early on, has gone and we’re in Marilyn Monroe territory, particularly on ‘Monkey On My Back’. We even get a Bo Diddley styled number, ‘You Can’t Go Up’, but without the punch, before, at last, we return to the emotional sensitivities of the first three tracks in the tail of the album. Standout of the whole package comes at the end, with ‘Living The Blues’, a slide guitar-driven threnody that just about makes things worthwhile.

Gareth Hayes

BIG LINDA

Hard rock from this quartet, with a feint hint of Blues’n’funk. Opener, ‘Suddenly Attacked’ is a well rounded full-on track which is thoroughly enjoyable, and something slightly reminiscent of Mothers Finest. A good start! A shame, then, that second track ‘Golden Girl’ is more guitar pop, with that watered down punk feel. A good solid number but a letdown after such a strong start.

‘Another Way’ opens acoustically, and builds into indie power ballad, with a nod at Radiohead. ‘Idelu’ is a strange number, being largely indie-rock but in places the guitar sound is that of mid-90s Robert Fripp, and the quieter moments have a stoner edge. Some nice drum work, though. ‘Windpower’, with its tribal drumming and Hawkwind intro, nods at the kind of 80s pop that still hadn’t quite forgotten punk, and the deep vocal moments nod at the Crash Test Dummies. The mix of styles goes on, to rock and back. Clearly playing a guitar doesn’t make you rock’n’roll, and the band seem to be playing a lottery in trying to find it.

Joe Geesin

EDGAR WINTER Rebel Road

Evangeline

Edgar has been, over the years, an anomaly of musical terms. His precocious talent has flirted with differing styles and, whilst not enjoying the flash of stardom that his brother Johnny does, he is still there producing records, playing and touring. “Rebel Road” somehow ties together those elements of Winter’s musical rebel side, and by inviting Slash to play on the title track, it opens with a fiery rocking song. In fact, this is Slash at his meanest and finest. His brother Johnny solos on the Bluesy ‘Rockin’ The Blues’, and again it’s a fine performance from the guest artist, but Edgar doesn’t need to rely on guests as his touring band are more than capable of kicking some ass! Check out the country rocker ‘On The Horns Of A Dilemma’, or the AOR tinged ‘Freedom’. Edgar’s hard edged voice is on the nail throughout and there are very few downsides. The weakest song here is the ballad to his wife, Monique, called ‘The Closer I Get’. It’s an acoustic autobiographical rendering of his love for her and sits out of character with the rebel theme as further expounded in ‘The Power Of Positive Drinking’ and ‘Texas Tornado’. Overall, this is a good rocking album.

Merv Osborne

MR. DAVID VINER

Among The Rumours And The Rye Loose

We Brits should pat ourselves on the back occasionally, because we’re always doing something interesting and new with music, if only to prove that we’re more than the “X Factor”. Here’s a fine example. I was particularly interested in this collection of original songs written by David and Lucy Viner, because there’s a familiar name in the line-up, the excellent bass player John Cheeseman. Having lived in Grimsby for ten years (well, somebody had to), I was aware of John as a local legend on the music scene, with his hard working rockabilly outfit the Riot Rockers, and he was also landlord for a while of one of our favourite boozers, the Barge. It’s a collection of mainly gentle songs with thoughtful lyrics performed acoustically. It does rock like hell here and there, such as on ‘Dig A Hole’, and throughout there’s a great downhome feel on tracks like ‘Get Through This’ and ‘Old Black Crow’. If you like folk music, spliced with a touch of Blues/Americana, and poignant songs which make you think, this is for you, and the title song, ‘Among The Rumours and The Rye’, is terrific. This is personal, intimate music crafted with love. Good old Britain.

Roy Bainton

FREEWORLD From The Bluff Swirldisc

You might not have heard of FreeWorld, but you will have heard of their producer on this CD, one Jim Dickinson, and his sons, Luther and Cody (North Mississippi Allstars), who also appear on this record. The band, FreeWorld, are actually one of Memphis’s premier jam bands and have been going for more than twenty years. This is their fifth studio record and it features an array of musical talent. The record is dominated by jazz funk, which in itself can either be a blessing or a curse. The opener ‘Keep Smilin’ is a solid piece of Blues-rock, but after that, it goes headlong into the majesty of jazz, a la Weather Report or Steely Dan. It’s always a pleasure to hear musicians with real ability to play, but some of the later tracks do rather merge into one as the jamming takes over. At times, it feels like a left over from a certain age when an album wasn’t an album until it had at least four different solos on each track.

Jamie Hailstone

JOHNNY FLYNN

A Larum

Lost Highway

For a handful of artists, 2008 was a year to show no fear. When I write those words in this context, I don’t mean mass genocide or public humiliation. What I do mean is that the quiet, dignified lo-fi sound that has in many ways infected various individuals in the last millennium from the medieval man with a lute and a love song to Tim Buckley has become popular again. This time it is not Burt Jansch or Joni Mitchell but a

LIL’ ED AND THE BLUES IMPERIALS Full Tilt

MICHAEL BURKS

Iron Man

Alligator

Lil’ Ed is titled “King of the Slide” and the Blues Imperials “the world’s #1 houserocking band.” On this album, they could just convert any non-believers. The opening track, ‘Hold That Train’, is truly ‘full tilt’. A blistering, rousing train song. Sounds like a classic, but is just one of the many fine originals, which vary from mainly straight rockers to a couple of slow tracks and some Chicago Blues. The covers are well chosen. You get a lively version of the old dance track ‘First I Look At the Purse’; an excellent version of James Young’s slow Blues ‘Every Man Needs A Good Woman”, which also allows Ed to display his gritty soulful vocal; and an exemplary homage to Hound Dog Taylor on ‘Take Five’. A fifteen track hour of joy. Michael “Iron Man” Burk is the owner of a gruff, smoky, emotionally charged vocal with a hard drivin’, stormin’ guitar style full of raucous riffs and fearless fret-melting, inspired by the likes of Albert Collins and Luther Allison. It’s part rock, part soul, but all Blues. There is a nice mix in the pace of the tracks but all are heavily guitar driven. I know nothing of the artist’s love life but the relationship theme dominates the tracks, as titles like ‘Icepick Through My Heart’, ‘Love Disease’ and ‘Empty Promises’ would indicate. Gifted with lyrics such as “and I don’t even smoke... I believe to my soul there’s another man sleeping in my bed” and “every time I ask you to make love you say you’re tired and you don’t feel well” (‘Ashes In My Ashtray’) - you know where he is coming from!

group of hairier, more backwood-looking bunch. The success of artists such as Bon Iver and Fleet Foxes prove this to a certain extent, but the ‘scene’ can be derived from far much more than its success stories.

James Yorkston has built upon his already nonchalant presence with a new album and a new stake in the festival hierarchies and bluegrass deadbeats

Mumford And Sons have hit a nerve with the BBC in their Sound 2009 predictions. So where, you may ask, does Johnny Flynn fit in? In taking the overly clever route of mentioning the current climate of folk music, it is humbling to suggest that Mr. Flynn is at the very highest calibre of this group of artists. Every melancholy note and strained violin string is a delight. It is a paen to the broken hearted. The only suggestible thing would be to witness it, privately perhaps with a lover in a small shack on the coast of the Isle of Skye.

Matthew Clarke

DAVE ARCARI Got Me Electric Buzz

One of the hardest working musicians around, spending a great amount of the time on the road with his absolutely unique shows, Dave is a formidable imposing presence on stage. Quite how he has found time to write and put these recordings together is a bit of a mystery. Having said that, when you are just using your voice and guitar, the process is

simple. Okay, so on to the music. Throughout, Dave growls his vocals, stomps his feet and pounds his guitar as only he can over these thirteen cuts. Subtle is not really a word to apply to any of the songs, although, when he is covering 'Soul Of A Man', at least he tries to tone it down. This album is rough and ready, downhome Blues of the highest order. He takes Robert Burns, yes, the Scots poet, and blasts apart 'Parcel Of Rogues' brilliantly. Yes, there are still traces of the folk in there but it just lends itself to a Blues workout. 'Nobody's Fool' is a tale of getting out from under moneylenders, at least for now. The country tinged 'Homesick & Blue', 'Hear Me Coming', 'Bound To Ride' and 'Close To The Edge' are real highlights.

Graeme Scott

JOANNE SHAW TAYLOR White Sugar

Ruf

This burns with an intensity that you’d associate with a Stevie Ray or Ted Nugent album, and Joanne has a voice to go with it, too. Opening track, ‘Going Home’ kicks ass righteously and her guitar sound is full of menace and real intent. Of course, having ‘Big’ Jim Gaines as your producer doesn’t hurt but he won’t be able to do anything if you don’t have the talent to begin with, and playing with the likes of Jimmy Cliff, Dave Stewart and Candy Dulferwhen when you are 17 will probably give you

some chops to learn from - and from the sounds of the nine self-penned numbers here, Joanne isn’t missing anything in the talent or confidence stakes. ‘Bones’, the only number here she didn’t write, has a swamp Blues feel to it, as well as a seriously funky guitar sound, whilst the title cut shows that she is very capable around the Telecaster she is pictured with on the cover. The closer, ‘Blackest Day’ is a stunning introspective piece with all the emotional content the title suggests and sung in a smoky tone that just rivets. Even though she has been playing in her own bands for a few years (since she was 14), Joanne Shaw Taylor is a real contender for newcomer of the year on the basis of this album and, if she is the given the opportunity to develop, she could be huge in the coming years.

Andy Snipper

ANGIE PALMER Meanwhile, As Night Falls…

Akrasia

Angie Palmer is a class-act. Production values abound from the album packaging, artwork and complex website, she knows

how to gift-wrap, and the content of the CD is equally shiny and glamorous. Her fan-base is growing as fast as the stars mount up on her back-catalogue and reputation, word-ofmouth and expectation add to the status. So, what of the music? It’s pop, folk and folk-Blues - in that order. Superior story-telling with superior musicianship makes for easy listening or intense adventure, whichever you want. The best Blues comes through on ‘Hunting The Wolf’, a novel take on a favourite fairytale, with delicate breathy vocals shadowed by haunting guitar giving that dark woodland a hypnotic and fiery edge. Angie Palmer’s vocals become a notch more husky on ‘Hey Lazarus’, as guitar, banjo and mandolin compete for her attention. It’s a pleasant sound - safe and symmetrical. ‘I Hear That Locomotive’ carries the railroad folk-Blues banner high and proud, eschewing predictability without a second thought; so much so, it works. Fans of Bob Dylan and Joni Mitchell allure to Palmer’s style and that labels her as much as her frequent radio-play on Bob Harris does. The marathon, nearly nine-minute-long album finale, ‘Weeping Wood’, sums up her folk and fairy tale desires. Building and crafting with artistic merit, the status is one of stature and arrival.

Gareth Hayes

HOGJAW Devil In The Details

swampjawbeamusic

Hmm, a band wearing trucker caps, singing songs about guns, cars, whisky (with an 'e') and swamps. I smell a southern rock

THE JEFF HEALEY

BAND See The Light Hell To Pay Feel This SPV/Blue

At only 8 months old Jeff Healey’s eyes were removed because of a rare cancer, retinoblastoma. He first picked up a guitar at age 3, and perfected his own virtually unique method of playing. This involved (mostly) sitting down, placing the guitar lap steel style on his knee and fretting with all digits of a down-turned left hand; this gave him great control and power, deriving a particular tone in his rock and Blues playing. He was discovered in 1985 playing Albert’s Hall in Toronto by Albert Collins and, the undisputed leader of the mid-80s Blues revival, Stevie Ray Vaughan. This eventually led to a recording contract with Arista. It is hard now to imagine the enormous impact of the international discovery of this brilliant Canadian guitarist in 1988 and 1989; the buzz on BBC Radio and the early fascination with his style of playing was huge. These remastered digipaks are rereleases of his first three full-length studio recordings. He always attracted the attention of fellow musicians, and covered material by John Hiatt (the massive US hit ‘Angel Eyes’) and ZZ Top (‘Blue Jean Blues’) on his debut, and incidentally finest, album. Then on “Hell To Pay” he enlisted Mark Knopfler to back him up on ‘I Think I Love You Too Much’ and George Harrison on the previously untouchable Beatles/Clapton classic ‘While My Guitar Gently Weeps’. However, Healey was much more than a cover artist, and songs like ‘I Need To Be Loved’, ‘Life Beyond The Sky’ and ‘Evil And Here To Stay’ are fine examples from these albums. Tragically, after being cancer-free for most of his short life, it returned with a vengeance and he passed away just a few days short of his 42nd birthday, and a month shy of the release of his new release “Mess Of Blues”. Although the initial shockwaves subsided with each release, and Healey himself became wearied of the rock scene and turned to his first love of jazz, the brilliance of his early output cannot be over-stated.

MAVIS STAPLES

Live: Hope At The Hideout

AntiBaring her soul to a totally enraptured audience at The Hideout in Chicago, in the early summer 2008, this new album reflects very well the magical elements that on occasions conspire to create a special atmosphere. Backed by a three-piece band and some additional folks on backing vocals, Mavis began, surprisingly, with a fine cover of 'For What It's Worth'. Straight into 'Eyes On The Prize', 'Down In Mississippi' and 'Wade In The Water' - if you ever needed a good example of the close relationship between gospel, Blues, soul and R&B look no further than those three tracks. You've got the lot right here, call & response gospel lines, deep soulful rhythms, heartfelt Blues and a respect for music of the southern States that, even if you do not particularly have a religious faith, you can not help but be carried along by her remarkable talent. Listening to this album moves you, uplifts you and, should you be feeling down, then I would suggest it could banish those Blues and heal your pain. Ever possessed of a social conscience, Mavis belts out standards such as 'Will The Circle Be Unbroken', 'We Shall Not Be Moved' and 'Freedom Highway' with such passion that when she closes with 'I'll Take You There', you would gladly get onboard. Outstanding stuff.

RUTHIE FOSTER

The Truth According To Ruthie Foster

Blue Corn

Ruthie Foster is on a roll at the moment recordings wise. Possessed of a glorious voice that lends itself to gospel, Blues and soul, she is a delight to listen to at any time of the day. In concert, you get to experience the full range and power available in her pipes, and it is, at times, strange to think that it comes from a little lady. On record, it is just as pleasurable to listen as she wraps her vocal chords around these eleven songs. The vibrant 'Stone Love' gets us underway then a nice reggae groove, 'I Really Love You', takes over. I loved her take on Patty Griffen's 'When It Don't Come Easy' - filled with heartbreak, as is 'Tears Of Pain'. When she sings, in the title song, "truth is where you are," she nails the sentiment that permeates this album just brilliantly. There is not a bad vocal performance here. Backed by stellar musicians, this should surely elevate Ruthie to the highest levels of this wonderful world of music.

