Blues Matters 89

The superb new album

‘Coming Home’ is the ninth studio album of guitar-virtuoso Julian Sas

and critics paying attention to detail already noticed on Sas’s previous outing ‘Bound To Roll’, a modest

Especially the fat Hammond organ licks

COMING HOME

Julian Sas and his band have always been searching for what real good to come up again with a new the move is always looking for new input, about my ‘new’ band

‘Coming Home’

…this guy could be Europe’s answer to Mr. Bonamassa… (Blues Matters – UK)

Julian Sas knows how to play that guitar, and play it (Bluesundergroundnetwork – USA)

www.juliansas.com

Bookings UK & Ireland: bert@cavalier-musicmanagement.com

Sales & Distribution: Proper Music Distribution www.properdistribution.com

WELCOME

Welcome to your new issue, AND WHAT AN ISSUE once again!!

The man that cannot be kept down is here again with us, yep Mr. Bonamassa is back (he likes us!), we talk to Zakiya Hooker who is working on her new project interpreting the songs of her father, another lady of the Blues (and other music) Bonnie Raitt, and another lady making a great name for herself in Ruthie Foster. Then there are the men like Dave Weld who has a terrific career and who was founder in L’il Ed & The Imperials so we covered them both for you (bit of a BOGOF deal for you!). Stevie Nimmo shows us what he is made of on his own and we greet Dutch legend Big Boy Bloater with his new release and our own Sandi Thom pops in to say hello. I’m dizzy with expectancy already and that is without all the regular features, the gig and festival reports, including the Rock & Blues at Skegness and our own stage at Jaks.

Our thanks to all of you for the many great comments on the Blues Matters stage in Jaks at Butlins, Skegness once again. We are so proud of the artists that played for you and of you for your support and so pleased that the feedback has once again been very positive. We look forward to seeing you there again next year. One thing that seems to have been forgotten by a few (small number but outspoken) fans is that the BM stage in Jaks IS A BLUES STAGE. Some forgot publicly on Facebook and moaned about a lack of ‘rock’ music between acts. We have to say that our MC, Clive Rawlings, is a DJ and NOT a jukebox. For those who wanted to hear rock then they were in the wrong venue.

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CONTRIBUTING WRITERS

Liz Aiken, Roy Bainton, Kris Barras, Adrian Blacklee, Bob Bonsey, Eddy Bonte (Bel), Colin Campbell, Martin Cook, Norman Darwen, Dave Drury, Carl Dziunka (Aus), Ben Elliott (USA), Barry Fisch (USA), Sybil Gage (USA), Diane Gillard, Stuart A. Hamilton, Brian Harman, Gareth Hayes, Trevor Hodgett, Billy Hutchinson, Peter Innes, Brian Kramer (Sw), Frank Leigh, Andy Mann, Mairi Maclennan, Mikey Maclennan, Ben McNair, John Mitchell, Christine Moore, Toby Ornott, Merv Osborne, David Osler, Iain Patience (Fr), Thomas Rankin, Clive Rawlings, Darrell Sage (USA), Paromita Saha (USA), Pete Sargeant, Dave ‘the Bishop’ Scott, Graeme Scott, Ashwyn Smyth (Fr), Andy Snipper, Dave Stone, Suzanne Swanson (Can), Tom Walker, Dave Ward, Liam Ward, Rhys Williams, Steve Yourglivch.

CONTRIBUTING PHOTOGRAPHERS

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

COVER PHOTOS

Bonnie Raitt photo supplied by artist. Joe Bonamassa photo by Rick Gould. Zakiya Hooker photo supplied by artist.

© 2016 Blues Matters!

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CONTENTS

A NEW ALBUM AND TOURING IN THE UK THIS YEAR, MAKE SURE YOU CATCH HER.

REGULARS

10 24 82 88 94

HAPPENIN’

Regular features Harp Attack and Kitchat plus Blues news from around the globe and those blues heroes that have played their last notes.

BLUE BLOOD

The new bands that are worth keeping an eye on including the Husky Tones, Michael Armstrong and more.

RED LICK TOP 20

The top sellers from the most comprehensive blues catalogue in the world.

RMR BLUES TOP 50

The Roots Music Report with the chart that really matters.

IBBA BLUES TOP 50

The very best, most played blues compiled by The UK Independent Blues Broadcasters.

FEATURES

14 18 46 50 54

GUITAR TECH

Part Two of our new regular feature for all our guitar enthusiasts.

AUSTRALIAN BLUES

Part Seven of the engrossing round up of top quality Aussie Blues news.

INTERVIEWS

BIG BOY BLOATER

Here to talk about their new album 'Luxury Hobo', the tracks and everything related.

RUTHIE FOSTER

More than just your typical blues lady with an astonishingly powerful voice – a true gospel diva.

SANDI THOM

Celebrating another fantastic album and the recent birth of her baby boy.

DAUGHTER OF THE LATE GREAT JOHN LEE HOOKER MAKES HER OWN WAY IN THE BLUES WORLD.

DYNAMO ON STAGE AND OFF. BM CAUGHT UP WITH LIL'ED JUST BEFORE HIS SECOND GIG AT THE BANANA PEEL..

ZAKIYA HOOKER

BONNIE RAITT

JOE BONAMASSA

WOW 16 ALBUMS IN HIS SHORT CAREER! JOE CHATS WITH US ABOUT HIS LATEST RELEASE,

62 72 76

TEN YEARS AFTER Marcus talks to BM about being a member of one of Britain's most renowned blues-rock aggregations and everything else.

PAUL NELSON

The Paul Nelson band are back with a brand new album and talk to us about the record.

STEVIE NIMMO

The man returns with an outstanding release full of emotional drive and power. He also shares with us his top ten records.

REVIEWS ALBUMS

As usual simply the biggest and best review section available anywhere.

83 117 30

HAPPENIN’

Verbals: Steve Yourglivch

ALL THE BLUES THAT’S FIT TO PRINT, FROM AROUND THE WORLD

Disk) all served time, as did Chicago club owners Joe Segal and Pete Crawford of Jazz Showcase and Blues Etc respectively. Other famous exemployees include Jim O’Neal of Living Blues, and blues musicians Charlie Musselwhite and Mike Bloomfield.

REIGATE BEERS & BLUES FESTIVAL

This upcoming festival will be in it’s fourth year in 2016 when it takes place over April 29th to May 1st. This years event includes visiting New Orleans Boogie woogie pianist Joe Mac and his band, and TJ Johnson, Julian Burdock and Will Johns.

DEREHAM BLUES FESTIVAL

ICONIC RECORD STORE CLOSES

The world famous Jazz Record Mart store closed it’s doors for the last time on Monday 15thn of February after 57 years of trading. The Chicago based shop was a place of pilgrimage for blues and jazz collectors and was known as the largest blues & jazz store in the world. Although it only took on it’s Jazz Record Mart name in 1965 and had moved premises on occasion the single constant was the presence of founder and Delmark Records boss Bob Koester.

All of the remaining stock and ownership of the famous name has been purchased by Wolfgangs Vault, the online retailer based in Reno, Nevada.

Over the years an amazing number of former employees went on to make their mark in the jazz or blues scene. Many bands used the store as a rehearsal space after closing. In the blues world future record label owners Bruce Iglauer (Alligator), Chuck Nessa ( Nessa Records) Michael Frank (Earwig), Amy Van Singel ( Rooster) and Bruno Johnson ( Okka

Another relatively young festival that BM have championed since it’s first year is the Dereham Blues Festival in Norfolk. This years festival kicks off on Thursday 7th July with the ever popular Dr. Feelgood at The Dereham Memorial Hall with support on the night by The Nightmasters, all the way from Nashville. This is a ticketed event but over the next three days the town becomes a hotbed of blues spread over 12 different venues, mostly free admission. The event as always is organised by The Norfolk Blues Society.

OBITUARIES

JAMES RUSSELL ‘RUSTY’ BURNS

1952 - FEBRUARY 19TH 2016

Rusty Burns has passed away aged 63, after a short illness in hospital. He is most famous as lead guitarist in Fort Worth based band Pointblank. He was a founder member of the band that formed in 1974, releasing its self titled debut in 1976. The band re-formed to some success in 2005 after a 20 year hiatus, releasing a further two albums.

Rusty always considered himself a gun for hire, collabo-rating or performing with ZZ Top, Stevie Ray Vaughan, Jimmy Vaughan, Johnny Winter and The Allman Bros.

BOBBY ‘TOP HAT’ DAVIS

- FEBRUARY 13TH 2016

Bobby Davis, 83, was one of the last regular performers from the Maxwell Street Market days and ‘down home’ Chicago players. He was known for the innovative way he kept the old-school traditional style of playing Chicago blues alive. His first professional gigs was as a drummer, playing for people like Otis Rush. He was known for his showmanship as well as his excellent drumming. Later he became front man for his own bands playing guitar and more latterly keyboards. He was in a band with his son Eric ‘Guitar’ Davis, who was murdered in late 2013 apparently the victim of robbery.