Graeme Scott

BLUES BASEMENT Seven

Arctic

band, and a mighty fine one at that. Fronted by vocalist, guitarist and chief songwriter Jonboat Jones, Hogjaw take a basic southern rock and Blues template, run it through a Leadfoot/Corrosion Of Conformity/Pride & Glory metallic burner, and come out the other side with a hot and nasty, 21st century version of God’s own music. There's a hint of stoner and desert rock about them, as well, but these boys seem more inclined to greet a stoner with a 12 gauge shotgun than a bong. However, there's nothing here that would give a Molly Hatchet fan undue cause for concern with 'Before Monday Come' riding hard on a 'Beatin' The Odds' style riff. And they're not averse to a Lynyrd Skynyrd type ballad, with 'The Fog' filling the position nicely. Being good southern boys, though, they follow it up with the gun toting 'Gitsum'. It's a storming album from start to finish, and anyone with a hankering for some red hot southern rock and Blues would be well advised to check this out.

Stuart A Hamilton

This Norwegian band, going by the seemingly very popular name of Blues Basement (according to my search engine’s results anyway), have been established for twenty years and have released at least five CDs in their home country. The band site their Blues heritage as being John Mayall and Eric Clapton, and this clearly shows in their musical output, which is basically late-60s guitar led Blues-rock, whilst all the material is self written and dominated by the guitar dexterity of Eric Stensvik a la Clapton himself. While the musicianship is strong throughout, the vocals are the weak link. I do not wish to be overly critical, as I appreciate that English is the second language here, but a good vocalist would really enhance the band’s sound and take them to the next stage. This CD does highlight the diversity of Blues music being played around the globe today, while not a recognised Blues hotbed, these guys have certainly put Norway on the world Blues map, particularly with the penultimate track ‘Plaintive Blues’, which includes some good keyboard work from Rune Pettersen.

Adrian Blacklee

THE JIMI HENDRIX

EXPERIENCE

Electric Ladyland: 40th Anniversary Collectors Edition

Universal

This retrospective package, comprising a sixteen-track CD and DVD, is re-released yet again - this time, to celebrate the 40th anniversary of the original release of the famed double album in the troubled times of 1968. The DVD is an interesting if somewhat disjointed rockumentary about the making of the album. Poignantly it includes sound bites, amongst others, from all three original members: Hendrix, Noel Redding and Mitch Mitchell, and producer Chas Chandler - all sadly now passed away. The chaotic work of the genius Hendrix frustrated

Graeme Scott

the producer and band members alike, if not the indulgent engineer. Some of the still photography is by Linda Eastman, and it had been Hendrix’s wish to use this on the album sleeve. The album is highly experimental and innovative. It certainly demonstrates that its leader had moved light years from the tight rock band that burst onto the scene with the seminal “Are You Experienced?”. Mates like Jack Cassady, Mike Finnigan, Dave Mason and Steve Winwood drop in. The songs include some of his best, especially the propulsive ‘Crosstown Traffic’, straight ahead rock of ‘Come On (Let The Good Times Roll), brilliant Dylan interpretation ‘All Along The Watchtower’ and massive hit ‘Voodoo Child (Slight Return)’, but also some of his increasingly inaccessible material. Chas Chandler sought the concise and commercial; Hendrix obsessed over the creative and eclectic - the tension is palpable. This could have made a brilliant solo album if it had been edited to the sum of its finest parts.

Noggin

NEW GUITAR SUMMIT

Well, I certainly wasn't expecting this. After all, you've got Jay Geils from, um, the J. Geils Band; Duke Robillard, a Blues legend who, amongst many other accomplishments, replaced the seemingly irreplaceable Jimmie Vaughan in The Fabulous Thunderbirds; and Gerry Beaudoin, a well respected jazz guitarist. Heck, they even went and brought in Randy Bachman of BachmanTurner Overdrive to handle the two vocal turns on this largely instrumental release. Now, I missed out on their debut release back in 2004, and on the follow-up DVD, so was ill prepared for the late night, smooth jazz stylings that came trickling out of the speakers. Where was the smoking hot Jay Geils Blues guitar I loved so much? They've turned the clock back to the smoke filled backrooms of the ‘30s for a very sophisticated set, fairly evenly split, of originals and covers. If I tell you that they revisit classics by the likes of Benny Goodman, Fats Waller and Lionel Hampton, then you'll know where they're coming from. Don't get me wrong, this is actually a very good album, especially when Randy Bachman turns up for the two Mose Allison covers, but me, I had to head off and dig out "Live Full House" - the legendary 1972 J Geils Band album - just to recover from the shock. Recommended for the more sedentary among us.

Stuart A Hamilton

MORIARTY

Gee Whiz But This Is A Lonesome Town

Naive

Moriarty are made up of members from London, LA, Boston, Paris and Cincinnati – and this diversity is reflected in the album’s twelve self-penned songs. Lead vocalist Rosemary Moriarty has a very distinctive and unique voice. It has good range and intonation but it is also able of performing vocal gymnastics - from the sultry and sexy to, at times, menacing and dominating. The instrumentals are unique, and labelling is difficult as the group dip their toes

in folk, Parisian jazz, rock, Blues, prog, country & western, and elements of world music. Opening track, ‘Jimmy’ is a rootsy country & western ballad, with Rosemary’s timeless vocal telling the tale. ’Loveliness’ is an extreme contrast, defying any box, being diverse throughout in genre and cultural influence. A musical melodrama of contorted lyrics and sounds, all acting out an abstract plot. ‘Private Lily’ is a song with deep satirical lyrics about youth and war through the eyes of a female recruit. An intense and condemnatory song, again with a surrealist edge built on the early-60s folk protest model. The strangely titled ‘(…)’ is a short instrumental break hinting at primitive prog rock. ‘Whiteman’s Ballad’ is country & western with a hint of an Irish lilt; political lyrics are driven by musical highs and lows. This CD is very different, but excellent.

Carol Borrington

GATOR COUNTRY Live Go West

Molly Hatchet are, without question, one of the great southern rock and Blues bands. Of course, the Molly Hatchet that's still touring and recording lacks one essential element - an original member. There's not one in the Molly Hatchet™ of today, thanks to the joys of the legal world, although Dave Hlubek has been in and out of late. This is where Gator Country comes in. They can number four of the classic Epic Records era band in their ranks. Factor in the strange addition of former UFO guitarist Paul 'Tonka' Chapman and, on paper, they should be world beaters - age and infirmity allowing. And they are! From the moment the riff to 'Bounty Hunter' kicks in, a shiver run down my spine and didn’t leave until 'Boogie No More' crashed to a close an hour or so later. As someone who heard the Jimmy Farrar fronted Hatchet first, it's a joy to hear his powerful voice is still intact. And with a classic three lead guitar line-up in place, the music just rocks your Blues away. The album is dedicated to the late, great Molly Hatchet guitarist Duane Roland and closes with a cracking studio number, 'Oh, Atlanta', featuring the man himself. An absolutely essential purchase for fans of the genre.

Stuart A Hamilton

DYNAMO’S RHYTHM ACES What More Do You Want In Life?

dynamosrhythmaces.co.uk

There is a fine line to tread when you cover a well-known song in a new or unusual genre. Get it right and the results can be truly electrifying, get it wrong and you end up with what seasoned music critics like to call a “dog’s breakfast.” Dynamo’s Rhythm Aces are a trio of guys who love their retro ‘40s and ‘50s jazz, swing and rockabilly almost as much they love their modern “beat combos.” “What More Do You Want In Life?” is the band’s fourth CD and features skiffle and swing covers of everything from Aerosmith’s ‘Walk This Way’ to The Clash’s ‘Rock The Casbah’. Some of the covers work better than others. Their

DUWAYNE BURNSIDE

Live At The L.A. Mint

TOMMY MCCOY WITH TOMMY

SHANNON & CHRIS LAYTON

Triple Trouble

NORTH MISSISSIPPI ALLSTARS

Phantom 51 ROB TOGNONI

Ironyard Revisited

Blues Boulevard

Mississippi born Duwayne Burnside was joined in 1998 by family members Cedric Burnside (drums) and famous father RL Burnside, plus friends known as the Mississippi Mafia, for this live recording in Los Angeles, and now reissued under licence. Duwayne, long time rhythm player in his father’s band, this time takes lead guitar duties throughout. The band gets off to a blistering start with ‘Bad Bad Pain’, and deliver standards like ‘Crosscut Saw’ and ‘Dust My Broom’ with panache; the latter driven along by accordion accompaniment. The real letdown is a near nineteen minute plod through the hackneyed and tedious ‘Hoochie Coochie Man’, and one wishes space had been found for more originals. Veteran Tommy McCoy’s album, recorded in Texas, had been in the can for some years, and was made as a result of a long friendship with the late Stevie Ray Vaughan. The inclusion of the Double Trouble rhythm section in the title only applies to six of the thirteen tracks, but that does not detract from what is an excellent and belatedly released album. There is an apparent topical preoccupation with money which forms the subject matter of no less than seven tracks, including versions of Pink Floyd’s ‘Money’ and ‘Money (That’s What I Want)’, covered by The Beatles and Buddy Guy et al. The music is in the vein of southern rock and Blues, and McCoy’s keen songwriting, strong vocals and tasty guitar work combine to produce an excellent album. “Phantom 51” is the second album from North Mississippi Allstars, and, when originally released in 2001, cemented their reputation as the purveyors of rootsy Blues infused rock. Brothers Luther and Cody Dickinson emerge as talented songwriters, and, from the opening bars of the title track to the sound effects introducing the hypnotic rhythms of the closing song, ‘Mud’, this is essential and wonderful Americana. Junior Kimbrough’s ‘Lord Have Mercy’, the Allstars version of Pops Staples’ gospel infused ‘Freedom Highway’, psychedelic ‘Circle In The Sky’ and ‘Leavin’’ show a harmonious and welcome sensitive side to their music. On the other hand, Tasmanian native, Rob Tognoni returns with this typically uncompromising and often frenetic set. It was indeed a defining moment for Tognoni when at age 14 he attended an AC/DC show, and their influence is most apparent in this Blues-rock CD. Most of the tunes were laid down earlier this year, but are occasionally interspersed with older rarities going back a few years, including his uninspiring live take on ‘Hey Joe’ and the alarmingly titled live ‘Blow Your Nuts Off With A Gun’. The best examples of his talent are displayed in the slow Blues instrumental ‘The Ironyard’ and choppy ‘Can’t Take Lovin’’. Noggin

rendition of The Arctic Monkey’s ‘I Bet You Look Good On The Dancefloor’ is excellent, while their take on Pulp’s ‘Common People’ is a slight misfire. The swinging beats and vocal harmonies show the trio of William Waine, Daniel Kear and Peter Lane really do know their stuff, and you know that they must be a lot of fun live. Quite what AC/DC fans would make of their version of ‘Back In Black’ is another matter. For those about to swing, Dynamo’s Rhythm Aces salute you!

Jamie Hailstone

JAKOB DYLAN Seeing Things Columbia

Even if you were living isolated from all news forms, if this album came to you there could be no doubt about half of

Jacob's parentage. Not only would the name give the game away, but also there is something unmistakable about the eyes. They bore straight into you, demanding your attention, and so it is with the music. Produced, or should that be under produced by the extraordinary Rick Rubin, this CD is quite exquisite in its simplicity. Voice, guitar and, of course, the songs are given the magic treatment of less is more. Dare I say that he has a more musical voice than his father does? Ten strong songs make for a slight difficulty in picking particular ones to highlight, however, 'Will It Grow', 'Something Good This Way Comes', 'Up On The Mountain' and 'I Told You I Couldn't Stop' most certainly are options. Mind you, how could I leave out from that list 'Evil Is Alive And Well' or 'Valley Of The Low Sun'? Stepping out from his time within The Wallflowers has allowed Jakob and his music to shine.

Graeme Scott

JACK BLACKMAN

Around five years ago I found a 1970s Jedson Telecaster copy in the loft and set about meeting a challenge set by my dad: ‘Learn ten chords properly and I’ll get you a decent guitar!’ A week or so later I plugged the guitar into his old WEM amp and blasted out the chords. I was 9 years old and totally hooked by the guitar and especially to playing the Blues.

“I’m 14 now and the last year or so has been amazing. I passed my grade 8 guitar exam and successfully applied to the BBC for an instrumental bursary. This money paid for my American 1952 re-issue Fender Telecaster, which is now my main guitar.

“On 12th March 2008, my 14 birthday, Paul Jones phoned, responding to a letter from dad. He invited me to do a number sitting in with The Blues Band at Cox’s Yard in Stratford upon Avon.

“I turned up with the Tele and an amp (a borrowed Mesa Boogie), as nervous as anything. Tom McGuinness and Dave Kelly were already there and called me up for the sound check, which went pretty well. Towards the end of their first set, Paul called me up with a jaw dropping intro: “I recorded this song in the 1960s with Eric Clapton so, no pressure, Jack!” The crowd laughed as the band, with me as guest, launched into the old Powerhouse number ‘I Want To Know’. I took a solo and loved every second. At the end of the song, the audience cheered loudly.

ANDY GUNN BAND

“The Blues Band link gave me a foot in the door at the Upton-on-Severn Blues Festival where I played a short acoustic set, including Rev.Gary Davis’ ‘Hesitation Blues’ and Blind Lemon Jefferson’s ‘Bad Luck Blues’.

“The Gloucester Rhythm & Blues Festival was another cool gig, where I opened the show at the docks. I played my full set electric and acoustic, including a Gary Moore arrangement of Thin Lizzy’s ‘Don’t Believe A Word’ and B.B. King’s ‘Sweet Little Angel’.

“I’m determined to be a professional musician, and welcome every opportunity to play.

Jack Blackman

myspace.com/jackblackmantheguitarist

Jack Blackman: taking his opportunities!

BM: How would you describe your sound?

Andy: I might say, we have a sound that acknowledges the forefathers of the music from the southern states, and gladly soak up the electrification of Elmore James and Muddy Waters, but also try to now put our own stamp on it, and take it into the next century for the new generation.

What stands you apart from other bands today?

I think we have enough experience with the music to know where we're coming from stylistically, but are free enough to not be hindered by the tight constraints of any specific genre or sub genre. Also, we are at home with who we are culturally and often feature Scottish traditional instruments.

What tracks of yours are you particularly excited about and why?

'Back On Song'. It's a really mellow song that has some nice harmonically interesting changes in it, with some soulful Bluesy guitar and is topped off with some lovely three part harmonies. It's the direction I'd like to go in.

Doors open for Andy Gunn.

THE DIRTY ROBBERS

A couple of years ago, I was lucky enough to get the job of guitarist with Mike Sanchez, when Andy Silvester had to have an operation on his arm. I was a big fan and, by going to lots of gigs, got to know the guys and Andy quite well. Peter Green is my guitar hero, and Andy was good friends with him during the ‘60s, so I would often pester him, and he used to tell me some great stories. I'd spoken to Andy about getting my own band together, and he put me in touch with his nephew, Jesse Webb, who turned out to be Stan Webb’s son, also! Small world! I met up with Jess a couple of times, and his playing was great, a real original sounding rawness and relaxed feel on the beat.

“I always wanted to get a band together that started in the right place - the Blues. All the memorable bands started off playing the BluesThe Rolling Stones, The Beatles, Fleetwood Mac etc - and I think the reason they are so much better than

any modern band is that they play the songs with a feel.

“Because of this, we thought it would be a good idea to start with the basics, getting us playing well as a band, and getting that groove going. The best stuff for that is the simple ‘50s Chicago Blues - those Freddie King instrumentals! Also, no-one else seems to be covering this area of R&B on the circuit.

“We needed a piano player, and I'd heard of a young guy playing boogie woogie who would be into the stuff we were doing, Matt Foundling. He was playing with King Pleasure And The Biscuit Boys, and I went to see him at London’s 100 Club. I was blown away with his playing, and approached him after the gig, and had a

What are your ultimate aims and ambitions?

I suppose when we were younger, we probably wanted it all, with double expressos, but, as you get older, priorities change. I'd really just love to be able to be reasonably busy and to make a living from the music.

What does the Blues mean to you?

The Blues to me is a feeling; it's an expression of what's in your soul. It's soul music.

What Blues artists do you listen to, and why?

II’ve always liked Lightnin' Hopkins - he had that low down drunk’n’dirty thing going on. I always feel I'm getting the real thing with him. Of the newer folks, I like Doyle Bramhall II - he stays true to the roots but lets the music grow, too.

chat about the possibility of getting something together.

“We had a couple of rehearsals, and got Craig Rhind in on bass. It all sounded great, so we decided to record a CD - a covers album.

“I've been in new bands before, and really struggled to get them off the ground. It can be frustrating, as we all play with quite high profile bands on the circuit, but no-one seems to want to give new bands a go, which is why we're featuring here. It would be really great if we could do some gigs, and get this project off the ground.

Oliver Darling myspace.com/thedirtyrobbers

How do you see the Blues scene currently?

I think the Blues scene is doing okay by the looks of itlots of young folks coming up... Even though the marketing people re-package and give it a new coat of paint, it's still just the Blues to me! myspace.com/andygunnmusic

The Dirty Robbers steal from the past.

TRAFFIC

Recorded live at the 3000 seat Civic Auditorium in Santa Monica in 1972, this is a beautifully filmed concert performance. Shot shortly after the band had released ‘Low Spark Of High Heeled Boys’, it finds this very talented band blending Blues, jazz, folk and rock on tracks such as the aforementioned ‘Low Spark…’, ‘Light Up Or Leave Me Alone’ and ‘Freedom Rider’. Its running time is a little over an hour, but the footage is taken from numerous camera angles, hovering above, peering over shoulders and side of stage shots. Whilst it hasn’t been re-mastered, and it does look a touch grainy, at times, it doesn’t detract from the no-frills performance. Steve Winwood sounds great on guitar and vocals on ‘Dear Mr Fantasy’, whilst the whole band, in their post hippie garb, gel superbly on the jazz tinged ‘Glad’, with Chris Wood leading the melody on saxophone - even the psychedelic interlude doesn’t last too long. This has been available in bootleg format for several years, but it’s nice to see an official release of the band at their creative peak.

Andrew Baldwin

SAFFIRE Hot Flash

Jo/Roadside

“Hot flash” is a documentary about a female band who dared to dream the impossible - and succeeded. Saffire are celebrating their 25th year (and splitting up) in 2009, and this iTunes available film is a fitting recount of their career. It’s the story of an all female band who began their career in 1984 - when all in their forties! Saffire is made up of Gaye Adegbalola (guitar/harmonica/vocals), Andra Faye (bass/fiddle/mandolin) and Ann Rabson (piano/guitar/kazoo/vocals). Since 1984, they have made nine recordings with Alligator Records, outselling many of their more illustrious male counterparts. They have performed thousands of gigs and gained an almost cult following. As well as making the Blues fun and accessible to a very wide audience, the ladies can play and they are not afraid to tackle socio-politically sensitive topics straight on. They play self-penned Blues which is roadhouse style, witty, bawdy and with a dash of sauce! The DVD tells their story in a forty minute film, with clips from throughout their careers and a series of interviews with the band’s mem-

bers and additional comments from members of the music business, including their strongest supporter, Alligator’s Bruce Iglauer himself. The DVD is a fascinating story of the struggle for success by three senior, female musicians who tackled all barriers placed in their path including, including illness, personal problems, age and gender prejudice. It is the story of the continuing Blues legacy in a post feminist age.

Carol Borrington

JOHNNY WINTER

Live Through The ‘70s

Both Winter brothers are legends in the Blues fraternity - both albinos and both incredibly talented. Guitarist Johnny made several live TV appearances, which are collated here with some live concert material and interviews, too. The Danish TV performances that open the DVD feature brother Edgar, too, who mixes keyboards, saxophone and drums - one song features a drum solo with both drummers bouncing off each other, and Johnny providing some blistering guitar. And, of course, as it’s TV, it’s well recorded, if a little refrained. More blistering, the kind of electric performance fans will know, are three tracks from the Royal Albert Hall (again 1970), and again featuring Edgar on keyboards and saxophone. Nods to boogie and jazz, but in the main Bluesy hard rock - one minute Johnny is tearing round the stage, the next he’s getting absorbed in a guitar solo. Here, the cover of ‘Johnny B Goode’ is one of the fasted you’ll ever hear. In the main, the performances, mainly from Germany (Rockpast) and the USA, feature Johnny’s own band, but the Chicago ’74 tracks feature a host of guests - Buddy Miles and Dr John, to name but two. The interviews see Johnny talk about his attitude to music, a useful insight, but I can guarantee that much of this footage will positively surprise and please many Blues-rock fans.

Joe Geesin

BILLY GIBSON Live At The North Atlantic Blues Festival

billygibson.com

This DVD gives a very good impression of what Billy Gibson is about, and what he has put together as stalwart of the Rum Boogie Café on the corner of Beale St., Memphis. Billy manages to never let his breathlessness violate the mic, as he jumps around stage and blows like hell. Such is his energy; he has to bring it down alternatively throughout his set. What Billy

JOE COCKER Cry Me A River Eagle

This was recorded live at The Berlin Metropol in 1980 for the Rockpalast TV series. It also includes eight bonus tracks from The Rockpalast, Loreey Festival filmed in 1983. It runs for two hours. The filming lacks the sophistication of modern technology but the music and live performance showcased throughout do make-up for the archive feel. Unlike the trend of rehashing ‘greatest hits’ material, especially as much of it is generally unseen, it adds to the sum of the knowledge of Cocker’s career. This DVD showcases the raw cutting vocal of Joe Cocker with that very unusual, almost robotic stage performance, allied to his wild man of the wilderness appearance of his earlier incarnations. The musicianship throughout is superb, featuring not only Cocker’s impressive vocal performance but vocal harmonies, which at times add some wonderful interweaves of gospel and soul in Cocker’s deep seated Blues. The instrumental contributions are first class. The footage shows some of his innovative renditions of classic covers. Each one is fashioned into new and different formats by Cocker who builds on and advances the original. There are creative covers of ‘Whiter Shade Of Pale’, ‘I Heard It Through The Grapevine’ and ‘The Letter’. There are a lot of Cocker’s own classics here also, with ‘Delta Lady’, ‘You Are So Beautiful’ and ‘With A Little Help From My Friends’ all top class live performances.

Carol Borrington

does best is using his dynamics well, allowing even a big crowd to feel an intimacy. However, the sound is low in play back, the video quality isn’t great and rapid frame changes agitate –plus, Billy’s accompanists lack individual flair. The once “Prince of Beale St”, a local term for the winner of the Beale St. Entertainer Of The Year (2005), plays a funky style of Blues in which he likes to boogie and have a party atmosphere. Billy’s maracas cum rattlesnake shakin’ riffs on harp are utilised well becoming his calling card. Though Billy was one of the artists to tour Iraq recently, as part of the “Bluzapalooza” Blues showcase, he needs to put some soul into the slow numbers, and be supported by a backline that bristle.

Billy Hutchinson

THE GROUNDHOGS

This DVD was originally released ten years ago, and has now been released as a double-disc set - the other being the audio CD of the same show. Filmed at London’s Astoria club in early 1998, it was then the first ever complete Groundhogs show to be filmed. The band were touring in support of their “Hogs In Wolf’s Clothing” album, a tribute to the great Howlin’ Wolf. The set opens with a short intro from guitarist/vocalist Tony McPhee, before the band launch into ‘Shake For Me’. The DVD consists of eleven lengthy tracks in the Bluesrock vein, taken from all stages of the band’s career. Although the band have been on the scene for donkey’s years, I was unfamiliar with any of their music, and hearing this

set, I feel like I haven’t missed a thing. Bland, dull guitar work throughout, lyrics which are incomprehensible at times (‘3744 James Road’), and generally a tedious hour and a half’s viewing. Nothing more interesting here than your average band’s pub rock - McPhee sounds, at times, like he’s playing with mittens on. Strange camera work also grates, with blurring and pausing of certain shots, looking very homemade at times. This DVD has no redeeming features for any serious Blues lover. I think I’d have been a little bored had I been in attendance of the actual gig. There’s so much better stuff out there to spend those hard earned pennies on.

Andrew Baldwin

LOUIS VAUSE/SEAMUS BEAGHEN

Boogie And Blues Piano: The All New Beginners Guide

Loumus

Most music tutorial DVDs are about as interesting as the history of beige. Without wanting to make sweeping generalisations, they tend to be hosted by anoraks, who have all had a personality bypass, and filmed by cameramen who have little or no regard for the viewer. This DVD succeeds where others fail because it is well put together and hosted by two engaging musicians, Louis Vause and Seamus Beaghen. Not only are they brilliant pianists in their own right, who have played with the likes of Desmond Dekker, Paul Weller and Graham Coxon, among others, but they are also both diamond geezers, who have a deep affinity for the Blues. The DVD is split into ten

chapters, where they show you different boogie and Blues piano riffs. They also talk about artists like Fats Domino, Professor Longhair and Fats Waller – giving the viewer a crash course in Blues pianists. The dynamic duo of Vause and Beaghen might lack the smugness and showmanship of Jools Holland, but they make excellent teachers, and their ability is first rate. You will need some basic piano skills, though, as this is not really suitable for total beginners. But having said that, you can rewatch the keyboard sections again and again, and there is also a twenty-four page transcription booklet. A great introduction to boogie-woogie.

Jamie Hailstone

RONNIE EARL AND THE BROACASTERS

This DVD complements the “Hope Radio” CD and features brilliant instrumental performances by Ronnie Earl And The Broadcasters. The unit are so tight and classy that they could be placed in the same league as Blue Line and another brilliant exponent of the guitar, Robben Ford. Recorded over two nights in front a small audience at Wellspring Sound Acton, Massachusetts last year, we are treated to stretched out and improvised versions of some truly wonderful and deeply soulful instrumen-

mouth-watering. Ronnie Earl is blessed with masterful and delicate touch and phrasing, performs such flowing runs and has an intuitive feel for the music. He is one of the few musicians who can pull of such a set, without the need for vocal augmentation. In a low-key but illuminating interview, Earl recalls early influences, such as Koko Taylor, Earl King, and the original Fabulous Thunderbirds. Speaking of his unique style, he admits to being unable to play other people’s tunes, and thus was developed his own style, where depth of soul and feeling was the true essence. He comes across as a spiritual individual, who humbly recalls the grey sound of his years of drinking and drugging, ill health and then his subsequent rejuvenation.

Noggin

ROLLING STONES Shine A Light 20th Century Fox

The Rolling Stones’ enduring contribution to the history of rock music primarily is their live music. For the better part of half a century, they have defied the death of founder Brian Jones, ephemeral fashion and trend, their own rock’n’roll excesses and now, finally, sheer old age. Even now there still is a certain fascination to Jagger’s shameless energy, Richards’ affected menace, Wood’s musicality and Watts’ affable smile. The mercifully short introduction to this show came from former US President Clinton at the Beacon Theater show. The concert performance is interjected by occasional old interview footage; one from the mid-60s shows an earnest Jagger suggesting that the band were “pretty much set up to last another year.” Richards was not drawn on how he had survived his lifestyle, merely expressing gratitude that he had. Many of the Stones

B.B. KING

B.B. King At Sing Sing Prison: The Complete 1972 Concert Movie

Chrome Dreams

Whatever Johnny Cash achieved at Folsom and San Quentin, then B.B. King was hot on his trail. This concert DVD is a fascinating documentary, too, giving you a real insight into the US prison system. By comparison Folsom and San Quentin appear as Butlins holiday camps next to Sing Sing. We get to talk to the prisoners, see the intimate details of their tiny cells (as one inmate says, “Yeah – that’s my toilet – twelve inches from my head ”). The concert starts with the uplifting Voices Of East Harlem, and there’s even a snappy comedian on stage, Jimmy Walker. Joan Baez was a brave woman to wade chest-deep into this heaving pool of cell-bound testosterone, but this is ultimately B.B. King’s show, and in 1972 he was at his performance zenith. We first meet him in the film being roused from his bed on the day of the concert - and those of you used to the portly “fine old gentleman of the Blues” of the past two decades will be amazed at this lithe, much younger King. When he sings ‘Somebody Really Loves You’, you form an emotional bond with these tough, incarcerated men, who are reduced to tears. Yet B.B. also raises some big laughs with ‘I Think You’re Cheating On Me, Baby’ and others. This is a very important film, and a very revealing one. As the credits roll, you wonder what became of those unfortunate men who enjoyed that stirring day so much.

Roy Bainton

formance of ‘Loving Cup’ and, most impressively, a sassy Christina Aguilera duets with Jagger on ‘Live With Me’.

BETH HART 37 Days

Noggin

NORAH JONES Live From Austin TX New West

Beth Hart is one of a line of rock queens with a story to tell, that story is her journey, and even though it is only three or four albums long, it’s worthy of this showcase DVD. Mirroring the album of the same name, it’s a live version shot in the studio (Burbank), so whether it has over-dubs and how many shoots were required is unclear. That doesn’t matter, as it’s very clean, and shot and played with passion. The title, “37 Days”, tells us how many days it took to cut the album, so the full band feel must be true. She sits and sings at her piano with gravitas and confidence for the earlier songs before she lets go and hollers into the microphone with a hoarse gutsy speedy rock anthem, ‘Sick’. Guitar riffs take over for ‘Face Forward’ and the closest we get to aggressive Blues-rock.