Bobby Davis also hosted a monthly show on Chicago cable channel CAN TV from 1991 right up until last July, producing every single show in it’s history. Born in Dallas,

he moved to Chicago in the late 50’s to become one of the regular fi xtures in it’s local blues scene.

ALFIE FALCKENBACH

- MARCH 2ND 2016

News came in just as we were going to press that the charismatic Alfi e Falckenbach had lost his battle with cancer. Alfi e was the founder of Mausoleum Records and a driving force behind Zoho Music before starting up Music Avenue in 1996 who released over 400 records across its various labels. Blues fans will be most familiar with the Blues Boulevard releases, including Harmonica Shah and more recently Troy Redfern. Alfi e is also known as the showman lead singer of blues band Blues Karloff, often compared to a bluesy Alex Harvey.

MICHAEL SCHATTE

Within the mind of Canadian songwriter/singer/guitar slinger, Michael Schatte lies the soul of a screen writer

Verbals: Darrell Sage

Michael Schatte’s latest CD, Turn Back the Vikings is 64 minutes 58 seconds of his finest work to date and there’s not a dud among them. Vikings are some bad ass people. They will pillage the village portfolio taking what they want while leaving nothing in return. And who among us are not Vikings through file sharing and illegal downloading?

Michael provides an 11 page lyric insert to follow along with the characters he pens in 14 original tunes along with one borrowed. Schatte is one of Canada’s finest song writers and a finalist in the 2015 Memphis International Blues Challenge. His lyrics create imagery and societal commentary through melody and memorable chorus leaving 15 movie shorts sometimes wildly reeling through your mind accompanied by picture perfect background music. The opening track, The Rehabilistate has a cast member killing a man for jaywalking. Did he run him down with a Chevy or blow the dude away with an assault rifle? Depends on which bank of Lake Ontario an audience member lives. In due course the song goes nuclear, but all ends well for the perp. Schatte offers a love story with a puppet swaying to

the Push, Pull And Swing of heart strings. And there’s a frustrated husband living on Northern Dancer Boulevard losing his middle class mind because his wife is a wretched cook. Or is it because she’s an inadequate lover hastening him out the door and onward toward mayhem on darkened streets? It’s all in the mind of the viewer. Is Michael reminiscing of skating on a northern Ottawa canal with a lover or a close friend? ‘Indeed’, says Schatte, ‘I enjoy misinterpretations and try to avoid spelling out the meanings of my songs too explicitly.’ Another song asks, then resolves, ‘Is it a sin to find love and leave it be?’ The Rockabilly loaded Pistol on Her Pillow; is it filled with bullets or AA batteries? Perhaps it’s her lover’s head or maybe one’s own. He writes the Honkey Tonker, Honey Doll, another hillbilly blues based rocker that helped carry him to the Memphis finals. You’ll witness Richard Thompson’s take on war with a version of Sam Jones and his bone wagon wildly rattling off toward the horizon carrying time bleached bones plucked from battlefields past and present. Their Sun Sets Early is Schatte’s view on blind followers of religion based politics exploding into

global warfare. Turn Back

The Vikings was mixed by the renown Austin based, Simon Tassano, long time engineer for the above mentioned Thompson.

Schatte recorded the album entirely in analog through a Radar 1 unit in his Bibliotech studio where he says, ‘You have to walk thru an extensive in home library to get there’, which explains why he is such a literate song writer and also why it afforded him the ability to produce over an hour of tunes loaded with high fidelity stereo easily matching and often surpassing anything on today’s digital market. The Toronto based performer doesn’t consider himself a traditional blues cat, yet in 2015 he won Toronto Blues Society Talent Search and The Great Lakes Blues Society’s, Road to Memphis Blues Challenge. Michael credits influences ranging from Celtic music through to Elvis, Dylan, Peter Green, Danny Gatton, and Nick Lowe acknowledging Lowe’s approach to song writing as, ‘Wanting to make it sound like someone else wrote it’. Indeed, each song on Turn Back The Vikings has a unique lyrical and blues guitar driven musical edge that makes Michael Schatte one of the best undiscovered songwriters of our times.

GUITAR TECHNIQUE PART 2

the age of four. After being exposed to greats such as Jeff Beck, Stevie Ray Vaughan and Eric Clapton from a very early age, it seemed natural for Joe to set off on his blues playing path. Soaking up the influences he could, he began playing a full-size electric at the age of seven, leading to him performing locally by the age of ten. It didn’t take long for the young guitarist’s name to spread across the city and by the ripe old age of twelve, he was invited to perform alongside blues giant, B.B. King. It was here that a friendship was initially formed leading to King describing Joe as “one of a kind”. Bonamassa actually went on to open for B.B. King during the summer leg of one tour, spanning 20 dates across the United States. Pretty impressive for someone not yet in their teens!

JOE BONAMASSA

Verbals: Kris Barras Visuals: Rick Gould

In this article we are going to take a look at the playing style of the current undisputed King of the bluesrock world, Joe Bonamassa. In a career spanning 26 years, Bonamassa has left a blazing trail of innovative, soulful work in his wake. He continues to push blues

boundaries, exploring new territories, whether in an intimate acoustic environment or Big band-style setting.

Born into a musical family, New Yorker Joe was almost destined to become a guitar player. His father, an avid Guitar fan and player, had a Guitar in Joe’s hands from

Releasing His first solo album A New Day Yesterday, in 2000, he reached nine in the U.S. Billboard blues charts and featured a guest appearance from Greg Allman on one track, If Heartaches Were Nickels. Between 2002 - 2007, Bonamassa saw three solo albums hit the top spot in the blues charts and all five of his albums released at this time made the top ten. His latest 2016 release, Blues Of Desperation, marks his twelfth solo studio release and interestingly features two drummers recorded simultaneously. Joe has himself said that this is “one of the most exciting recording

projects I’ve ever worked on”, and states that he is aiming to show how he is constantly evolving, not just resting on his laurels, riding on previous accomplishments.

Bonamassa is also a noted Guitar and Amplifier collector. Favouring items from the late 50’s and early 60’s, he is reported to have over 200 guitars in his ‘Bonaseum’ - a section of his house dedicated to displaying his much admired collection: this features a number of very rare pieces collected on his musical travels around the world. However, mostly it's made up of vintage Gibson Les Pauls, early Fender Telecasters and a whack-load of desirable, early Fender tweed amps.

We are going to take a look at a snippet of some of the things that form Bonnamassa's unique sound.

Due to the very nature of his playing, I would say this article is aimed at Intermediate to advanced players.

Bonnamassa is one of those rare beasts who can combine soulful licks with oodles of feeling together with blisteringly fast runs, seemingly effortlessly. He makes full use of the fretboard, using all five positions of the pentatonic scale to great effect. Breaking away from the traditional blues norm, he uses fast arpeggio sequences in runs and more exotic sounding scales, such as the Harmonic Minor scale.

In the first exercise, we tackle a Minor Pentatonic scale run down in the Key of Em. Using the trusty, old position 1 shape that we all know and love, Joe spices it up with a couple of small twists. First of all, note the addition of the

Major 2nd note, F# (14th fret, E string). This adds a bit more flavour to the traditional sound and can work wonderfully when bent up a semi-tone to the Minor 3rd. Another ‘Bonamassa-ism’, is the irregular note grouping of five notes per beat. Most blues players tend towards triplets (three notes per beat) or 1/16th notes (four per beat). At first you may find this difficult to grasp, but stick with it; when applied to scale runs, it can transform many stereotypical licks. If you are struggling to understand what five notes per beat sounds like, try saying “Hip-po-pot-a-mus” in time to a click (other five syllable words are available!) This is fast lick, designed to be played at speed. However, I suggest playing it through slowly to begin, concentrating more on getting the note groupings nailed.

The second exercise is in the key of C and uses the C Minor Pentatonic scale predominantly. However, here we borrow a note from the C Major Pentatonic scale towards the end. This is common in blues playing, to mix between the two, especially when played over Dominant 7 chords (i.e. C7) This lick is based around one of the lesser used Pentatonic shapes, position three. This is another fiery, speed lick, however, this time it is meant to be played to a slower tempo track. Think of Sloe Gin live

at The Royal Albert Hall, for example. This lick blends 16th note triplet bursts (six notes per beat) with held notes/ bends to break it up. Joe is a master at timing these licks and adding in a fast vibrato to the notes he holds.

The third and fi nal lick is a combination of two things Joe is known to use; the Harmonic Minor scale and Arpeggios. This is in the key of Gm and this particular lick, would work well over the V chord (D7) over a turnaround. We begin with an ascending D major

arpeggio (D F# A) leading into a G minor arpeggio (G Bb D). The inclusion of the D major arpeggio implies the Harmonic Minor scale due to the F# note (Vii in the key of G). The note groupings for this lick are easier to get to grips with, using 8th note Triplets (three per beat).

Have fun with these and remember to take them slowly at fi rst. I’d recommend that in addition to learning these licks as written, you have a go at using some of the ideas to spice up your own licks and fretwork.

AUSTRALIAN BLUES PART 7

Verbals and Visuals: Carl Dziunka

The blues scene in Australia became well established towards the end of the 1960s when Australian artists, influenced by the music coming out of America and the UK, put their own adaptation on the music and Australian Blues was born.