‘Soul Shine’ may be the star track, with simple melodies and break away guitar solo from Jon Nicols. Each track starts with a ten to twenty second conversation between band members, and while interesting and additive, it could take away from the flow whilst adding to the concept of the whole piece. But then, with the wonders of DVD technology, you can select ‘music only’ – wonderful! And I guess that makes the CD of the same name redundant.

Gareth Hayes

JOHN MAYALL’S BLUESBREAKERS

Live At Iowa State University

Quantum Leap

Featuring young Walter Trout and Coco Montoya, this DVD offers a good, if a little too short band performance. Filmed around 1987, it finds Mayall alternating between organ, guitar and harmonica, and it is guaranteed to get the viewer’s foot tapping. It has no special features worth mentioning, and the picture quality is only of average quality, but watching Trout rip it up on ‘Rolling With The Blues’, where he lays down a soulful but animated solo, and Montoya on ‘Room To Move’, where he literally sits in the audience, is great viewing. Mayall was in his mid-fifties at the time of this gig, and was in fine voice, and he gets most of the action, including a frenetic harp workout on ‘Parchman Farm’, but Trout gets plenty of soloing time, and he is clearly having a ball. Only nine tracks are featured, but ‘Stepping Out’ gets the audience rocking with some fine organ work from the leader, and there isn’t a weak selection on here. Unfortunately, it’s all over just as the band are really starting to cook – although, they return for a short encore. This was a fine era for the Bluesbreakers, and this document goes to prove what a cracking little band they were. Poor packaging, but great music.

Andrew Baldwin

This DVD was filmed in June 2007, live in Austin, Texas for Austin City Limits television show. The DVD’s technical quality only being topped by the Norah Jones - this DVD highlights what a fine performer she is vocally, with good range and intonation, and her love and feeling for music comes through in every note she sings and plays. She has surrounded herself by musicians not only of class but who are master of instrumental multi-tasking. The diversity and changes of instruments throughout is impressive but the creativity and skill they are played with is excellent. There is an air of total commitment between Norah and her fellow musicians that comes through visually and musically throughout - ‘Sinkin Soon’ is true pedigree New Orleans. From the gentler ballad tones, Norah’s voice takes on a more sinister tone, allied to the emotive trombone playing of guest performer J Walter Hicks. Let Norah’s voice and music take you to a mood of peace and tranquility.

Carol Borrington

BOB DYLAN Inside Bob Dylan’s Jesus Years: Busy Being Born…Again!

Wienerworld

Like most great artists, Bob Dylan’s state of permanent personal revolution imbues him with that odd quality of unpredictability which leaves fans scratching their heads – what’s he going to come up with next? Thus it seemed remarkable to fans that, as a Jew, in 1978 he should find himself suddenly embraced by Jesus Christ. Long time, hard line Zimm fans usually consider “the Jesus years” to be Bob’s nadir, but it did at least give us one memorable track, ‘Gotta Serve Somebody’. However, if you inadvertently bought this DVD thinking you might enjoy either live performances from the period, then you’d be disappointed. This film, directed and produced by Joel Gilbert, is for Dylan completists only. It is a remarkably well-made documentary, beautifully shot and edited, and you get the full low-down on Bob’s Bethlehem years from such talking heads as Jerry Wexler, who produced “Slow Train Coming”. Songwriters, preachers - they’re all here, yet what we see of Dylan is grainy amateur footage of him plying his JC gospel material. Bonus features include a photo gallery from the period 78-81, full soundtrack mp3s and an interesting contribution from the wrongly imprisoned boxer, ‘Hurricane’ Carter, a man who became a cause célèbre for Dylan during this time.

Roy Bainton

DADDY MACK ORR

Plain Man Blues: Daddy Mack Orr’s Inspiring Story Of Struggle And Triumph

Seamus

The stories of certain Bluesmen have been well documented. In some cases, such as Robert Johnson, the men have

DAVE SPECTER Live In Chicago

Delmark

For seventeen years, Dave Specter has been a Delmark recording artist, alternating between the genres of Blues and jazz, as well as flirting with soul and funk. He has backed up the likes of Tad Robinson and Lynwood Slim, and worked with Ronnie Earl in his long, though not spectacular career. The thirteen tunes on this DVD are taken from two live performances in Chicago in August 2007 at Buddy Guy’s Legends and Rosa’s Blues Lounge. The shows feature three guest vocalists, to augment Specter’s invariably tasty guitar licks. In the first show he is joined by buddy Tad Robinson, who plays some sweet harp and takes lead vocals on his self-penned ‘What Love Did To Me’, and ‘What’s Your Angle?’ plus Tom T. Hall’s soulful ‘How I Got To Memphis’. After a further instrumental, Specter is joined on stage by Jimmy Johnson for three numbers, including ‘Out On The Road’ (Jimmy Rogers) which has some delightful guitar interplay, and Willie Cobb’s ‘You Don’t Love Me’. The second show on the DVD starts with two jazzy original instrumentals, in which the clean picking and sympathetic backing is smooth and stylish. The final three cuts feature strong Blues vocalist Sharon Lewis, who sings two of her original compositions, as well as ‘Every Goodbye Ain’t Gone’. Dave Specter is completely without pretension and histrionics, and is a consummate stylist, whose background support to others’ vocal talents and feel for his instrument is sheer class.

become myths. It also seems that these stories, often of men overcoming great hardships to play the best damn Blues they can, is fitting for Hollywood. What makes “Plain Man Blues” different is that it often feels that it is an independent feature of a man who is still struggling. The film’s subject is “Daddy” Mack Orr, a Bluesman in the vein of B.B. King, a man who, like many others, forced himself up to Memphis from the South. It is an encouraging story of a man who has worked all of his life in order to provide for his family. Unlike a biopic, they are no drugs or alcohol addictions and Orr has always been faithful to his wife, and she has always been supportive of him. However, as we discover, Orr reluctantly picked up a guitar at age 45 and has since only recorded three independent albums. He is now reaching an age where it feels like the opportunities have come and gone for The Daddy Mack Blues Band.

Matthew Clarke

FEATURE FILM

Solidbodies: The 50 Year Guitar War

Lightning Lab

If the producers had taken the courage to put Joe Bonamassa and Derek Trucks in big bold letters on the front of the DVDrather than in very small print on the back - then it would surely fly off the shelves. The other featured artists may not be as household but even they (Henry Garza, Gary Hoey, Wes Jeans, John Roth, Steve Selvidge...) would give it some identity ahead of straight forward documentary or, as it bills itself, an actual film of a guitar competition. At an hour long, it is a very interesting history lesson, with great examples of the Stratocaster versus the Les Paul. From Fender and Gibson to flame-lacquered maple, from British Blues of the ‘60s to Stevie Ray and the Allmans - it covers the lot. The featured artists give a lot of insight and there are clips of them in performance, and some star virtuoso clips at that, but don’t forget that this is a documentary, so don’t expect to be able to get stuck into the music. Still, it serves guitar aficionados, as well as newcomers.

Gareth Hayes

THE YARDBIRDS The Story Of The Yardbirds Voiceprint

This is a documentary charting the short story of one of the founding British Blues groups of the ‘60s. Covering 1963 to 1968, it tells the story through footage of live performances and interviews with band members and associates.

Interviewees include Jeff Beck, Eric Clapton and Jimmy Page, as well as longer serving members Chris Dreja and Jim McCarty. Also an interesting contribution from Peter Grant, who went on to manage Led Zeppelin. Unfortunately, the film goes back to 1992, so there’s nothing new revealed by the DVD. The opening shots are naturally in black & white, so give a feel of an era gone by, and set the background for a trip into the London scene of the swinging ‘60s. Hard to believe it was really like that! There are thirteen songs supporting the interview footage but none are played the whole way through, which I found irritating. The footage is from TV appearances in the UK, Germany, Belgium and Germany, and shows a group wearing matching suits and ties - a real sign of a bygone age. Naturally, given the age of the material, the picture quality is somewhat less than sharp and presentation a bit pedestrian, and the sound is poor, being in mono. In all, an enjoyable trip down memory lane with some of the people who went on to be household names in the business.

Kevin Wharton

Noggin

LINK

WRAY The Rumble Man

This interview and concert footage DVD was originally released a little over ten years ago, and now appears with a further thirty minutes of live footage. The music comes from two shows in London and Manchester, whilst Wray was in his mid-sixties, but he and his band are full of punklike energy. All his instrumental hits are performed, such as ‘Rawhide’, ‘Jack The Ripper’ and, obviously, ‘Rumble’, which was originally recorded and released in 1958, and was at the forefront of the birth of rock’n’roll. Many cite the instrumental as the most important in the history of the genre. The interview part was of more interest personally, with Wray having a story to tell, and barely letting the interviewer get a word in. He tells some amusing anecdotes about Jerry Lee Lewis, Keith Moon and the like. He also explains the creation of ‘Rumble’ and his early career. He looks the epitome of rock’n’roll, with his greased back (long!) hair, black leather biker jacket and dark shades - it’s just a pity no early footage of him is featured.

Andrew Baldwin

JOHN MAYER

Where The Light Is: Live In Los Angeles

Sony BMG

This concert DVD is split into three distinct sections and all of them show John Mayer in a good light. Whether it is a solo acoustic set, where his James Taylor-like vocals and sweet picking work to generate an intimate and close feel; in a trio format, where he allows others to take centre stage but delivers a stunning version of Tom Petty’s ‘Free Falling’; or in the full band ensemble, with his guitar work as Bluesy and raw as it needs to be. His band is just stunning, featuring Robbie McIntosh and JJ Johnson, as well as Pino Palladino on bass in the trio, but it is John Mayer who naturally takes the lead and lays down classic guitar slinger magic. What amazes me, time after time, is the variety of styles and sounds he seems able to master – one minute a B.B. King riff and another he is in Stevie Ray territory or laying down some classic Iceman – this guy has lots of chops and isn’t afraid to play them. He does a very tasty Hendrix and when he goes into slow Blues mode (‘I Don’t Trust Myself’), he can do that. too. The additional little insights into the man himself are not intrusive as much as instructive.

Andy Snipper

LYNYRD SKYNYRD

Sweet Home Alabama

Eagle

One of the most popular, successful and influential southern rock bands, Lynyrd Skynyrd were captured here post reformation for the Rockplast broadcast at the Loreley Festival in

1996. By this time, onetime Skynyrd drummer and Blackfoot mainstay Rickey Medlocke was part of the triple guitar attack. Most of the songs they run through are the early/original material (‘Workin’ For MCA’, ‘Down South Jukin’’, ‘That Smell’ - all the classics), which does indicate at the strength of the material over the more recent work. There is plenty of power, Blues and slide guitar, but Skynyrd’s Americana take on southern rock has definitely been given more of an AOR feel post 1987. I wouldn’t go so far to call them a tribute act, with original members Gary Rossington, Leon Wilkinson and Billy Powell still there, but there is a hint of movement in that direction. Johnny Van Zant does do a fine job up front in memory of his late brother Ronnie, but there is an occasional touch of going through the motions. The reason all this is so obvious is the bonus three tracks, recorded in 1974. Here the original line-up perform ‘Workin’ For MCA’, ‘Freebird’ and ‘Sweet Home Alabama’. There’s just no comparison, really.

Joe Geesin

ERNIE HAWKINS Rags And Minstrel Show Songs Of Rev. Gary Davis

Stefan Grossman’s Guitar Workshop

Reverend Gay Davis was a genius. His technique was dazzling, but what was more impressive was his sheer range and knowledge – everything from jigs and reels to show tunes, old pop melodies and gutsy Blues and intricate rags. Well, fellow axemen, if you want to get close to the great man, and echo his talent on your own frets, there’s no finer passport to pukka playing than this 2DVD set. Ernie Hawkins is a gentle, calm teacher who, at times, seems slightly ill at ease in the lens, but the way he plays Davis’s material, and the sharp, clear way it’s been filmed make this a delight. You get an additional window on the screen to show you the right-hand picking style, whilst the main body of the picture shows you very clearly where to go on the frets. The trouble is, it all sounds – and looks – too damned easy, but I’m already 20% proficient with ‘Devil’s Dream’ and ‘Sally Where’d You Get Your Liquor From’ just by watching my DVD mate, Ernie, and I might even try ‘Buck Dance’ in a few more sessions’ time. But even if you don’t play guitar, the music is a standalone thrill, and there’s some original playing by the legend himself, too. Good old Stefan Grossman – he deserves a medal. A fabulous DVD and neat music book – just go out and treat yourself.

Roy Bainton

photos: Tony Winfield (bluespics.co.uk)

ORKNEY BLUES FESTIVAL

Friday 19th – Sunday 21st September 2008

The Orkney Isles, off the north coast of Scotland, host one of our favourite Blues festivals. Based mainly in Stromness at three venues - The Stromness Hotel, The Ferry Inn and The Royal Hotel - there were four artists from the mainland and six Orkney bands. As always, the bands performed in more than one venue during the weekend. The first act for us was festival survivor Keith Christmas.

Our vinyl collection includes two albums of Keith’s from the early-70s, which perfectly demonstrate his prolific songwriting talents. These days his music is more Blues orientated, while retaining his unique style, drawing influences from the early days in the Delta. Keith is a very accomplished musician with a melodic fingerpicking acoustic guitar style and a good vocal range. He sang a memorable collection of his own songs, from stirring ballads to upbeat country Blues.

Next up, with two sets that went long into the night, were Edinburgh based Stevey Hay And The Rayvons. As their name suggests, there was more than a nod of tribute to a certain Mr Vaughan and Double Trouble, but they played a good mix of rock and Blues that had the discerning Orcadian music fans dancing in every available space. A solid rhythm section with neat guitar work by Stevey Hay and complimented by Angus Rose on keyboards.

Saturday’s entertainment kicked off with excellent local band Last Train. A true feast for any Blues gourmet, as their set list demonstrated an extensive insight into Blues history by unearthing many gems from little known artists. Fabulous musicians, with a very tight sound, all six band members gave a first class performance, in particular vocalist Kevin Coffey, guitarist Robert McGregor and Mike Fairbairn on harp. We were shocked to find out later that it was only their second gig together.

We left the Stromness Hotel and headed to the Royal Hotel for a solo set by Alaska born Son Henry. Son is one of our favourite artists, and Orkney seems to bring out the very best in him. In our opinion, the best lap steel guitarist on the circuit, and just as handy on a standard axe - whether it be acoustic or electric. He played a relaxed set, his original numbers grounded in authentic Delta Blues, the lyrics holding the audience, as did the wonderful tales that he told between numbers.

In stark contrast, local band BWB gave one of the most energetic sets of the weekend. Frontman Sinclair Bremner on vocals gave an energetic in your face performance, with powerful backing from the band and, notably, some excellent guitar from John Pettigrew. They put a modern twist on old classics and the crowd were particularly delighted when they covered a couple of Joe Bonamassa songs.