There’s no disputing that fact the Australia is a huge country. Australians also have a huge love of music, another simple fact. That they are very proud of home-grown talent, especially when it’s showcased, is also beyond doubt. This is true for all genres, and Australian Blues music is currently climbing, becoming an increasingly serious competitor on the world stage. Despite the size of the place, Australian blues music is mostly concentrated on the East Coast area. Dominating things is Victoria with many festivals and concerts solely dedicated to the music. One of these festivals, held in November close to the border with New South Wales, is the aptly called Festival of the Blues. Based in Wodonga’s Edwards Tavern, this event runs over two days and brings many top Australian performers together for a weekend of pure blues which could make any blues fan take leave of absence for the entire weekend. From noon on Saturday until late on the Sunday night, you could be forgiven for thinking you’d stumbled into a roaring juke joint.

The first band to kick off proceedings on this mega weekend was Cleveland Blues from the Sunshine Coast in Queensland. This duo consisting of Ihaia W. Pirere (Cleveland) and Andrea J. Norden (Bam Bam), really got the weekend off to a flying start with their new style of old-time blues, music they describe as dirty swamp rockin’ blues. Cleveland rips out dirty, heavy rolling riffs on resonator guitar while Bam Bam smashes out a solid beat to complement the sound. This duo is a hi- energy music train that runs full -tilt down the track to hit listeners head-on right between the

eyes. In many ways, this was a perfect start to the weekend with the bar now set for everyone who followed.

Richard Perso was the next to fill the position on the stage and fill it he did. Perso is certainly a unique person when it comes to playing the blues. He brings a totally Australian flavour to his music by having 3 didgeridoo’s as part of his musical kit something that certainly adds a distinct sound to his playing. He also has a cache of acoustic guitars and replaces the roll of the drummer with his feet. He takes the term one-man-band and turns it on its head. Perso has been playing festivals

Cleveland Blues

since he was in his early teens and now, at age 24, has played around 130 festivals. His second album, from 2013, Dreams Vs. Reality is a strong bit of work, but the ultimate thrill is catching Perso live, to see the way the music is played and marvel at the fact that he can manage to get all these sounds with the conventional two arms and two legs.

Richard Perso is definitely next-generation and an artist to keep an eye on because of the unique approach he brings to the table.

By now it was time to bring out the big guns, the people who have played their part in moulding the way Australian blues is played, artists who have contributed more to this scene than any other. When Phil Manning and Chris Finnen took the stage together it was like Australian blues royalty had arrived. Their set was going to consist of both doing solo work before joining forces to finish off together. In truth, it doesn’t get much better than this. Chris Finnen is originally from the UK but has lived in Australia since emigrating in 1967. He learned to play guitar as a child and became interested in blues before he was in his teens. His career has seen him share the stage with many of the world’s finest players including Buddy Guy, Bo Diddley, Keb Mo, John Mayall, and Mavis Staples. In addition, he has worked in Australia with Matt Taylor, Phil Manning, Dutch Tilders, Kevin Borich and Colin Offord. It’s little wonder that Chris was inducted into the South Australian Music Hall of Fame in 1995, and he mesmerised the audience with his guitar playing highlighting why he

is considered one of the very best blues artists in Australia.

Phil Manning needs little introduction. One of Australia’s best known guitarists, he has single-handedly turned more Australians onto blues than any other performer. Many people, especially in Australia, know him from the legendary Blues band Chain. Chain’s contribution to Australian music and the development of blues in this country is unparalleled. Even as a solo artist, Manning has featured at all major festivals and venues throughout this country while sharing the stage with countless legendary blues musicians. Manning’s experience spans four decades and he remains at the top of his game. He always makes the stage his own, and the feeling, emotion, skill and passion is palpable as soon as he kicks-off with the first chord. During his set he paid tribute to many Bluesmen who have passed on but who clearly influenced his own career. The first tribute went to the man who started the blues in Australia, a big name on the scene during the early part of the 1960’s, Dutch Tilders, with one of Blind Blake’s old standards from way back in 1926 - a song that Tilders had in his set list on many occasions - Diddie Wa Diddie. Another blues great to receive the Manning tribute treatment was John Lee Hooker, with Manning’s version of Weary Traveller dedicated to the man. The last song of Manning’s set was distinctly more modern and up to the minute, dedicated to the upheaval of what is happening in the world today, an instrumental title, Migrants Dance, a

number reflecting the mobility and uncertainty of what is happening across Europe.

It was now time for the two legends to share the stage together. Chris Finnen and Phil Manning showed a mutual respect for each other and started this small set with a Finnen song from his latest album Ali Kat Guitar Boogie Shuff le (2015) and a song called Keep Your Oven warm. Experiencing these two legends playing the blues together was spectacular in itself, but when they were joined by Fiona Boyes the performance cranked up another notch or three.

Boyes is a multi-award winning female blues artist whose career consists of being a recording artist with 13 releases, six international award winning albums, four successive Blues Music Award nominations in a remarkable four different categories, 15 Australian Blues awards. She is also an accomplished guitarist, vocalist, songwriter and band leader. Her new Album, Box and Dice, won the inaugural Best Blues Album at The Age Music Victoria Awards in Nov 2015. and she’s already an admired regular at the IBC in Memphis. Boyes is a blueslady with an enviable list of accolades and for good reason. Her set showed why she is continually nominated for these international awards. She combines an electric stage presence with a magnetism that just draws you in from the start. From the Box and Dice album, Boyes started the set with Walking around Money and continued with a cover of a song by J.C. Christian (which was sung by Bessie Smith and later by

Janis Joplin), Black Mountain Blues. Boyes is a natural on the ever-popular cigar box guitar, an instrument that majors on most of her current, new album. She has that rare ability to make everything look effortless while smiling widely at the crowd assembled in her spell.

The festival had now reached the latter part of the day but there were still a few great sets to take in. Next up came one of the country’s biggest blues names, the great Lloyd Spiegel. Spiegel it seems can do no wrong at the moment. He is scooping the pool at nearly everything he is nominated for and Spiegel's 'Double Live Set' has swept the 2016 Australian Blues Music Awards (also known as The Chain Awards). Winning every award for which it was eligible, Spiegel picked up Artist of the Year, Album of the Year, Song of the Year and Producer of the Year at the ceremony held in Goulburn as part of the Australian Blues Music Festival. The critically acclaimed double live album has also picked up three Victorian Blues Awards and reached the final five of the 'Best self-produced album' category at the International Blues Challenge in Memphis - a worldwide blues music award. This shows that blues is alive and well in this country. Watching Spiegel perform is always a privilege. His playing seems so simple. His voice will stop you dead in your tracks. His passion is evident both on and off the stage and he is working to make sure there is a next generation to continue pushing Australian blues forward.

Another huge advocate of

the Australian blues scene is Chris Wilson, a guy whose stage presence, voice and talent are all as big as the country itself. He is intensely passionate about the music he plays and about how it is received: one reason why he started his set playing a total remix of songs not readily associated with the blues; Nutbush, Get It On by T-Rex and Twist And Shout were all featured in the mix and when someone from the audience shouted “Play the Blues” Wilson replied, “Well get off your seats and start dancing to the music, that’s what it’s being played for.” It worked; the dance floor was full in a matter of seconds. Wilson then let rip into some hard-hitting blues before being joined on stage by Lloyd Spiegel and Phil Manning. Wilson’s son Finn was on drums and the place was a fiery hi-energy cauldron.

The last name on the bill for the Festival of the Blues was Diesel. He formed the band ‘Johnny Diesel & The Injectors’ in 1986 from remnants of a previous band before embarking on a solo career in 1991. In 2011 Diesel celebrated 25 years in the industry. With over 35 singles, 1three albums, six ARIA awards and record sales edging one million, Diesel is a genuine music journeyman. With blues music in his DNA, an influence largely from his Father’s record collection, Diesel has blended styles to come up with a truly unique sound, punctuated with distinctive guitar playing and vocals. This year will see Diesel clocking up 30 years in the music industry and the experience he has gained shows through at all his performances. His

fretwork is precise and his voice is made for the blues. He played all his well know songs in this set including Come To Me, Tip Of My Tongue, Man Alive and One More Time, all from the 1991 album Hepfidelity. Another guesting brought the night to a close when Chris Wilson came on to play a couple of numbers with Diesel. This pair have previous form together and it wasn’t the first time they had worked a stage side by side. In 1996 they came together and formed Wilson Diesel putting together an album called Short Cool Ones - an important blues milestone, it became the first Australian blues album to achieve gold status.

This brought the first day of The Festival of the Blues to a close and showed how versatile Australian blues musicians really are. There were no egos on show as several members guest starred on other musician’s sets without grabbing the limelight. That’s what these festivals are all about. Everyone is there to show what Australian blues is about and show that there are a number of different styles and illustrate the uniqueness we have in this country in this genre of music. It’s all about keeping the blues alive.

Phil Manning

eleanor mcevoy music

Paintings by Chris Gollon

Naked Music a collection of songs

performed by Eleanor McEvoy at the Grange Studios

Naked music a collection of paintings by Chris Gollon

“...simple effective arrangements which are perfectly suited to the artist’s crystal clear vocals.”

— MAVERICK H H H H

“A display of emotion and intimacy as naked as the title suggests, this CD happens to sound astounding too.”

— Hi Fi News

CD mastered at Metropolis London by Tony Cousins

Vinyl album mastered at Abbey Road, London by Miles Showell

eleanormcevoy.com

chrisgollon.com

A BLUES HARP REVOLUTION?

Verbals: Liam Ward – LearnTheHarmonica.com

The UK is currently experiencing a quiet revolution in the harmonica world. The recent Blues Music Award nominees included blues harp staples like Paul Lamb, West Weston and Alan Glen, but we also saw nods for TJ Norton, Babajack’s Trevor Steger and newcomer Will Wilde. Is this the year that a new generation of harp players take the genre by storm? Let’s hope so.

At the year’s first big blues event - the Great British Rock & Blues Festival – we’ve already had a wealth of harmonica talent. I was there performing with the Rumblestrutters and managed to find time to catch a few of the great blues harp guys on offer. Veterans Paul Lamb and Mark Feltham are of course well established, but it was refreshing to see Babajack and Gerry Jablonski both featuring harp with Giles Robson & The Dirty Aces also strutting their stuff.

This year sees an increase in harmonica-specific festivals. The National Harmonica League (NHL) – the UK’s biggest harmonica organisation – is at the forefront of this. The NHL's long-running Autumn festival, held in Bristol at the end of October each year, should be the first port of call for any serious harmonica player, and has spawned independent festivals run by NHL members across the country.

Harpin’ by the Sea 2016 was the sixth annual event of its kind, taking place in February in Hove, including performances and workshops with Dave

Ferguson (South Africa) and Son of Dave (Canada). Both these guys are a new breed of player, and leading authorities on harp-boxing and looping, playing blues-based solo shows majoring on just harp and voice.

The NHL festival takes place in autumn, Harpin’ by the Sea in winter. What has been missing in the blues harp calendar for a long time is a notable bluesbased summer festival. This year we have one for the first time. From 22nd-24th July, Edinburgh will be a hotbed of harmonica, with learning opportunities for all levels, as YouTube phenomena Adam Gussow and Christelle Berthon lead the line-up at this inaugural event. I’ll also be performing and teaching, as will Scottish harmonica player and festival organiser, Tomlin Leckie. The three-day event will feature a concert with all teachers, a jam session with an excellent house band and two days of workshops, all in the delightful surroundings of Scotland's beautiful, ancient capital city. Tickets are limited to 80, so get one while you can!

And the best of the rest? You could do worse than a Blue Saturday. Run by volunteers who want a harmonica event in their local area, Blue Saturday is a series of events backed by the support and guidance of the NHL. The events generally consist of a day of blues tuition for all abilities, followed by an evening where everyone can play something with a live band. These can take place at any time of the year depending on needs and organisation.

This year there will be a Blue Saturday in Buckinghamshire on 9th July, more details of which you can find through the link at the bottom of this article.

The NHL also runs an annual Chromatic Weekend, which this year takes place on 25-26th June at Hillscourt in Birmingham. Not strictly a blues event, this weekend may be of interest to blues players who still find the chrom a bit scary but want to give it a go! Moving away from harmonica-specific events, there will be an Acoustic Blues Weekend on 11-13th March, featuring masterclasses on country blues guitar, bottleneck-slide, and harmonica. Location and line-up has yet to be announced but last year's event featured both the great Phil Wiggins and Grant Dermody, so watch this space!

With a host of stellar festivals to look out for, the only question is which to choose! I can’t wait to be part of Edinburgh Harmonica Workshop this summer, and I’ll certainly be popping my head into one or two others as the year progresses. If you’ve never attended one of these festivals, perhaps 2016 is the year. And if you’ve seen it all before and think there’s still room for more, why not talk to the NHL about organising your own festival? And make sure you let me know, because I’d love to be there!

For more information:

www.harmonica.co.uk

www.edinburghharmonica.com

www.harpsurgery.com/services/ harpin-by-the-sea-2016

www.euroblues.co.uk

HUSKY TONES

HUSKY TONES ARE QUICKLY BUILDING A REPUTATION AS AN EXHILARATING LIVE BAND AND THEIR DEBUT ALBUM, TIME FOR A CHANGE, WAS RECORDED TO REFLECT THAT.

Verbals: Suzanne Denim Visuals: Marcus Way

The Husky Tones’ sound is a bold, energetic, no frills approach, at times almost punky in its rawness, and their album was recorded as live as possible, with the fewest overdubs possible in order to capture the energy of their live shows.

The Husky Tones’ line up is singer/drummer Victoria Bourne, guitarist Chris Harper, Matthew Richards on bass and Liam Ward on harmonica, seasoned professionals one and all. With vibrant onstage chemistry, sartorially resplendent in a mash up of vintage and modern gear (‘the best dressed blues outfit this side of Vintage Trouble’ Bristol 247 album launch review), they have been described as a ‘… powerful quartet of musicians…’ (Bluesdoodles album review), and are constantly being referred to as fresh, modern

and definitely a band to see live.

In terms of the song writing, Husky Tones start from the standpoint that the blues isn’t about complaining, it’s about confronting your problems and getting them off your chest. This is what drives them to create original music with honest, open and occasionally playful song-writing. Time for a Change comprises ten original blues songs covering a variety of themes from the highly personal (failed marriage, criminal ancestry) to the universal (struggling to pay bills, fighting against bad luck). In fact, not a band to rest on their laurels, they have already begun writing material for their second album, adding new songs to their set list for forthcoming gigs, some of which betray a keen interest in contemporary political and social issues.

Their approach to the blues mirrors what they love as audience members: inventive, individual and fully aware of tradition without being a slave to it. Musically their influences are also various, ranging from the classic to the contemporary, also stretching well beyond the blues genre.

Since its release the album has received excellent reviews and plenty of airplay both in the UK (no. 10 in the Independent Blues Broadcasters Association chart for October) and in Europe, the USA and Canada. Their 2016 gig list is filling up, including appearances at London’s 100 Club (29 March) and at the inaugural Sisters of Soul and Blues Festival (9 July). For a band only formed in the summer of 2014 their star is rising quickly and 2016 is likely to be a big year for Husky Tones.

Amulti-talented musician and songwriter, like many before him Michael found real life, in this case working in the family building business and starting a family limited his musical opportunities to gigging at weekends and evenings. Then fate took a part, the company closed and Michael grabbed the chance with both hands. An EP was released in 2012, and before long he was performing alongside Paul McCartney, Elton John and Stevie Wonder

at the Queen’s Jubilee Concert.

A proficient drummer by the age of 12, Michael had guitar lessons and taught himself piano, all the time honing his song writing skills. Those skills have now blossomed on the stunning debut album, ranging from love songs, break up songs, country rockers and reflective observations on the justice system and immigration. All of them telling stories in the style of the classic songwriters.

An obsessive Beatles

fan, Michael was thrilled to launch the album at the world famous Cavern Club. He cannot believe how fate has ended with him recording and having guest musicians like Albert Lee, Elliot Randall (Steely Dan & Doobie Brothers), Phil Palmer (Eric Clapton) and Peter Howarth of The Hollies on board.

Clearly ‘one to watch’, Michael has won an army of fans by touring extensively in 2015 and I’m sure he will build on the platform created throughout 2016.

MICHAEL ARMSTRONG

FOR VARIOUS REASONS MICHAELS SELF-TITLED DEBUT ALBUM HAS BEEN A LONG TIME COMING BUT IT IS RECEIVING AMAZING REVIEWS EVERYWHERE, NOT LEAST IN BM86 WHERE OUR OWN DAVE STONE URGED READERS TO “FIND IT AND BUY IT.”

Verbals: Steve Yourglivch

Visuals: Andy Carter

CHRIS KING ROBINSON

THE RISE OF CHRIS KING ROBINSON IS A THOROUGHLY MODERN SUCCESS STORY.

Verbals: Shaun Keefe

Visuals: Nick Linnett

In 2012, the young musician’s early YouTube videos were spotted and spread by influential US rock photographer Robert Knight. In 2013, he began an email bromance with Kenny Wayne Shepherd after topping the blues singles chart with his debut single Lipstick On Her Cigar. Now In 2015, he’s trailed by an army of social media disciples who hang on his every tweet, CKR is the #1 most followed blues guitarist worldwide on Twitter with more than 630,000 followers; that’s over half a million more followers than Joe Bonamassa & Eric Clapton. And yet, when you spin the 21-yearold’s debut EP, Tell Me Why You’re Scared, you realize that behind the online savvy is an old-soul guitarist who cut his teeth on Jimi Hendrix and Stevie Ray Vaughan, and has an innate sense of what makes great blues tick.