To round off the evening in The Royal Hotel, Son Henry took to the small stage again - this time with his band, featuring Dean Stewart on bass and Kevin Oliphant on drums. This set was more up tempo with a selection of rocking Blues covers, as well as original numbers from his recent and forthcoming albums. With several changes of guitar, including the awesome lap steel, they blazed through numbers such as 'Granite City Shuffle' - written for the folk of Aberdeen; 'I Don't Want To Be Your Dog' from the upcoming album; and, by popular demand, a stunning version of 'Voodoo Chile'.

Sunday afternoon saw us in The Royal Hotel once again for another local band, The Bad Liars. The vision of vocalist Lorraine McBrearty in a purple and black ball gown promised something different from the usual Blues-rock. The five-piece band, complete with a double bass, gave a ‘40s style swing accompaniment to Lorraine's authentic vocals on many old favourites, including 'Summertime', 'New Day', Cry Me A River' and 'Blue Moon Of Kentucky'. A particular favourite of ours was their unique arrangement of Jagger/Richards’ 'Out Of Time'.

We have become accustomed to the inherent musical talent on Orkney, but we were amazed - yet again! - when the next local band, Bad Taste, began to play. A new four-piece band who had little time to practice together, they impressed everyone. Vocalist Ian Craigie, at times, had the sound and stage presence of a young Paul Rodgers, while guitarist Andrew Tulloch played with the ease and confidence of an old master. Ably backed by Marcus Cordock on bass and Dylan Pepper on drums, it was hard to grasp that these boys were all still in their late teens, such was the maturity of their performance. The audience were wildly appreciative of their arrangements of Cream, Stevie Ray Vaughan, Hendrix and ‘70s classics, together with some Chicago Blues standards. Ian's rendition of FREE's 'Wishing Well' was the highlight of the set.

The finale of the weekend took place in the function room of the Stromness Hotel. Starting off the evening in front of an expanding crowd was Glaswegian Peter Nardini. Singer, songwriter, guitarist and harmonica player, Peter delivered a new dimension to British Blues. His songs are stories put to music - some topical, some amusing and some touching. He kept the audience rapt as his stories unfolded, and we enjoyed them all, especially 'A Kiss From Wishaw Cross' and ‘By The Way'. Definitely one

to see if you get the chance.

In a similar vein, Keith Christmas was up next with his brand of enthralling storytelling. Another excellent set, telling tales and making friends with the audience. We especially enjoyed 'Why You Fell In Love With Me', a love song he wrote for his girlfriend and witnessing the début of a brand new song. Keith had been writing 'The Words That Will Never Be Spoken' for a while, and found the inspiration from the Isles to finish it. Amazing!

Local band Blue Rooster followed and offered a change in tempo and volume, which had the dancers on their feet.

These were one of our favourite bands from last year's revelries and tighter than ever, with Ian Cooper showing absolute mastery on guitar and John Adams and Pete Phillips producing the powerhouse rhythm. They confidently blazed through a variety of covers, including Hendrix and Cream. These guys have quite a following across the islands and beyond.

Stevey Hay And The Rayvons charged through another rocking set, their best of the weekend, as appreciated by the lively dancers and crowd. This time they included more of their own material, which went down as well, as did their proficient covers.

Bushy’s Big Wheel Blues Festival will celebrate its 10th Anniversary on Saturday 2nd and Sunday, 3rd May 2009 – the event being moved to Saturday and Sunday nights, “the added bonus of which is a second afternoon on which to showcase the Island’s excellent roots and blues musicians on the free stages at the Pavilion.” Headliner for the Saturday night is Jerimiah Marques And The Blue Aces, whilst the Kyla Brox Band will headline the Sunday. Other acts confirmed to appear include: Rogue Dolls, Miller Anderson and the Eddie Martin Trio. Both nights will be ticket-only events. Tickets are priced at £16.50 per night. bigwheelblues.com

Ashburton

Blues Festival will be staged over the weekend 29th – 31st May 2009 in the ancient Stannary town on the fringes of Dartmoor. Acts booked to appear, include: The Animals, Nine Below Zero, Paul Lamb And The Kingsnakes, Aynsley Lister, Bert Deivert, Mike Whellans and Big Mac's Wholly Soul Band. ashburtonbluesfestival.com Larmer Tree Festival (awarded the 2008 UK Family Festival Award), will take place between Wednesday, 16th and Sunday, 20th July 2009. The intimate festival (4,000 capacity crowd), “set in the spectacular backdrop of the lush Larmer Tree Gardens (Tollard Royal, near Salisbury) with its resident peacocks and macaws,” takes in a range musical styles, street theatre and workshops. Jools Holland has already been confirmed to open the event with special guest Dave Edmunds. larmertreefestival.co.uk

Burnley

Blues Festival, staged on Friday, 10th – Sunday, 12th April 2009, is dominated by top international acts this year, with Lil Ed And The Blues Imperials, Rod Piazza And The Mighty Flyers, Kenny Neal Band, Magic Slim And The Teardrops, and Hamilton Loomis booked to appear alongside British favourites, including Oli Brown and Eddie Martin. Chris Powers will again MC, whilst Earl Thomas takes up his customary slot on the bill. Tickets are priced at £75.00 for the full weekend, with day tickets also available. burnleymechanics.co.uk/blues

The Son Henry Band brought the evening to an end in spectacular style. No two gigs are ever the same with this guy and, once again, we were treated to a mix of old, new, original and arranged - as only this man can. Spontaneous, fun and bursting with energy, the magic of Orkney does something to him and the set was truly electric. Son claims he drinks a certain caffeine based soft drink to calm down!

Throughout the weekend, the artists mingled freely with the festival goers. There's no backstage - this is no place for divas. It's an experience unlike any other festival, and enjoyed by all.

Tony Winfield & Sue Hickling

LONDON RHYTHM ‘N ROOTS FESTIVAL

Tuesday, 28th – Thursday, 30th October 2008

Dingwalls was an ideal venue for the inaugural London Rhythm ‘N Roots Festival, with its history of hosting great Blues and jazz, and the reputation as a venue of great importance on the London music scene.

Tuesday saw the London debut of Simon McBride and the new four-piece Matt Schofield outfit. Simon was debuting his new album, and quickly demonstrated the kind of electric Blues that made countryman Rory Gallagher such a favourite. He delighted the crowd with a forty-five minute set that was full of good music. McBride was using an old Paul Reed Smith guitar throughout and he had a fine, fat sound with a lot of Blues in it. Numbers like ‘Fat Packets’ and ‘Rich Man’s Fallen’ got the crowd going, and his version of ‘Little Wing’ was terrific, with a lot of interplay between the guitar and the bass.

Matt Schofield has never been shy of trying new things, and with Jeff ‘The Funk’ Miller appearing playing bass, he was showing a new direction and band members. Alain Baudry was playing drums and gave a new impetus to Schofield’s music, with his New Orleans background. However, the story was really about the interplay of Matt Schofield and Johnny Henderson’s Hammond, and the addition of the bass player took some of the rhythm duties away from Henderson and allowed the organ and guitar to really stretch out more than ever. Schofield was also debuting some new songs and, musically, the formula was very much the norm with Schofield – long jams with a mesmerising quality and positively superb feel. When Matt Schofield

The return of Earl Thomas.

plays at his best, it is simply impossible not to be drawn into the music, and this was an example of him at his best. ‘Same Old Blues’ and ‘Woman Across The River’ were the standout numbers but the whole set was absolute class.

Thursday saw the pairing of Holland’s T-99 and Ian Siegal. The buzz had it that T-99 were something a bit special, so I made a point of getting there early. I am so glad I did because they were an absolute delight. They were described as “Chilli-hot Roots Rockers,” but that did them no justice at all. Mischa den Haring is an inventive and unselfish guitarist, with some serious ‘twang’, and he started off sounding like Link Wray, but his style is more than just a heavy echo and he played Blues, rock’n’roll and rockabilly with equal aplomb - verging on psychobilly at times! The drums are handled by Martin de Ruiter, as well as vocals, and he played with no little humour, as well as some truly appalling dancing! Most of the numbers were from the “Vagabonds” album, with ‘Voodoo Time’ and ‘The Woolf’ standing out. The band were allowed a full set and didn’t waste the opportunity leaving the capacity crowd satisfied and thoroughly warmed up for Ian Siegal.

I don’t know what there is left to say about Ian Siegal. He was superb. Johnny Henderson played another superb set. Ian opened with the magnificent ‘Revelator’, sounding as close as possible to Howlin’ Wolf, but playing some terrific guitar with it. ‘California’ followed - a song about a serial killer moving to the West Coast - and he showed that he hasn’t lost his edge by describing exactly what should be done to the town of Rotherham. Giles King came on to help out on ‘This Mortal Coil’, and the harmonica and organ support for Siegal’s guitar was positively electrifying. New songs were presented to the audience, as well – ‘God Don’t Like Ugly’ showed the humour inherent in the man, and ‘The Thirst Slaker’ was a real love song from a man who never hides his feelings. Throughout the set he kept namechecking T-99, and Mischa den Haring came out to help on the encore – ‘Don’t Look Back’ (he gave the impression of a man who is happy to be playing and in control

of his music). This set showed why Siegal is regarded as the number one British Bluesman active today.

The format of the festival worked fine, with the intention to feature bands with some connection to one another. Camden Town is famous for its connections to the Blues and roots scenes, so it was good to see Dingwalls, the old haunt, being used for such a good purpose.

Andy Snipper

TENBY BLUES FESTIVAL

Friday, 14th November – Sunday, 16th November 2008

The picturesque Welsh seaside town of Tenby was rocking throughout the weekend of the third Blues festival, as record audiences enjoyed a thrilling three days of joyful Blues in all its many forms.

The main venue once again was the beautifully decorated De Valence where the Spikedrivers opened the festival in fine style on Friday night on the Chevron stage. An inspired piece of programming that set the tone for the whole weekend –the band were clearly enjoying themselves and their infectious enthusiasm spread rapidly throughout the audience. Set highlights included an unusual arrangement of ‘Lil’ Red Rooster’ and a storming finale of ‘Shake Your Hips’.

The Spikedrivers were followed on stage by Pembrokeshire based jump jive, zoot suited outfit The Numbers Racket, who delivered a punchy set of standards, augmented by the West Coast Horns.

Next up was headliner Eugene ‘Hideaway’ Bridges and his band, which also featured a booting horn section. Eugene, renowned for the combination of his stinging guitar work and soulful vocals - in the style of Sam Cooke - was in fine form, even though several people left during his set complaining that he “wasn’t Bluesy enough.” It was their loss!

Saturday night at the De Valence followed a similar pattern. Local band Cottonmouth opened followed by rising young

photos: Chris Rees

Blues star, the critically acclaimed Oli Brown, who nearly stole the evening’s show with his incendiary guitar playing and equally fiery vocals. He’s a pretty good songwriter, too, and his rhythm section was tighter than the proverbial politician’s wallet. Expect big things from them.

Oli was followed onto the Chevron stage by Sherman Robertson and his band, Bluesmove. Sherman proved himself up to the task of performing after Oli, as you would expect from the seasoned Texan. This was a master class in fluid, expressive guitar work, coupled with forceful, heartfelt vocals. The first highlight of his set was a walkabout in the crowd, with Sherman never missing a beat or a note and then, for a finale, he brought Oli back onstage to duet with him on a version of ‘Shake Rattle And Roll’. By now, Bluesmove were really cooking and enjoying themselves, as were the audience who danced so much there probably wasn’t a dry sock in the house.

The Sunday lunch concert, transferred from the smaller Rugby Club because of exceptional ticket demand, started off in mellow mood (well, it was noon, and quite a few people had had a late night), with a powerful, passionate and witty show from slide guitarist Johnny Dickinson, a former member of Paul Lamb’s Kingsnakes. Johnny is a lovely fellow who achieved that difficult thing of seemingly effortlessly balancing the spiritual with the technical dimensions, whilst also keeping it simple and in the groove. Wonderful! But, once more, I heard a few mutterings from the Blues mafia?!

By the time the hard rocking Sean Webster Band hit the stage, the audience, fuelled on this occasion more by strong coffee than strong ale, were in dancing mood once more. Sean Webster is raw and loud. His rhythm section is also raw and loud. They acknowledged that the Blues is a broad church and they were sure as Hell gonna raise its’ roof! It felt strange to spill out into a gray, cold, wet Welsh Sunday afternoon after such an uplifting act.

The second venue on both Friday and Saturday was the Rugby Club FBM stage, where, in more intimate surroundings, performers new to the festival were given a chance to strut their stuff. As is usual at all good festivals, there were surprises from these new acts. Abi Budgen’s delicate vocals were in sharp contrast to her abrasive guitar work. She nearly brought the house down with her rendition of ‘The Muppet Song’ in the style of Blind Blake and Rev. Gary Davies! There were standout performances, too, from Sean Taylor and the amazing Big Mamma’s Door.

For those who could take the pace, there were late night sessions on both Friday and Saturday at the Fourcroft and Giltar hotels. At the Fourcroft, Big Mamma’s Door reprised their cool set of ‘50s R&B, and staked a compelling claim for moving to the bigger stage next year, whilst over at the Giltar, Eugene ‘Hideaway’ Bridges arrived unexpectedly, grabbed a guitar, and wowed his audience well into the wee hours.

Meanwhile, the pub circuit, which boasted twelve hours of free music all over town, was once again one of the festival’s little successes. So much so that it became nigh on impossible to get into some of the venues. Next year the organisers might consider expanding the programme and have some overlapping sets. Highlights for me were the acts in The Crown, where young Swansea based power trio Hideaway tore the place apart (metaphorically speaking, of course) in the afternoon, and where Cardiff’s Christopher Rees delivered a sublime, understated set of great beauty. This is a man to watch out for, although, once again, I heard mutterings that he wasn’t Bluesy enough. Admittedly, he strays into what might be termed Americana or alt.country – but where the heck does American roots music come from? Banjos at dawn anyone?

It was good to see that although the organisers have stuck with their established template, they were not afraid to make a few changes as the festival becomes more sustainable.

The first of these was an attempt to bring the Blues into venues that would not normally feature music, and it was a delight to see and hear local busking trio Animal Jack (who once featured on a album by The Coral!) give customers in Fecci’s Fish & Chip shop a battering they weren’t expecting.

The festival has also developed an official fringe. Usually the festival ends with the Sunday lunch concert, but this year there was a final gig in the Lifeboat Tavern on Sunday night featuring Pat Grover And The Blues Hawks. Pat led his band through a cracking set that was a fitting finale to a marvellous festival.