The CKR band were recently likened to The Beatles for their extremely successful 10 date USA tour. After making their live US television debut; playing to a quarter of a million people, they went on to stun thousands at Waukesha

Blues Festival, Wisconsin & Heritage Blues Festival, West Virginia. The tour fi nale was a hugely anticipated trip to the world famous Slippery Noodle, Indiana's oldest blues club. The trip was made extra special for the young gunslinger; Darryl Agler from Hamiltone guitars loaned an extremely sought after white Hamiltone guitar to CKR for the whole tour, Agler saw a glowing connection between Chris & the fi ne instrument so he inevitably gifted the guitar to Chris before he traveled back to the United Kingdom, “I have grown up watching SRV play a Hamiltone, it is a dream come true to own such a piece of history.”

The Chris King Robinson

band released their Debut EP Tell Me Why You’re Scared just a few days after arriving home from their US tour, the EP topped the iTunes & Amazon blues charts after just one day of sales.

Casting an untried fiery twist on the Blues, the band are astonishing sizable audiences while gaining the reputation as "the fastest growing blues band worldwide". Expect to hear blazing new tracks from their EP Tell Me Why You're Scared and revived time-honored classics; representative of the CKR Bands modernistic approach.

Tell Me Why You’re Scared is out now and is selfreleased. More info at: www. chriskingrobinson.com

Blues Festival, Wisconsin

Guitar heroes usually wear leather, denim or even spandex – but then Toby Lee is not your typical rock star. Millions of people have already watched him in his videos on Facebook and YouTube, playing blues and rock classics. Already blues legend, Joe Bonamassa, has described him as a “future superstar” - and he has just turned 11 in late January 2016.

Toby has been playing guitar since he was six and has a distinctive appearance since he loves to wear a onesie, like a modern day jumpsuit, on his weekly Sunday videos, known as the Onesie Jam. From his home in Priors Marston, Warwickshire, Toby records these jam sessions for his nearly 41,000 followers.

Toby has a great list of credits for someone so young, having already appeared on legendary broadcasters Bob Harris and Chris Evans’s radio shows as well as an appearance on this year’s TFI Friday New Year’s Eve special. Furthermore, blues guitar greats, including Bonamassa, and Bernie Marsden, have been queueing up to sing his praises. In September, Toby even performed in Memphis, birthplace of the blues, at the B.B. King Blues Club on Beale Street. B.B. King, who sadly died in May, was one of Toby’s guitar heroes and in April, Toby did a “Get well soon Mr BB King” jam session which received 5.7million views on Facebook. Toby’s other influences include

Jimi Hendrix, Stevie Ray Vaughan and Gary Moore. To complete a fantastic 2015, Toby has recently been playing on stage with award-winning blues guitarists, Walter Trout and Laurence Jones. Laurence - a comparative veteran at the age of 23 – is also his mentor and is producing Toby’s debut five track EP record, appropriately titled: 10, which will be available in early 2016 and features Bernie Marsden as a guest on one of the tracks. Better judges than myself are predicting a bright future for Toby. I am certain that that will be the case as long as he continues to enjoy what he is doing and it remains fun. Toby, you are already a star but keep on practicing!

Verbals: Andy Mann Visuals: Terry Lee

TOBY LEE IS AN 11 YEAR OLD BRITISH GUITAR SENSATION WHO IS TAKING THE INTERNET AND THE BLUES SCENE BY STORM

Like I do with every act that contacts me I had a listen to their stuff and when I heard “Whiskey Days” it blew me away. I didn’t listen to the other songs as I kept replaying that one thinking to myself “this is amazing”.

It takes something special to stop me in my tracks and along with Virginia and Coming Home (plus the cover of Cream/Robert Johnson’s Crossroads) I have to say it is one of the best debut EP’s I have heard in a very long time.

Being someone who deals predominantly in live music, the litmus test is how they sound up on stage.

I had already played their soundcloud stuff to the venue who were now hotly anticipating the show; when they took to the stage all the audience chatter died away and

everyone watched in silence followed by mass applause at the end of each song.

As musicians, Sam, David, Gareth and Paul are well drilled and can easily anticipate where a jam or an unscripted interlude is heading and there is often a call and response between guitar and keyboard during songs.

Being someone who has a strong preference for original music, I must say that the odd cover or ‘treatment’ that they do definitely does justice not only to the song but to themselves.

You can gauge the measure of a band by how many times they get repeat requests to come back and play, some are lucky to just play a venue once, whereas Sugarman Sam & his Voodoo Men played for me

half a dozen times last year including an all day festival where they went on third and just ruined it for those who followed – they couldn’t match the performance or get the same crowd reaction as the Sugarman.

This spring I am lucky enough to be hosting the London leg of their UK tour at T-Chances in Tottenham and as much as I hate to say it, the band are starting to outgrow the local scene, the bigger stages and audiences await, even some more notable bands are now happy to play second fiddle on shows. They will be more than comfortable on the main stage in Skegness next year (following their introducing...stage win on the 22nd of Jan) and I look forward to seeing where this year takes them, particularly once their album is released in April.

The fi rst time I ever heard their songs I said "You are defi nitely the son of Stevie Ray Vaughan and Joe Bonamassa! The music is amazing, I absolutely love it!"

Sam now uses that quote on his website and I thought I was the one who was overwhelmed!

SUGARMAN SAM & THE VOODOO MEN

I WAS ON THE LOOKOUT FOR SOME BANDS ABOUT A YEAR AGO AND ONE OF THE NAMES THAT CAME FORWARD WAS SUGARMAN SAM & THE VOODOO MEN.

Verbals: Andy Cavendish Visuals: Chris Meany

THE DELLA GRANTS

THE DELLA GRANTS ARE NOW CONSIDERED TO BE ONE OF THE FASTEST RISING BLUES ROCK BANDS IN THE COUNTRY BUT THEIR JOURNEY TOGETHER STARTED MANY YEARS AGO

Verbals: Alan Joseph Visuals: Rob Gurney

Three of the bands four members are old school friends who’ve played music together in one form or another since the turn of the century. While playing functions and cruises with traditional band material, this had taught the band a thing or two and cemented them as a tight live band, by the time 2013 came around it was time for change. In many ways The Della Grants differ from their peers on the blues circuit. Four close friends whose joint passion is to write, record, and tour their self-penned songs as a band. Their musical tastes and life experiences transfer into the songs they write together with equal credits and they draw inspiration from a wide spectrum. The usual American blues artists of the fifties: Muddy, BB, Freddy; rock and roll from the seventies such as The Faces,

and The Rolling Stones; right through to the nineties with the likes of Ocean Colour Scene. The band, whose name is a nod to the great Muddy Waters, consider themselves to be song writers with a passion for performing on stage, as opposed to the other way around. Their material cleverly bridges the gaps between several genres and if you've seen them live then you'll know just how diverse their music really is. Expertly written songs all linked by a bluesy feel and delivered on stage, in an unapologetic, old fashioned rock and roll manner. So far The Della Grants have opened for some of the biggest names on the circuit including: Canned Heat, Nine Below Zero and Dr Feelgood. In January they graduated from the previous year’s Introducing Stage at the Skegness Rock and Blues Festival to play to a

packed out Centre Stage; and they didn’t disappoint.

Introduced by legendary Dr Feelgood guitarist Steve Walwyn the band played a storming set of original material and closed the set with their new hit Red Mist which on the night featured Walwyn himself on guitar. Without an obvious stand-out musician The Della Grants are perhaps a little different to many of the genre's mainstays, but like many famous bands of the past the quality of their music more than eclipses that. When it all comes together, the look, the attitude, and the great self-penned tracks, it really works. The Della Grants latest EP titled First Fix is available now exclusively at gigs and is due for general release in March of this year. Be sure to check out the band’s website for all their upcoming tour dates.

Joe B ama a 26 YEARS ON

Some 26 years ago, an unknown 12 year old boy opened a show for BB King! Today that same boy is just about to release his 16th studio album. That boy was of course Joe Bonamassa and we caught up with him during rehearsals for his forthcoming tour.

Verbals: Dave Stone Visuals: Rick Gould and Paul Rodgers

JOE BONAMASSA

BLUES OF DESPERATION PROVOGUE

Here it is, the sixteenth studio album from Jo, produced once again by Kevin Shirley and with Jo’s usual band with the addition of a second drummer, Greg Morrow, Reese Wynans on keys, Michael Rhodes on bass, and horn players Lee Thornburg, Paulie Cerra and Mark Douhit with backing vocals from Mahalia Barnes, Jade McRae and Juanita Tippins. It consists of eleven tracks all written for this album and as Jo said “We had eleven tracks, you got eleven tracks” and what a set of tracks they are! Kevin deliberately set out to stretch Jo, hence the addition of a second drummer, “I wanted to stretch Jo, so I threw a cat amongst the pigeons” and it certainly worked out! The drumming on the entire album is awesome, even though Greg only played on 6 of the tracks, thundering drums with a rock solid driving beat keeping it all tight and together. Jo is at the top of his form, running through his usual selection of vintage guitars, including an Epiphone acoustic that was fitted with an electric pick up and giving a really unusual sound, listen to the title track to hear what I mean. Some of the guitar parts will literally take your breath away, I found myself holding mine at the closing solo on No Good Place For The Lonely. There is something for everyone here, great keyboard playing, horns where needed, tight and fat, thumping bass lines, great vocals, Jo is singing better than ever and his backing vocalists are as ever superb. All in all this is yet another terrific album from Jo, and the good news is that he will back in the UK in the summer to do a series of Tributes to British Blues, I am booking my tickets now!

DAVE STONE

Hello Joe thanks for taking a break from rehearsals. Let me take you back some 20 odd years to being a 12 year old boy about to open the show for BB King, do you remember what you played that night?

Well it’s funny that you should ask me that now, as I believe that they are just about to put some footage up on YouTube. I know I played a red Telecaster.

Do you remember what you actually played?

No I don’t, it was probably something like Joe’s Boogie.

As a small boy standing on that stage, did you have any concept of what the future held? I know that in the early days you said that you wanted to play at The Royal Albert Hall?

Well, since then I have been lucky enough to have achieved pretty much all of my goals.

Is there anything that you still want to do?

I just want to improve professionally and continue to turn out the best music that I can.

I was just looking at your discography the other day and this new release will be your 16th studio album and 13th live album? Most artists do two or three live albums in their entire career.

Yeah that’s about right, but if you take into account the DVDs as well, you are probably up closer to forty recordings.

That’s still a pretty impressive output in such a comparatively short time

YOU CAN MOULD THE SOUND WITH YOUR FINGERS

Well I don’t know about that, I mean we are looking at a period of around 25 years, and I have been fairly consistent. Back in the Sixties it was fairly normal to be putting out two albums a year, so I don’t think that it is particularly unusual.

In the notes that I got with your new album, I see that it was recorded in about 5 days. Is that right?

Well it’s not that unusual when you’ve got such a great band. That was the song selection that we had for it, eleven songs and nothing spare.

There are eleven tracks on the album, and they were all written for the album weren’t they?

Yes that’s right, all eleven tracks and no spares. We didn’t have any extra songs.

I was envisioning a stack of songs to pick from? No we had eleven, so you got eleven.

When we received the CD to review, all we got was a paper sleeve which has no information on it other than the song titles. What band did you have this time?

Well, we had my regular touring band, with Anton Fig on drums and an extra drummer Greg Morrow who played on 6 tracks. Michael Rhodes was on bass. Reese Wynans was on keys and the horn section consisted of Lee Thornburg, Paulie Cerra and Mark Douthit. Mahalia Barnes, Jade McRae and Juanita Tippins were all on backing vocals.

Now you had two drummers, did they both

play on every track?

No Greg played on about 6 of the tracks.

The drumming on the album is awesome, a really powerful solid beat, it would be impossible to be out of time with that behind you Thank you.

Are you planning to take two drummers out on the road with you?

No, we can mike up the

kit to fill a stadium, so we will only have the one drummer on the tour.

What guitars did you use this time?

Oh nothing unusual just the Les Paul, a Telecaster, Stratocaster and I had an Epiphone acoustic fitted with a pick up.

It doesn’t sound as though you are using much in the way of effects?

You’re right, it is pretty

much the guitar plugged straight into the amp.

I was fairly certain that there were none on there. Well you know it helps to have that contact, you can mould the sound with your fingers.

Do you use a pick?

Oh yeah, but I often play without.

Do you have any plans to do anymore with Beth Hart? Yeah, we are getting together to put out a third album sometime later this year and we’ll be doing my annual blues cruise together.

That sounds like a hell of a gig to be on, can’t you arrange to pop over and do a quick channel cruise on one of the Cross channel ferries?

I don’t think I could face the Dover to Calais run.

Now when I reviewed the album, I made some notes and looking at them now I see that I have said that the fi rst track This Train has got a bit of a Springsteen feel to it?

Well we didn’t set out with that intention; it is just a piece of Americana.

The second track Mountain Climbing, when I got to the end where there is the guitar solo, well I found that I was holding my breath listening to it, it’s a fabulous track.

Well thank you very much.

On No Good Place For The Lonely, is there a second guitar on there with you?

No it’s just me playing both parts.

On the title track Blues Of Desperation, what is the instrument that kicks it off and runs through it, I have put down Jews Harp question mark and/or Sitar?

No that is just an Epiphone acoustic that is fitted with an electronic pick up that was given to me, we found that it just had this great sound.

The whole title is great; I have written down that it has a cinematic feel; I can imagine this as a big soundtrack piece of music for Tarantino

Well thank you.

haven’t been asked. Is there a question that you have always wanted someone to ask you so that you can get it out to your public?

No-one ever asks me what I think or feel about what I am doing. I am my own biggest critic and I’m constantly evaluating what I have done. (At this point, Joe was called back to the band to continue the rehearsal).

Joe thank you very much for your time, good luck with the blues cruise and we look forward to seeing you later this year. Thank you.

You’ve Left Me Nothing

And,

But The Bill & The Blues, this is a hell of a track and will get people up and dancing for sure. Thank you very much.

I think it’s a really impressive album, each track seems better than the one before, there’s not a single duff track on there. I’m glad that you enjoyed it.

You regularly play vintage guitars on stage, you don’t keep them hidden away or hung up in glass cases? Yes, but those are the only ones that you see, there are the others that no one gets to see or play and they are hidden away in glass cases.

I hope that they are well insured?

Oh yes, you can be sure of that!

Joe you have been interviewed hundreds, perhaps thousands of times and it is hard to find a question that you

DISCOGRAPHY

BLUES OF DESPERATION – 2016

OH YEA, THE BETTY DAVIS

SONGBOOK – 2016

DIFFERENT SHADES OF BLUE – 2014

SEESAW ( WITH BETH HART) – 2013

DRIVING TOWARDS THE DAYLIGHT – 2012

DUST BOWL – 2011

DON’T EXPLAIN ( WITH BETH HART) – 2011

BLACK ROCK – 2010

THE BALLAD OF JOHN HENRY – 2009

LIVE FROM NOWHERE PARTICULAR – 2008

SLOE GIN – 2007

YOU & ME – 2006

HAD TO CRY TODAY – 2004

BLUES DELUXE – 2003

SO IT’S LIKE THAT – 2002

A NEW DAY YESTERDAY – 2000

IT’S ALMOST THIRTY YEARS SINCE A YOUNG CHICAGO GUITAR SLINGER BY THE NAME OF ED WILLIAMS AND HIS BAND WERE INVITED BY ALLIGATOR PRESIDENT BRUCE IGLAUER TO CUT A SIDE OR TWO FOR AN ANTHOLOGY OF YOUNG HOT TALENT HE HAD IN MIND. HIS DEBUT LP “ROUGHHOUSIN” WAS FOLLOWED BY SEVEN MORE ALBUMS AND NUMEROUS GIGS ALL OVER THE WORLD, FROM SMALL CLUBS TO THE MAIN STAGE OF THE RENOWNED FESTIVAL IN HIS HOMETOWN. LIL’ ED STILL PLAYS THAT MEAN SLIDE GUITAR, WRITING OR CO-WRITING MOST OF THE TUNES, GIVING EVERYTHING WITH EACH PERFORMANCE WHILST NOT FORGETTING TO CRACK A JOKE AND TO PULL FACES AND BACKED BY A BAND ON FIRE. Ed, I’d like to go back in time a little and compare your latest album to the fi rst one you recorded for Alligator in 1986, nearly thirty years ago now. Everyone wants to hear the story about the first one. I remember Bruce (Bruce Iglauer, boss of Alligator Records) coming to the club I was playing. I had no idea who he was, but the rhythm guy did and he was excited, he said ‘It’s Bruce Iglauer!’ Anyway, he comes in and watches me doing my thing and having a good time and next he comes up to me and says ‘I wanna do two songs with you’. Well, that was what I’d been waiting for, because me and my brother had wanted to do a 45 you know. At that time in Chicago, you had a booth and you could bring your music on a cassette tape and sing and it would make the record right there! Only thing, it cost 100 dollars to make it! So when Bruce made me this offer I said ‘Yes, I wanna do this’. So we go to the studio and I think we’re gonna do a single because he’d mentioned two sides. I had no idea he was thinking of an album. Anyway, I walked into that studio, well, I didn’t know what to expect because I’d never actually seen a studio before, I had no

idea how it looked, all studios are downtown and I hadn’t been downtown that much. In comes Bruce and he shakes my hand and asks if I’d been in a studio before. The guys were setting up and Bruce put those boards between us, but mine was lower so I could see everybody. Bruce knew exactly what he was doing, he knew if I could see everyone I would get into the music and have a good time. Next, we put the earphones on and the music sounds really good through them, I’d never heard our music like that before. Well, we do a song and we get applause, so this is good and we do one more and we get applause and now I’m getting into my stage mode because now I have an audience and I play like I play in the clubs, doing duck walks all over the place – I have a 100 yard cord you see - and the people there go crazy, so we continue and we do about seventeen, eighteen songs, maybe twenty. And Bruce comes up to me and says ‘This is really great, why don’t we do an album?’ So we play like another ten to fifteen songs and we end up with thirty-three songs in just three hours... I never stopped; it was like a live show, an experience I’ll never forget about.... I was 21, 22, Bruce Iglauer comes up

to me and shakes hands and I was on Alligator Records!