BB Skone

MICK FLEETWOOD BAND

@Alban Arena, St Albarns. 03/11/08

Making a grand entrance, as befits one of the founding fathers of British Blues, Mick Fleetwood walked onstage at the Alban Arena to a hero’s reception. His Blues band, featuring Rick Vito (guitars/lead vocals), Lenny Castellano (bass/vocals) and Mark Johnstone (keyboards/vocals), could probably have been capable of a top performance without dipping into Fleetwood Mac territory, but this was Mick’s night and it was great to see the huge figure beating the drum kit to within an inch of its life. That being said, there was also a great deal of subtlety in his playing, and it was easy to see just why the original Fleetwood Mac were able to play with the flexibility and verve that Peter Green and Jeremy Spencer demanded. The band delivered terrific versions of ‘Oh Well’ and ‘Fleetwood Cadillac’, as well as ‘Eyesight To The Blind’, with Vito playing some superb slide, and more delicate material. The whole thing heated up as they got into ‘Black Magic Woman’ and ‘Rattlesnake Shake’, and then they moved into acoustic territory for ‘Black Crow’ and ‘Luck Devil’, before a rattling ‘Shake Your Money Maker’. Inevitably, they played ‘Albatross’ to ensure a very satisfied audience trooped back out into the St Albans night. It would have been good to hear more original material, as I think the band are good enough to stand in their own right, but the sound of the original Fleetwood Mac material was a joy, and Mick can go back to Hawaii with a great deal of satisfaction.

Andy Snipper

LANGHORNE SLIM AND THE WAR EAGLES

@The Bodega, Nottingham. 31/10/08

The first thing I noticed about Langhorne Slim was the compelling enthusiasm for his music – he also had natural charisma as a frontman. It’s impossible to put him in a box, the root was Blues, there was no doubt of that, but he was crossing genres, mixing and matching with musical skill and efficiency. As a songwriter and a musician, along with The War Eagles, there was plenty of potential, even on this first viewing. Langhorne mainly played an electro acoustic, with proficiency and some good finger work on the fretboard. His vocal spanned the upper middle and lower registers, with good vocal control, intonation and, most of all, a lot of passion. Joined on the stage by Paul Defiglia on upright bass and Malachi DeLorenzo on drums, the combination of musicians was fluid and tight throughout. The song that took my attention was ‘Worries’. It began as a solo acoustic ballad of folk, Blues and country, which was extremely strong in feeling but not over-fussy musically, and finished as a solid Blues-rocker. It had a great Buddy Holly - in ‘Peggy Sue’ mode - underpin. The younger audience members were really taken with this song, also. Watch out for Langhorne, there is talent there!

Carol Borrington

JOHN MARTYN

@Alban Arena, St Albarns. 23/11/08

Billed as the “Grace & Danger” tour, this was the first time Johm Martyn had been on tour since losing a leg last year. And with the knowledge that any gig could be the last time we see the great man of British electric folk, the audience was prepared for – well anything, really. What we got was a mixture of the real John Martyn – fine guitarist and jolly, japing chap – and a cocktail jazz version, featuring a sax player who could bland out Kenny G.

The feature of the show was a playing, end to end, of the ‘Grace & Danger’ album from 1980, and he almost pulled it off. The album is full of difficult material charting, as it does, the breakup of his marriage and his own personal issues with drink and drugs. It has taken nearly thirty years before he was in a place to perform the whole album, but the audience seemed a little surprised that he was playing so much unfamiliar material. He relied heavily on his band, and we were treated to fewer than usual of his guitar master classes, and too many sax and keyboard solos. He was missing the energy and vivacity that I have always associated with him. The versions of ‘Johnny Too Bad’ and ‘Sweet Little Mystery’ were well received, and his vocal on ‘Johnny Too Bad’ was possibly his best of the night. He did begin to come alive when he swapped the electric guitar for an acoustic and played some of his classics, including a fabulous ’Solid Air’ and a happy sounding ‘May You Never’. He was finally wheeled off – this precluding an encore – and the audience filed out a little too quietly – they had come to praise him but, typically, he never gave them the chance.

Andy Snipper

MARCUS BONFANTI

@Ginglik, London. 07/01/09

Sitting on a comfortable sofa in a former underground gentleman’s toilet listening to the Blues can only mean one thing. It’s a gig at the subterranean Ginglik, still hanging on by the fingertips yet still nurturing talent across the emotional genres.

Tonight was a balancing act of grimacing grit and persuasive perfumery with aggressive Blues from Marcus Bonfanti in support of ambient arch that is Nathalie Nahai. Bonfanti began with ‘Girl I Knew’, and a hypnotic opening that alerted me enough to double-take that I wasn’t listening to the chords of Otis Taylor. And then he sang, a gruff smoker’s voice that reminded me more of the tones of the guy that used to sing with the band Love And Money. He had my attention. Long-haired, bearded and clothed in heavy scarf and Victorian shirt, he was at home in the venue within a few notes and was ready to go feral with some pure slow Blues in the tear-jerking ‘Now I’m Gone’. He toured with Robert Cray in 2008 and influences on display may have been picked up here as he drew us in even closer and tighter. Comparisons are unfair as he exhibited a distinct style but

again I couldn’t help but look for references and with ‘Hard Times’ it was the late John Campbell, deep and throaty and as blue as you can get. A stomping ‘Knock Me Down’ finished the set and I was drained yet eager for a continued fix. Both artists were performing solo and if the clandestine convenience suited the brittle Blues of Bonfanti then the assuage furnishings were perfect for the patterned mosaics of Nahai’s music. An hour-glass of crimson, stopping time with each song, Nathalie Nahai is numinous in performance and personality. With two new songs in the set, ‘Out From The Shadows’ and ‘Satan’s Wife’, even more focus was required as she despatched us into other worlds, noir and noetic. Confident, like Bonfanti, especially in song, she coolly had everyone hushed for ‘Softly Now’, alternative folk-styled lullaby-Blues with essence of eastern spice making me weep with the oxymoron of happy sadness.

Gareth Hayes

HARPER

@The Musician, Leicester. 17/12/08

Singer/songwriter, harmonica and Didgeridoo player Harper made a short return visit to the UK, just before Christmas, to record a Paul Jones session, whilst managing to pull in a few gigs. His visit to The Musician underlined for the assembled that there is another talented Blues musician and songwriter whose name is not getting enough attention from the music industry in general. Harper is renowned for his socio-political songwriting, in the storytelling/narrative form. One song he performed on the night was called ‘Just What You Are Looking For’ - entered last year in the International Songwriting Competition, and coming third out of 15,000 entries from over a hundred countries (one of the judges was John Mayall, who has decided to record the song on a future album). It is a parody on US drug advertising, where there is a drug for everything - even a drug to cure the side effects of the drugs advertised! He tells of a society that has reached such a low point that it needs a pill just for life! Along with the highly charged lyric, there was some great call and response work between lead guitar and Harper on harmonica - the music rising to a frenzied, delusional feel, evoking the drugridden mania of the society. Harper also performed a number he called ‘A Song For George’, and the audience quickly realised this was directed at a certain Mr. Bush. It’s actually called ‘One Day’, and was a more sinister and darker Blues number, deep bass riffs and accusing emotive vocal tones, being taken over by an equal assertive harmonica piece, pointing the finger of blame in musical notes. Later a song dedicated to his mother - named ‘Soul Food’, because she had always thought there was something odd about her son wanting to play this “depressing music.” The whole gig was sensational from a talented Bluesman, including some expressive, emotively gut wrenching Blues didgeridoo!

Carol Borrington

FUNKYDORY

@The Nags Head, High Wycombe. 07/11/08

We hadn’t seen much of Funkydory during 2008 and, indeed, not much of The Nags Head either. The venue had been closed for a while so that it could be sound-proofed, although with such a history, and a genuine Blues heritage going back to the ‘60s, one wonders what has gone wrong with the world that it has to be sound-proofed! Funkydory’s low-key year has seen them go from five-piece to four-piece and stressed studio time working on that difficult, darker, second album.

The Martin Harley Band, including: Brighton The Greys (2nd March), Cambridge Portland (4th), Norwich The Arts Centre (5th), Swindon The Arts Centre (7th), Guildford The Boileroom (11th), Oxford The Cellar (12th), Ashill Square & Compass (18th), Bristol The Louisiana (19th), Swansea The Chattery (20th), Bilston The Robin 2 (24th), Oswestry The Ironworks (26th) and Fareham The Ashcroft Arts Centre (27th). martinharley.com Black Lips: London Islington Academy (15th), Bristol Fleece & Firkin (16th), Glasgow ABC 2 (17th), Manchester Institute (18th), Brighton Audio (19th). myspace.com/theblacklips Stephen Dale Petit/Mick Taylor, including: Liverpool The Cavern (7th May), Durham Gala Theatre (8th), Glasgow Renfrew Ferry (9th), London 100 Club (13th) and Wimborne Tivoli Theatre (22nd). myspace.com/stephendalepetit Bob Log III, including: Bristol The Lanes (1st April), Canterbury The Farm House (2nd), Birmingham Cold Rice (3rd), Liverpool Class A Audio (4th), Brighton Engine Room (7th) and London 100 Club (8th). myspace.com/boblog111 Nicky Moore’s Blues Corporation: London Half Moon (21st February), Chislehurst Beaverwood Club (26th March) and Ripley Blues Club (28th). myspace.com/nickymooreblues Aynsley Lister, including: Glasgow Ferry (13th February), Stratford Cox’s Yard (19th), Lichfield Civic Hall (20th), Hartlepool The Studio (21st), Chester Telfords Warehouse (31st March), Ebbw Vale Beaufort Theatre (4th April), Blakeney Norfolk (17th), Scarborough Cask Inn (21st), Bilston Robin 2 (22nd), Wimborne Tivoli Theatre (23rd) and Penzance Acorn Theatre (24th). myspace.com/aynsleylister Paul Leegan And The Legends, including Harlow The Playhouse (15th February), Coventry Coombe Club (21st), Haverhill The Arts Centre (27th), Bilston The Robin 2 (4th March), Lichfield Arts Centre (14th), Westcliff-on-Sea The Riga Music Bar (21st), Banbury The Mill Arts Centre (3rd April), Alnwick The Playhouse (4th), Isle of Wight The Medina Theatre (18th), Langholm The Beccleuch Centre (24th) and Northampton Roade Jazz Club (26th). paulleegan.com Tim Aves/Son Henry Band: Farnham Maltings Cellar Bar (26th March), Maldon Oak Room (27th), Billericay Barleylands Club (28th), Stevenage Red Lion (29th), Rochester Roffen Club (31st) and Basildon The Belvedere (2nd April). myspace.com/thetimavessonhenryband Joe Gideon And The Shark: Brighton Freebutt (18th March). myspace.com/joegideonandtheshark Danny Bryant, including: Liverpool Baby Blue (15th February), Aylesbury Limelight Theatre (20th), London Half Moon (18th) and Peterborough Charters Bar (17th April). redeyeband.co.uk

Joe Gideon And The Shark: Brighton Freebutt (18th March). myspace.com/joegideonandtheshark Pinetop Perkins: London Jazz Cafe (12th March), London Jazz Cafe (13th) and London Jazz Cafe (14th). pinetopperkins.com Jersey Budd: Sheffield Leadmill (16th February), Newcastle The Cluny (18th), Glasgow King Tut's (19th), London Water Rats (20th), Leicester Sumo (21st) and Derby The Venue (22nd). myspace.com/jerseybuddmusic Oli Brown Band, including: Farnham The Maltings (5th March), Derby Flower Pot (12th), Norwich Arts Centre (13th), Sheffield The Boardwalk (14th), Penzance The Acorn (21st), Southampton The Brook (22nd), Scarborough Blues Club (24th), Newcastle The Cluny (25th) and Cardiff The Point (28th). myspace.com/oliblues

Bob Dylan: Sheffield Arena (24th April), London 02 Arena (25th), Cardiff International Arena (28th), Birmingham NIA (29th), Liverpool Echo Arena (1st May), Glasgow SECC (2nd) and Edinburgh Playhouse (3rd). myspace.com/bobdylan

Colin Blunstone, including: Swindon Arts Centre (17th February), Cardiff The Globe (18th), Milton Keynes The Stables (19th), Sutton Boom Boom Club (21st) and Liverpool Baby Blue (24th). colinblunstone.co.uk

Confidently opening with their own ‘Good To Be Free’, at a tempo and edge that also allowed them to get used to the dynamics of a room, now full, that had been empty for the sound-check. The partnership that is Lorna Fothergill on vocals and Jules Fothergill on guitar then seamlessly fell straight into the fans’ favourite Blues punch, ‘Northside’; a tricky number mixing sinewy Blues with contorted rock. Pumped up, they didn’t drop the pace with ‘Mercy’, the first track they ever wrote, before giving the swaying audience their first taste of two new songs and Funkydory’s evolving sound - ‘Hard Shoes’ and ‘She Never Could’. Both maybe have less funk than the titular bandname demands (amongst rumours of a name change), yet have a deeper more penetrating rhythm, courtesy of the very tight coupling of Ian Maurizio (bass) and Hayden Doyle (drums). Massively dependant on the constantly climaxing vocals of Lorna and Jules he-sounds-like-he’s-playing-more-than-one-guitar-at-once Fothergill, it was hard not to just stare at the performance rather than jump, sing and sway along. ‘Whipping Post’ was the usual, boastingly bigger and drainingly detached, fifteen minute version, with astonishing virtuoso guitar that surely deserves a wider audience. Another cover, and a brave diversion to challenge the emotions, came with ‘Knockin’ on Heaven’s Door’, before surprise guest Russ Blaber, from Helium Soul, joined the band on stage and the Allman-styled guitar rock turned up the frenzy on stage a notch higher for ‘Sugar’. Ending with another new number, ‘Hole’, the time away was forgotten and forgiven in a fun encore and a desire from all for a repeat performance soon by these four Blues-rock dynamos.