Which are the differences between then and now? Have things evolved, changed...? You’ve travelled all over the world; I imagine you now walk into a studio with a different attitude.

Many things have changed now. A lot of youngsters tend to forget that you have to be known in order to survive in the blues world. You have to pay your dues, meaning you couldn’t travel all over the world without a contract or back-up. Bruce was my backup when I started, someone who keeps things rolling. Nowadays, things are a lot harder in the blues world. There’s no more smoking in the clubs and no more drinking or just a wee wee bit. When I went to a bar, you went there to get toasted you know, you didn’t go to a bar to sip tea but to have a good time and have fun. The world has changed a lot in this respect. Of course, the good thing is you may not run over someone and wake up behind your wheel the next morning not realizing what happened. On the other hand, the musicians and the bartenders suffer. The bartenders suffer because people buy a Coke rather than a Hennesey, so his economy is going down. Or he may hire a DJ who will work for half the money and drop the pay of the musicians hoping they will still come out and play. What a DJ plays you can hear at home, but a musician, a good musician, he goes up there on stage and gives all he’s got... but if he gets up there and has to work for scratch he’ll

Lil’ Ed SHORT IN HEIGHT! BUT LARGE IN STATURE

We met up with Ed and his wife, Pam, at their hotel a few hours before their second gig at the Banana Peel. A thoroughbred entertainer on stage, Ed equally enjoys talking in depth about his music..

Verbals: Eddy Bonte Visuals: Lieven Verhoye

get up and look at his watch all night or play one song and talk for twenty minutes’.

Me, I’m very blessed, I haven’t got one back-up, I’ve got two. The fi rst is my wife: she stays with me, she comforts me, she’s my manager, she keeps me busy and the business is going real good. I’m not a good flyer so it’s good to have my wife around when we fly who says ‘It’s all right, the plane is just shaking a little’. Two: Bruce is right behind me. When I’m frustrated with the music, I can call Bruce and we can talk, talk for hours and he’ll sort things out and explain about the business. So when

I ask him ‘Do I really have to play there for that amount?’ he’ll explain, he’ll say ‘Look what’s going on’ and he’ll remind me of what’s actually happening. He knows that when I get out there I’m gonna do what I have to do with every breath in my body and hit it as hard as I can ‘cause I don’t look at my watch. I don’t care about the time; I care about the people having a good time, so I don’t care.

Thirty years of experience must have affected you musically, I imagine. The first experience was, well, I’d never done that in my life. Now, I go into a studio prepared, I have to be ready for these things: checking the songs, checking things with the band. You used to be able to spend seventeen hours in the studio and still make money. You spend seventeen hours in the studio now and you lose money. You have to pay all these people and their prices have gone up too, see?

Nowadays, you wouldn’t go into a studio and cut thirtythree songs in three hours? Well, I could still do it, I’m sure. Of course, we’re all getting a bit older and the things you used to do you just can’t do anymore. Now, you have to be ready and be prepared. If noone stops me, I think I could still do thirty-three songs in three hours but now I would rehearse everything before walking into the studio.

Your record company sent me a biography and I came across the word ‘bazooka’ in a review. Can you identify with that? When I hear a song like House Of

MY DAUGHTER ALWAYS SAYS I’M MUSICAL AND MECHANICAL

”

Cards from your new CD, I don’t think you sound like a bazooka at all.

What do you mean, ‘bazooka’?

It’s like fi ring on all cylinders. Hey, I certainly do that!

You certainly do, but not on House Of Cards, nor on Musical, Mechanical, Electrical Man.

True, but House Of Cards is more laid-back on CD and more up-beat live. I have a great time playing live and I told Bruce he should record me live at least once. I think he’s afraid of losing money but I could do a live record with all new songs, I can do that and the people would love it. I’m a ‘reminiscer’ you know, meaning I can take anything from the top of my head and just do it, I can start grooving and do the words right there. The cool thing is you only need two channels, one for my voice and one for the music and you take all that back to the studio. Just put me in a place where people go crazy, like the Zoo Bar in Lincoln, Nebraska, that’s my home away from home.

Nebraska, of all places!

When I go there, the people are jumping and dancing. The Zoo Bar is amazing. I’ve got this big blues following there, the place is always packed with people screaming and hollering and dancing, and my adrenaline is going up more and more with every set and I’m hitting it. When I leave the stage there I’m so tired but also so happy. If I understand you correctly, your laidback songs get a rough

treatment on stage. Still, you must have a reason for doing them in laid-back style on the record. The thing is, when you’re doing a record, the record producer doesn’t want you to make mistakes and I find that kind of intimidating. In olden days the guys made mistakes and it didn’t matter, on old records you can hear the mistakes because they kept playing and had fun! Being the musician that I am and having been around for over thirty years, if I make a little mistake I can cover it up. I’m pretty good at that, but now everything has to be so perfect.

I identify you with jokes, word-play and fun; your lyrics too are full of puns and humour. When you sing about diving into a swimming pool, I’m not sure you’re talking about a swimming pool and at the end it turns out you can’t swim anyway. Musical, Mechanical, Electrical Man is full of humour too and on stage you’re cracking jokes, pulling faces, rolling your eyes, making funny steps and so on. It’s something I often miss in European blues men, it’s all too serious, showing off and showing how fast they can play. But they don’t seem to have fun. That’s me, those things are me, and my wife helps me with the lyrics. About Musical, Mechanical, Electrical Man: my daughter always says I’m musical and mechanical, so I wrote a song about that. About the absence of fun, these guys play with their head down and you know why? Because they

worry about the time, they’re not looking at the audience, but at their watch. When they got twenty minutes left they do a ten-minute solo and another song and it will be time to go home. When it’s time to stop, me I’m thinking ‘Come on, let’s have more fun, let’s do this, we gotta do two more!’ That’s me.

I think more blues artists were like you in the past. Right! Those old cats really were into what they were doing, they would do it all night. You couldn’t stop those cats! When I was coming up on the West Side of Chicago, I used to join the old cats in the basement at eleven and come out thinking it was one or two in the morning but it was six in the morning. I couldn’t see with the sun in my eyes because it would be daylight and I would have to go to work, I had to be at work at eight, so I went home, took a shower and got right back out of the door.

More on the serious side, I quite like Moratorium On Hate. It’s a nice song and it has beautiful, meaningful lyrics. And it’s about time someone like you said it. My wife wrote those lyrics.

Pam Williams, Ed’s wife: ‘That song was written during the presidential campaign and all these politicians were coming on saying how they were going to stop crime and make things better. And I thought there should be a way to do that by putting a moratorium on hate. Ed already sang about this in Got To Be Wise, which is on the album Chicken, Biscuits And Gravy. You

know, the gangs are taking over in certain areas, terrorizing the neighbourhood. It needs to stop; people should get together and stand up for their neighbourhood. That would help crime come down a lot. I knew a lady who stood on the street corner in a really bad section of Chicago because she didn’t want kids to sell drugs and a kid came up to her and said ‘How long are you gonna stand there’ and she said ‘As long as you do’ people should do that’. It’s a great song; it brings a lot of sense in life, many people like it. When I first started to sing it, I thought people

wouldn’t get it, you know how people go like (speaking in a grave and menacing voice): ‘You get a moratorium on this and a moratorium on that’. You have to know what it means in order to relate to it, but the people were singing and clapping along and telling me they loved that song. It relates to a lot of stuff: to the world of the politicians, to life in general and to a lot of things happening in the West Side of Chicago. When I sing it, I’m thinking of all these things it relates to and it makes me sing with more heart. Yeah, this is a song that really gets in my heart.

Life Is A Journey has a message too. That song is about me and

my wife. She wrote the lyrics. She writes stuff that she knows I would like to say to her. We’ve been married for a while. I think she knew I was gonna like the song, because it speaks to both of us. We were two wild cats when we first met each other and we both had to find out things. We knew there was a journey for us out there, but we didn’t know where. I do believe we were put together so we could make that journey together. It clicks so well because me and her basically like the same things, we love being around each other, so what more do you need? Neither one of us was thinking about settling down, but we were meant to be

together. When she wrote this song I could see in her eyes she was talking to me and when I sing it she knows I’m speaking to her. Yes, the audience connects too, I remember this one guy sitting in front of me nodding his head and he comes up to me afterwards and says ‘That’s my story’.

How about No Fast Food?

I thought you really meant it, but when I came to the line about the nice steaks I wasn’t too sure…

(Laughter) My doctor was talking about this (points to his belly). My wife carried on alone for a while, but I don’t care too much.

Pam Williams: ‘It’s supposed

to be funny, though. Bruce put it in his mind no-one was going to find it funny unless you sing it goofy...’

Bluesman J.B. Hutto is your uncle, that’s a direct line. Does that affect you? I mean, you’re not just Ed Williams; you’re the Ed Williams whose uncle is J.B. Hutto. Does it feel like there’s a blood line you want to continue?