Gareth Hayes

photo: Tony Winfield (bluespics.co.uk)

DAVE ARCARI

@The Jolly Brewer, Lincoln. 15/11/08

Seeing mild mannered, hard-gigging Glaswegian Bluesman Dave Arcari (looking like an over-caffeinated Johnny Vegas) chatting pre-set, sporting a dodgy Ramones short-sleeved shirt, it was clear it could go either way tonight. With a shelf full of album releases he seemed, nevertheless, to postpone starting a few times, which suggested a few nerves, till finally grabbing one of his electric steel guitars and hitting a foot to the pedal for opener 'Another Chance'. It took a split second for a massive persona shift to occur - from that of regular bloke to that of a man ripe for detailed psychiatric assessment. Heart and soul, this was a man now possessed. Instantly into that territory of edgy, uninhibited, full-on manic - that meant he was saving nothing for a rainy day - it was all or nothing, whiskyfuelled music. The guitar, while being weapon of choice, was whipped around plenty while being raked with steel picks taped to his fingers - along with plenty of flashes of reckless slide playing to keep it well mixed up (strings eventually started to fail under such ferocious attack). The dramatic posturing was classic punk and entertainingly adrenaline rich, and the vocal, ooh yeah, a two octave plunge from his speaking voice (think Tom Waits gone thrash metal, think pit bull, think horror film trailer…) - well it was also hard, fast and, yeah, fairly disturbing, actually. All good stuff, then. Covering Blind Willie Johnston's 'Soul Of A Man', he was then happy to oblige some teen girls in the audience with Johnny Cash's 'Blue Train', which was now suitably mental. He then explained we were now to be treated to a smoochy little love song, 'Red Letter Blues', which he’d just written. So, no surprises then when it kicked off at maximum velocity and turned out to be the meanest badass song of the night. The beautiful ‘20s art deco style mural of the Jolly Brewer was an unexpectedly perfect backdrop for

Blues based sounds. Perhaps as the first Blues recordings were being made around that era. The incongruity worked much in the same way as mixing Blues with punk - it shouldn’t, but it did. All in all, the effect of such a collision is to make you feel better about the world and glad there are people like Dave in it.

Pete McGovern

THE PAUL JONES CHRISTMAS SPECIAL

@BBC Studios, Maida Vale, London. 15/12/08

The recording of Paul Jones’ Christmas Special for Radio 2, with The Blues Band and special guests, showed you can have fun and celebrate in style with the Blues. Dave Kelly and kicked the show off on lead vocal and slide guitar with ‘Blue Christmas’. The Blues Band then continued with a great version of Hank Snow’s 1950 song ‘Movin On’. Drum-driven, harmonica wailing, chest thumping bass rhythm and expressive lead guitar, all topped off with Paul’s vocal, produced wonderful musical imagery of a train moving endlessly down the track, steel on steel, whistle blowing and passing through dusty

prairie, with tumbleweed rolling in a lonely and desolate landscape. US saxophonist, composer and arranger Pee Wee Ellis joined the group on stage next for his composition ‘Ham’. Great call and response solos on this by Pee Wee’s sax and Paul’s harp, all underscored with top class instrumentals by the rest of the band. Mike Sanchez was the second of Paul Jones’ guests to join the assembled throng, and they did Little Willie Littlefield’s ‘Baby Shame’. A rocked up Blues number, which offered a wonderful late-50s jam session feel between the boys on stage. The third of Paul’s guests was Elkie Brooks and her keyboard player Andrew Murray. Elkie went into a cracking performance of ‘Crossroads’. Her great husky Blues vocal pumping those immortal words, with harp and slide complimenting throughout. Pee Wee Ellis then joined The Blues Band, before the music was then handed back to Mike Sanchez for a sizzling version of ‘Come Back Baby’, with Mike going off stage and doing antics on his knees, as the audience clapped and sang. After a couple more numbers from The Blues Band, Elkie Brooks returned to the stage with ‘Red House’ and ‘Baby You Want Me To Do’. These were both sensational performances from Elkie, and what vocal sustain she has. The whole finished with everyone, including the audience, joining for ‘Shake Rattle And Roll’.

Carol Borrington

MAXIMUM RHYTHM ’N’ BLUES

@The Derngate, Northamptonshire. 24/10/08

It is hard to do justice to this show in a short review. It contained Blues and R&B, with forty years of pedigree at its best. The value of the collective musicians on display stepped back to the days of the burgeoning R&B scene of London clubs like Ricky Ticks, Eel Pie and Ronnie Scott’s. Where the British Blues scene took the legend of the Blues, forming a myriad of genres that form today’s modern music. The show opened with The Manfreds (including Paul Jones, Mike D’Abo, Tom McGuiness, Simon Currie, Wayne Elliott, Rob Townsend and Mike Hugg), stalwarts of the ‘60s scene, with an impressive, harmonica augmented rendition of their 1964 hit ‘5-4-3-2-1’, with Jones on lead vocal. The music featured throughout depicted The Manfreds’ career over forty years, Paul Jones and Mike D’Abo sharing lead vocal and showcasing their own input in the various stages of evolution. There was nothing old and dusty about this performance. Songs of long standing pedigree may have been on show but true Blues and R&B style, innovation, creation and spontaneity were the order of the day. Giving a feeling of freshness and the promise of more to come for the future, with a new CD due in 2009! Mike D’Abo took the lead on the classic ‘Fox On The Run’. It had a far more Blues feel than original, impressively underscored instrumentally, with good audience participation. The Mansfreds were then joined on stage by “Scotland’s Janis Joplin,” Maggie Bell. She hit that stage running, and in musical perfection, with ‘No Mean City’, set off with beautiful instrumental backing, and then thrilling the crowd with song after song. Alan Price, ex-The Animals, took the stage also in a guest spot. Apart from his very Dickensesque rhetoric, he also took the crowd through an impressive selection of his music, including a sensational and innovative version of John Lee Hooker’s ‘Boom Boom’. Great gig!

Carol Borrington

NICK CAVE AND THE BAD SEEDS

@The Brighton Centre. 23/11/08

The positive response to “Dig!!! Lazarus Dig!!!” spawned two international tours for Nick Cave And The Bad Seeds. This was the second time they played the UK. Unlike the show on their first tour, the group focussed on songs that travelled well throughout the career, rather than aiming to play the latest album from cover-to-cover. Out of the songs missing were

‘Night Of The Lotus Eaters’ and ‘More News From No Where’ - two tracks, in particular, that I believed worked well. In fact, there was a completely different atmosphere. Where their previous show at the Hammersmith had a tense edge to it, the air of hostility was completely vaporised and you truly felt Cave was at home. Brighton, being his adopted home-town, was much more welcoming to the band and, in return, Cave was much more receptive, even allowing audience requests and communicating more with the crowd. Even the sound quality was better, Warren Ellis choosing not to pummel his violin as

hard as usual and, in turn, producing a much more eloquent sound. However, where this was much appreciated for those wanting to hear the music, rather than being engulfed by it, there was a feeling that tracks like ‘Tupelo’ and ‘Red Right Hand’ suffered from the lack of electricity and manic musicianship. This makes no accounting for the incredible performance of ‘Papa Won’t Leave You Henry’, and the wall of sound was breached on several occasions with the title track from the latest album and ‘Deanna’, a song which has generally been cranked up since Cave’s wanderings with side-project Grinderman. In retrospect, the group’s performance could not be seen in a light anything other than positive. After over twenty years, it was good to see the old boy wasn’t slowing down just yet.

Matthew Clarke

SERIOUS SAM BARRETT AND DAVID BROAD

@Sanctuary Café, Brighton. 12/11/08

Roots music seems to be misunderstood more than appreciated as of late. Sure, there is a revival, but when isn’t there one? In honesty, bands that play the Blues like Clapton or The Rolling Stones have missed the point. They play from the head rather than the heart. On a cold evening in Brighton, by complete coincidence, I came across a man who played about what he knew and what he didn’t know, and in a style which was older than he was, but in a voice that couldn’t be anyone else’s. The truth with Sam Barrett seemed to be that there wasn’t one. His guitar playing had been moulded from what seems to have been years of listening and loving the Blues. He happily cited Robert Johnson, Blind Willie McTell and Son House as influences, but his tongue couldn’t have been more representative of where he grew up if he tried. Barrett wasn’t alone, though. He was touring with fellow enthusiast David Broad, a man with as much insight to the genre and as much, if not more, heart. They took it in turns to play covers and originals. They played songs that told tales of folk living on hard times, running from the law and taking cross-country trips on the boxcar. They played to roughly twenty people, none of whom said a word throughout, and none of whom could move their eyes away from the stage. Twenty minutes from the end, Barrett rejoined his partner on stage for an old-fashioned hootenanny performance and together they raced through tracks which were more about living in Leeds than on the railway. It was an uncompromising performance by two men playing what they felt - a soulful escape by two men refusing to be bounded by cultural or geographical borders.

Matthew Clarke

SHERMAN ROBERTSON

@The

Running Horse, Nottingham. 20/11/08

Sherman Robertson is a real favourite in Nottingham’s Blues clubs. He played at The Running Horse to a near capacity crowd, who were clearly out to enjoy some hot Texan Blues - and Sherman’s dramatic persona as a showman. Bluesmove providing backing with their usual instrumental excellence. Sherman kicked-off with a funky Blues number, great soul laden guitar solos, and some impressive keyboard work by “Jools” Grudgings adding the finishing touch. Sherman moved into the next number like a man on a mission, ‘Long Way From Home’, with a more than willing audience joining him on the chorus, as he stepped off the stage wandering amongst them and telling them, with a cheeky grin and wink, "You tell Joe Bonamassa, I’m looking for him!” One interesting aside to the performance was a young artist in the audience swaying to his music whilst trying to immortalise the essence of the musician through graphite and paper. One dramatic moment of the night, apart from Sherman’s excellent guitar work, came in the second set. Sherman got off the stage and wandered out of The Running Horse front door onto Canning Circus and stood there serenading all who passed by on the road. I’m pretty certain that Nottingham’s own outlaw minstrel, Allen-a-Dale never caused this much interest on the city’s streets! Gary Rackham, who is a newcomer to Bluesmove, despite playing some excellent bass rhythm for Sherman’s frequently florid journeys along the fretboard, also displayed that he was unphased by losing the frontman to the byways of dark Nottingham as he, drummer Mike Hellier and Jools continued with Sherman in spirit if not corporeal. Sherman proved in this performance that, at present, both as a musician and showman, he deserves more

photos: Alan White

attention, but in Nottingham, at least, he seems to have become its semi-official present day, wandering minstrel.

Carol Borrington

IAN SIEGAL

@Millers Snooker Hall, Kirby-in-Ashfield. 27/11/08

It is fair to say, with Ian Siegal, you are always guaranteed a night of great Blues music, but at Millers there was something extra. Ian powered into ‘The Revelator’ like a man possessed, with all that Siegal grit, fire and feeling. The whole thing, as usual, being held tight by some great bass riffs from Andy and power drumming from Nikolai. Taking us through the music of “Dust”, and his previous album “Swagger”, Ian held the audience’s attention in a grasp of steel. He gave them rock-Blues, Blues ballads - and even a love song! - to howls, cheers and clapping. The favourites were included, as well - ‘Ground Hog Blues’ had a little spice added that night, with a funkier feel and great fluid guitar licks. There were some impressive musical rises and falls flowing throughout adding to the musical imagery of the piece. Ian is never allowed to perform without the compulsory ‘Horse Dream’, which, this time, was done in the swamp style. Finishing the gig was the most difficult part of night, with the audience calling for “three more,” and Ian’s compulsive love of playing. Ian is the 21st century’s answer to the days of Howlin Wolf and Muddy Waters, but he has also been skilfully bringing into to his

musical armoury the legacy of the ‘60s British Blues boom. Ian is now one of the forerunners of the Blues.

Carol Borrington

ISOBEL CAMPBELL AND MARK LANEGAN

@The Wedgewood Rooms, Portsmouth. 09/12/08

It’s not a lie that the pairing of Isobel Campbell and Mark Lanegan was one that many were unprepared for. When their first CD was released, two years ago, it came as an initial shock that the generally rough and ready guitarist, known for his work in the Screaming Trees and QOTSA, would partner up with indie queen Isobel Campbell. In fact, I doubt there is anybody more twee than Campbell and less so than Lanegan. Nonetheless, it was quickly established that this was a partnership that not only defied the rules of contemporary music, but embraced such pairings of an age before this one. Suddenly the work of Hazlewood and Sinatra was spoken about like it was gospel and the sexual ambiguities of Serge Gainsbourg was becoming references and explanations to Campbell and Lanegan’s music. On stage, in Portsmouth, none of this mattered. The two performed with their band with dynamic precision. There was no flailing over each other as if they couldn’t

be separated. There was merely a few glimpses and one or two strategically placed smiles, as if they were communicating in a language known only to them. The songs that came filled the hour and a half briskly - the old phrase that time passes when you are having fun fitted nicely. The orchestral sweeps provided by Campbell’s cello gelled perfectly with a regular rock-band set-up. The night’s performance assured me they were meant to perform this epic brand of dark country and Blues to the point I was no longer watching two individuals but a band who knew what they were doing. At the moment they came off stage, before the encore, I realised I witnessed a beauty in the two that echoed sweetly in the music. No song was more or less powerful than the one before it and the note for note accuracy of the recordings was never challenged. There was in no way anything disappointing about this but the pair’s performance of ‘Come On Over (Turn Me On)’ got to such an intense level that I wondered if there could have been more. By questioning this notion, I felt that perhaps they were playing safe to the formula, and even though it satisfied my every musical expectation, there was something calculated about their live performance.

Matthew Clarke

BLUES CARAVAN

@The Stables, Milton Keynes. 09/11/08

A wet windy November was not going to stop Blues Caravan moving its musical way through the UK. The show opened with support act The Will Wilde Band. Will is the younger brother of Dani Wilde (part of this incarnation of Blues Caravan) and a mean harmonica player. A band to watch for the future, if this gig was anything to go by. Enter next the ladies of Blues Caravan, five Amazon warriors all wielding axes with talent and style. I say five, because along with lead musicians Sue Foley, Deborah Coleman, Dani Wilde and Joanne Shaw Taylor, was guitarist Laura Chavez. Laura stands in her own right as

Deborah Coleman

photos: Alan White

a lead, joining the rest of the female Blues team as an equal partner. Dani, Deborah and Sue kicked off the opening number with Dani taking lead vocal and the show progressed with interchanging lead and vocal renditions by all. Joanne later joined in, the gig continued into one of the finest displays of female vocalists, and instrumentalists you could ask to assemble on one night. The songs were a mixture of Blues, soul, gospel and rock, all carried out in vocal and instrumental precision. Honours go equal to all in this performance - it is impossible to pick out one musician that didn’t give a 110% effort in all they performed. The highlight of the show came at the end, as all five girls played Led Zeppelin’s classic anthem ‘A Whole Lotta Love’. It seemed a fitting end to this show, as the original was influenced by Robert Plant’s love of Willie Dixon’s ‘You Need Loving’, and the girls launched themselves into their own innovation on the theme. Two generations of guitarists, taking the Blues of old, into the 60s revival and catapulting the whole thing into the present, with guitars wailing and the audience joining the chorus, clapping and cheering.

Carol Borrington

KYLA BROX

@Millers Snooker Hall, Kirby-in-Ashfield. 11/12/08

Kyla “The Voice” Brox opened her set with Blues ballad ‘Painter’, written by her father, and sung with just a hint of soul, you could see the crowd’s body language start to tune in - ears pricked up for every nugget of musical gold echoing from Kyla’s lips. The lady can sing - there is no doubt about that. Her vocal register covers the range with consummate ease. She has good microphone technique, her breathing control is superb but, more than this, Kyla hasn’t fallen into the trend of many young musicians of leaning towards the schooled, almost clinical vocal. Kyla’s vocal is natural and very clean but, most of all, it has a depth of feeling. She took us, vocally, through a range of changing emotions, from the pain of lost love to the joys of living. The gig was all topped off by some fine instrumentals from the rest of the band. Kyla and bass player Danny Blomely had a subtle feeling of yin and yang in their interactions. Kyla’s feminine vocal and flute contrasted with Danny’s deep emotive bass riffs. The band got the musical recipe just right, with fine lead guitar licks taking the middle ground, complimenting, underscoring and then, in its turn, adding some well-structured and impressive solo spots. Tony Marshall’s tenor, alto and soprano saxophones gave the whole a cascade of musical colours and it was held tight and driven home by Phil Considine’s percussive drumming. On ‘Coming Home’, Kyla’s vocal melted round Millers like warm velvet chocolate, with a sound to be savoured. Her rendition of Nina Simone’s ‘Do I Move You’ underlined, if anyone needed it, what a fine, talented Blues lady this is. Top class and still young enough to fly!

Carol Borrington

“The Voice” of Kyla Brox.

photo: Alan White

PRAISE BE

Courtesy Wienerworld, we have 3 copies of “Inside Bob Dylan’s Jesus Years: Busy Being Born Again!” to giveaway. Through the Vineyard Christian Fellowship Church, the Jewish Dylan came to Jesus, and recorded three gospel albums, winning a GRAMMY for the song ‘Gotta Serve Somebody’. Through revealing interviews with close sources, including Dylan’s Bible class teacher, Pastor Bill Dwyer, this DVD chronicles Dylan’s life from 1978-1981, with rare photos, exclusive live footage and a 1981 interview with Dylan himself. To gain enlightenment, tell us: Who produced Dylan’s 1979 album, “Slow Train Coming”, featuring ‘Gotta Serve Somebody’?

THE KING

We have 3 sets of 3 great new albums to giveawayKing Clarentz’s “Day Of The Supermodel” courtesy Super Sweet Records; Fred Eaglesmith’s “Tinderbox” courtesy Lonesome Day; and Greg Zlap’s “Road Movie(s)”. All three albums are reviewed this issue, with King Clarentz’s unique punk twist on Delta Blues gaining particular praise. “This is raw, energetic, hypnotic and a little different, but it’ll appeal to most Blues lovers,” concluded our reviewer, who had earlier singled out ‘Down On The Burying Ground’ (“chugs along infectiously in a boogie Blues”) and ‘Rim On The Koochie’ (“a saucy, humorous tale that needs no explaining”) for praise. For your chance to win three alternative takes on the genre, tell us: What was the name of King Clarentz’s 1999 debut album?

TO ENTER...

For your chance to win any of these great prizes, send your answer(s) to: comps@bluesmatters.com* Closing date: 20th March 2009.

*Alternatively, post to the usual PO Box address.

ODETTA

31st December 1930 - 2nd December 2008

Influential recording artist and human rights activist, Odetta passed away on 2nd December 2008 following a heart attack, after being hospitalized for kidney failure. She was 77.

Born on New Year’s Eve 1930 in Birmingham, Alabama, Odetta Holmes was to become the “The Voice of the Civil Rights Movement”. She was influential in the folk revival of ‘50s and ‘60s, and a key influence in bringing on a new generation of musicians, including Bob Dylan, Joan Baez, Mavis Staples and Janis Joplin. Yet one genre was too small to hold a musician of Odette’s talents as she also moved through Blues, jazz and spiritual music.

Following her family’s move to Los Angeles, Odetta started to learn the guitar, and went on to study music at The Los Angeles City College, funding herself by working in domestic service. Subsequent theatre work with the national touring company led to her discovery of the San Francisco folk scene. Playing some of the more upmarket mostly white nightclubs, in 1956 Odetta recorded the album “Odetta Sings Ballads And Blues.” Her interpretation of traditional favourites on this album brought her to widespread attention (Dylan has since hailed this album’s influence on his own career).

Odetta became a pivotal figure of the folk boom, as she worked through the mediums of folk, gospel and Blues, and, by the beginning of the ’60s, no civil rights rally was complete without her presence and her rendition of ‘We Shall Overcome’.

In the ‘60s and ‘70s, Odetta added acting to resume, although her recording career enjoyed a renaissance in the ‘90s, recording for M.C. Records, earning a W.C. Handy Award and two GRAMMY nominations (the period of 1999 to 2006, saw the rerelease of forty-one of her CDs, whilst she made guest appearances on fourteen new albums).

In 1999, Odetta was presented with “The National Medal Of Arts” by Bill Clinton. The Library of Congress gave her its “Living Legend Award” in 2003, and this was followed by the The Visionary Award in 2004. Her last major performance was in San Francisco’s Golden Park on 4th October 2008.

AL TAIT

13th March 1950 - 6th November 2008

Blues Matters! contributor Al Tait passed away on 6th November 2008, following a long battle with cancer.

Despite the deterioration of his health in recent years, Al remained a keen advocate of the Blues, interviewing the likes of The Wiyos and Catfish Keith for the magazine, and insisting on receiving materials for review right up until his passing (in 2008, Al covered CDs from Luther Allison, Man, Keef Hartley Band, Solomon Burke, and many more).

Al’s support to the magazine, as a contributor and spokesperson, was greatly appreciated, and we are deeply saddened to lose such an enthusiastic member of the team.

Our best wishes go out to his partner Lucy.

A true leader: Odetta.

DELANEY BRAMLETT

1st July 1939 - 27th December 2008

Delaney Bramlett passed away after complications from gall-bladder surgery on 27th December 2008.

Born in Pontotoc, Mississippi, Delaney settled in Los Angeles after a stint in the US Navy, establishing himself as a songwriter and becoming a regular on TV screens as part of the “Shindig!” house band.

In 1967, Delaney met Bonnie, marrying seven days later, the duo formed Delaney & Bonnie & Friends – a travelling rock’n’roll road show, whose players included, at one time or another, George Harrison (whom Delaney taught slide), John Lennon, Duane Allman, Gram Parsons and, most notably, Eric Clapton – Delaney produced and co-wrote Clapton’s debut solo album, co-wrote the hit ‘Let It Rain’, and Clapton has since credited Delaney for pushing him to sing.

Delaney & Bonnie released five albums together, including their revered debut “Home” on Stax Records, and enjoyed success with singles such as ‘Never Ending Song Of Love’ (which has been recorded by over 100 artists, including Ray Charles) and ‘Only You Know & I Know’. The duo also received a GRAMMY nomination for the song ‘Superstar’, later covered by the likes of The Carpenters and Usher. Despite their success, the duo broke-up personally and professionally in 1973.

In 2008, Delaney released the critically acclaimed album “A New Kind Of Blues”.

Blues Matters! had been in contact with Delaney’s partner Susan Lanier-Bramlett at the start of December 2008, interviewing him for an upcoming Bonnie Bramlett feature, with Susan informing us Delaney had been in UCLA Hospital following “a botched gall-bladder surgery” on 4th June 2008, which meant he had “lived with a huge hole in his abdomen.

“We have truly learned the meaning of humility and gratitude. It has been the roughest time in our lives. I can say, without question, he is the strongest man I have ever met. He has accepted his plight with grace and strength.”

SAM “BLUZMAN” TAYLOR

25th

October 1934 – 4th January 2009

Songwriter/guitarist Sam “Bluzman” Taylor passed away from complications related to heart disease at his home in New York on 4th January 2009. He was 74.

Sam was a recording artist in his own right during the ‘60s, but enjoyed greater success as a bandleader for the likes of Maxine Brown, The Isley Brothers, Sam & Dave (for whom he co-wrote early hits ‘People In Love’ and ‘Listening For My Name’) and Otis Redding, as well as penning songs for, amongst others, Son Seals and Jimmy Witherspoon.

Sam fell on hard times by the end of the ‘70s (including a well-documented drug addiction), but began to receive royalties from the likes of DMX in the ‘90s, as contemporary rap and hip hop artists began to sample his songs (including B.T. Express’ ‘Everything That’s Good To Ya (Ain’t Always Good For Ya)’, and he released five Blues albums (including 2003’s “Blue Tears”), toured Europe and hosted WUSB’s “Blues With A Feeling” radio show until his death.

“A short, but sturdy man with a charismatic stage presence and a spectacular voice, Sam was a master bandleader, songwriter, and arranger,” read a statement from producer Bob Corritore. “Sam will be deeply.”

NATHANIEL MAYER

10th February 1944 – 1st November 2008

Nathaniel Mayer, who returned to recording in 2004 after a thirty-plus year musical hiatus, passed away on 1st November 2008 after months of hospitalization following multiple strokes. He was 64.

Although Nathaniel is better known for his recent releases on Fat Possum and Alive Records, the Detroit, Michigan R&B singer originally recorded for the Fortune label in the early-60s, scoring a hit with ‘Village Of Love’ in 1962. Unfortunately, he was never able to follow-up on that success, and after leaving the label, Mayer went underground until Norton issued a never before released recording from 1968, ‘I Don’t Want No Bad-Headed Woman Telling Me What To Do’.

This release inspired Nathaniel to return to the music industry, with Fat Possum releasing “I Just Want To Be Held” to critical acclaim in 2004, and the 2007 release of “Why Don't You Give To Me?”, with the likes of Dan Auerbach guesting, on Alive Records, and this led to his first European tour.

Mentored the ‘greats’: Delaney Bramlett.

.B. King has long cited T-Bone Walker as a major influence. Most commentators credit him with the birth of the electric Blues guitar, starting a revolution that we still enjoy today.

Few major electric Blues players don’t owe T-Bone a sizeable debt, with Eric Clapton, Mike Bloomfield, Albert King, Duane Allman, Jimi Hendrix, Stevie Ray Vaughan and Robert Cray, to name but a few, all publicly acknowledging his genius

T-Bone Walker is very well known to the majority of electric Blues fans simply because the colossus that is modern electric Blues can be traced back to this Texas born showman, who began to amplify his playing way back in 1940, nearly seventy years ago!

Born Aaron Thibeaux Walker in 1910 in Linden, Texas of African American and Cherokee descent, T-Bone came from a musical background, with his stepfather playing bass fiddle in the Dallas String Band. This was a mighty influence on the young Aaron who, just like his stepfather, learned the rudi-

ments of virtually every stringed instrument available to him.

Jamming with the String Band he would be joined by experienced old dogs like Blind Lemon Jefferson, with whom he developed a relationship which saw him lead the blind guitarist from bar to bar where he played for no more than a few dollars. In addition to Jefferson, T-Bone was exposed to the playing of Charlie Christian, who went on to transform the jazz world with his electric riffs in the same way as T-Bone did for the Blues. For a period in 1933, Christian was one of T-Bone’s playing partners.

Under the name of Oak Cliff T-Bone, Walker made his recording debut in 1929 at the tender age of 19 years, cutting ‘Witchita Falls Blues’ backed by ‘Trinity River Blues’ on Columbia.

In the ‘30s, T-Bone left Texas for Los Angeles to perform with saxophonist Big Jim Wynn’s band, but not as a guitarist but as a dancer! The origins of the many comparisons with Elvis perhaps? Then, in 1939, he was hired by bandleader Les Hite as a vocalist, with whom he recorded ’T-Bone Blues’ a year later for Varsity Records. No T-Bone guitar on this recording, but about this time his experimentation with the technical aspects of the guitar began to come to fruition. After electrifying it, he moved to playing clubs around LA with a new combo, featur-

ing his wailing instrument. He also changed the nature of his act to provide a new focus on a more extrovert entertainment, doing acrobatics, the splits and playing the guitar behind his back and with his teeth to thrill his audiences. He also played his massive hollow body Gibson horizontally. After his wild sets, the stages would be littered with jewellery, cash, and panties. It is not recorded what he did with them, but if they ever come up on eBay...!

However, it wasn’t until 1942 when the TBone style evolved into the style known by today’s fans. He had, by then, moved to the fledgling Hollywood company Capitol Records and cut ‘Mean Old World’ and ‘I Got A Break Baby’, with boogie man Freddie Slack. It was during this period that T-Bone matured and showed the world his fluid elegant riffs and mellow sexy vocals that a whole host of future players would try to emulate.

Walker’s next recordings were cut for the label ran by joint house Chicago’s Rhumboogie Club, which he used as a home from home. He then signed a deal with LA based Black And White records, where his career really took off and he began to build a massive catalogue. It was with this label that T-Bone cut the massively successful ‘Call It Stormy Monday (But Tuesday Is Just As Bad)’, and began to lay down his massive catalogue. The instrumental ‘T-Bone Jumps Again’ was recorded at the same session, demonstrating his impressive speed. Most of his best output at this time was smoky after hours Blues.

T-Bone’s work with Black And White continued until 1947, and included the classics ‘T-Bone Shuffle’ and ‘West Side Baby’, before he joined LA independent label Imperial in 1950. His four year stint with Imperial produced a number of classic TBone recordings, such as ‘The Hustle Is On’, ‘Blue Mood’ and ‘Party Girl’.

T-Bone’s next contract was with Atlantic in 1955, where he initially collaborated with Chicago giants such as Junior Wells and guitarist Jimmy Rogers, before cutting some searing instrumentals in 1957‘Two Bones And A Pick’, ‘Blues Rock’ and ‘Shufflin’ The Blues’ being notable examples. Unfortunately, this was to mark the end of T-Bone’s peak as, in common with a host of electric Bluesmen, the rise and power of rock’n’roll had eclipsed T-Bone’s uniqueness as an electric player.

In common with a number of Bluesmen, whose careers were in decline, TBones made the journey to play the 1962

Lippmann and Rua promoted first American Folk Blues Festival. On the same bill were players like Memphis Slim and Willie Dixon. Subsequent to that, a number of European tours beckoned, and his 1968 work in Paris led to one of his best albums, the provocatively titled “I Want A Little Girl”, recorded for Black And Blue Records. Although he went on the win a GRAMMY for his 1970 Polydor release “...good feelin’...”, it is generally held that this is nowhere near his best work. He followed “...good feelin’...”, in 1973, with the disappointing five track release for Reprise, “Very Rare”. By then, T-Bone’s health was deteriorating and, in 1974, he suffered a stroke. T-Bone died in 1975.

The album “T-Bone Blues”, released by Atlantic in 1959, is the indispensible recording on T-Bone Walker’s searing work in the mid-50s, including a luscious rerecording of ‘Call It Stormy Monday’. You will also find some fine work with Junior Wells and Jimmy Rogers on this album. For the more serious collector, there is a 6CD box set, “The Complete Recordings Of T-Bone Walker 1945-1954” released by Mosaic in 1990. This acts as a time line of urban Blues, showing the huge extent of T-Bone’s influence on all aspects of the genre. KW

photo: Mattia Zoppellaro