This is the reason I started making this music in the fi rst place, to keep J.B.’s legacy alive. Don’t get me wrong, I wanted to play music, but before he passed he was still teaching me and he said ‘I want you to keep this going, you started something and it’s gonna go all over the world and I want you always to remember me when you get it done’. At the funeral, I said to him at his casket that I would never let his legacy die, that it will always be part of me, because J.B. is part of me. He’s the joy that I expose; he’s the love that I share. He’s the quietness. I learned so much from J.B. and the thing is I’m still learning from him. He taught me, he gave me this reminiscing thing, where he sat down and just started singing and grooving and make a song out of it. People give me a lot of music of J.B.’s that never came out, recordings where he did this reminiscing thing. He gave that to me. And now when I hear such recordings, I pick it up immediately because this was meant to be for me, and I don’t think it will ever go to anybody else, it will be for me till I leave this world. J.B. was my favourite uncle, he was like a dad. My dad left me

when I was six years old. He walked out saying he’d be back the next weekend but he never came back. My greatgrandmother raised me, then my aunt took over, then my mom took over, but J.B. was always there. I never even knew how close he and mom really were. Sometimes he’d kick off his shoes and stay with us two or three weeks, it was amazing. I do this in remembrance of J.B. Hutto. Everything I do relates to him. He said ‘Don’t try to play like me, play like you but keep me in mind’ and that’s the thing I carry with me. Sometimes on stage I can feel him inside me, because sometimes I hit notes only J.B. could hit but I do hit them and the next morning I wonder ‘How the heck did I do that?’, but that’s him, he’s still there, he’s still with me.

DISCOGRAPHY

JUMP START – 2012

FULL TILT – 2008

RATTLESHAKE – 2006

HEADS UP – 2002 GET WILD – 1999

WHAT YOU SEE IS WHAT YOU GET – 1992

CHICKEN, GRAVY AND BISCUITS – 1989

ROUGHHOUSIN' – 1986

WHO'S BEEN TALKING – 1998

© Eddy Bonte

www.eddybonte.be

First published on www.keysandchords.com

Zakiya H ker

BOOGYIN’ WITH THE HOOK

John Lee Hooker’s daughter has made her own way in the blues world since she first appeared on stage with her father in 1991, and she’s just released two albums, In The Mood and Live At The International BluesFest.

Verbals: Norman Darwen Visuals: Reyland Reynald

You seem to have managed to strike the right balance between being a blues woman in your own right and John Lee Hooker's daughter - how hard has that been?

Starting out it was very hard because no one took me serious, they thought I was doing it to ride on my dad’s coat-tails. It was hard to get gigs because I didn’t do the type of music my dad did. My father was initially resistant to me being in the business as he knew it was a rough road. I started out doing covers and gradually moved to more original songs. My father finally got on board after Ollan had a serious talk with him. One of the things my dad told me was to do my music the way I felt it and not how other people thought I should do it. Like he said, there is only one John Lee Hooker. It’s better now that people realize I have my own style of music and they have accepted me as I am.

I believe you are starting to play guitar - will we hear your father's influence in there?

Yes, (I smile) I’m blessed with my dad’s timing! I find that I play to my own drummer and I’m working on learning to play with other musicians. My producer Ollan plays bass and he has really helped me by practicing with me and helping me get used to playing with others. I’ll start working more on some of my father’s songs for my next CD, which will be a tribute to his music.

When Blues Matters interviewed you last, you mentioned that many

famous bluesmen would come over to your house when you were growing up and there would be informal blues sessionswhat were these like and who would be there? Every weekend there would be a rehearsal for the upcoming weekend show. It sometimes took place on the front porch of our house on the west side of Detroit. It was something to see. All the neighbors would gather in front of the house and the party was on. Sometimes they had to practice inside but it was just as much fun for us as being outside. Some of the folks who would show up (not all of them for the rehearsal) were Eddie Burns, Tom Whitehead, Bob Thurman, Jimmy Miller, Eddie Kirkland, Jimmy Reed, BB King, Little Walter, Big Mama Thornton, Muddy Waters and more. At the time the Blues community was small and most of the players knew each other so they kept in touch.

I’m interested in Eddie Kirkland, who was one of the best accompanists your father ever had. Do you have any special memories of him?

Yes, Eddie was one of my father’s closest friends. He was always at the house doing his music and whenever we needed a babysitter, Eddie would be the coolest babysitter around. He was no pushover but a lot of fun. I had the opportunity to meet up with Eddie several times while on the road and he often visits me at home. He’s like the fun uncle that everybody loves.

You mentioned Tom Whitehead too – I know

nothing about him apart from a name in the discographies…

Tom was my dad's drummer. I don't know if he played with anyone after my dad. He was a really good drummer and a nice man. He may have played with Eddie Burns afterwards but I can’t say for sure.

When did you start singing - and when did you start singing the blues?

What were the fi rst blues numbers you began with? We were brought up in the church but we didn’t sing in the choir. This is where our musical influence along with my father’s came from. It’s something that’s in our blood. As a young child I was always singing or dancing at family functions and in Jr. High and High School I was in the school choral group. That didn’t last long because I didn’t like the music. We all started singing the Blues as children because that was the music in our home. I started singing professionally at the tender age of 42. Some of the first blues numbers I started singing were Blues Before Sunrise, Serves Me Right to Suffer, Crossroads and some other old standards.

How do you describe your own approach to the blues?

It’s with love and respect. This has been the mainstay of my musical history, when I sing the blues, I feel the blues.

There still aren’t that many blues women out there - is that something you’re aware of? Do you have any as influences?

The women doing blues out there now are doing their style

of blues that they developed from the “long gone” women of blues. I don’t pull any influence from them but I respect them for forging ahead in a male dominated genre.

Why did you start "Boogie With The Hook" Records?

Ollan and I started this because we were booking acts in Thailand and needed a moniker for a company. We were also having problems finding a record company to pick up our first CD so we decided to self-release.

Can you talk a little about your new album, In The Mood?

It’s a collection of old and new songs. We’ve taken some of the old songs and re-done them with the Argentine musicians. We’ve some new songs that I’m really excited about and hope the public likes them as much as I do. It was really fun doing the CD and the video that goes along with it. This is the first video that I have done to accompany any of my CD’s. You can see it at https:// vimeo.com/136052047.

The album title comes from your father, I guess…

It originally started out being called Nighttime is Calling Me, but as we constructed the song I came up with the phrase I’m in the mood. So we built a bridge and changed the name of the song. I laugh because if my dad were alive he’d be laughing and saying, “That’s right, use it”. He’d be proud!

Drowning In Your Love is a fi ne jazzy number - it reminds me of both Billie Holiday and Percy Mayfield - any thoughts?

Drowning is a very special song that was written by a very dear friend of ours. He was a hard blues player so when we got the song it was a bit different. Ollan re-arranged it to be what it is now. I love singing this song because it reminds me of a smoky nightclub where everyone is dressed in their finest and out to have a good time. It makes me feel totally elegant and lets me step back in time to the Cotton Club era.

There is also an international fl avor to the album...

Very fine Argentine musicians did over half of the songs on the CD. What people hear is the Latin flavour mixed with the American feel of some really fine American musicians.

What is the history of Boom Boom Recording Studio, where you mixed the album?

It was a partnership between my dad and Ollan. When Ollan and I started out doing our music we didn’t have the money to rent studio time because it was quite expensive. My dad knew this and he spoke with Ollan and offered to finance us. He was truly a kind and generous father and man.

You also have the album Live In Europe, can you talk about that. That CD was done at the Bluesfest in Eutin, Germany. I remember that show because it was raining and the show was delayed. I was really pleased to see all those folks waiting in the rain for me to come out and perform. I love my fans because without them there would be no me.

What is your procedure for writing songs?

Usually we just take it from things that we see and hear every day. We can be sitting around and someone will say a phrase, you make it into a song. You can flashback on something that has happened in your life and you make a song. You can hear some music and a thought might pop into your head, another song is born. Once you come up with the idea the procedure kicks in because you have to come up with more words and organize it into the correct structure.

I know your husband was in Oakland, California, soul group The Natural Four. Did he ever sing any blues? When Ollan (Chris James was his stage name) does shows with me he does Blues. He has been traveling to Buenos Aires for over 14 years now and he has quite a following down there. His music of choice when he is there is jazz. There are also lots of Blues players there so he gets to perform quite a bit of Blues. He also put together a gospel choir, “The John Lee Hooker Gospel Choir”, while working there. Ollan’s musical roots came from the church and he inherited his mother’s mezzo-soprano talents.

Are you in contact with John Lee Hooker Junior and Robert Hooker?

I speak with Junior every so often. He’s still in California and I’m way down here in Georgia. Robert passed away about three years ago. Yes, he was a preacher. Junior is also now a preacher.

How strong are the blues

these days?

For me the blues will never die, it’s like a giant round pillow. It has no beginning and no end and you can just rest your head on it and get healed. The blues goes and comes but it never goes away. It’s not at the top of the musical chart but it’s the one music that is consistent and folks keep coming back for more.

You mentioned that you’re planning a tribute album to your father?

Since I’m now playing guitar we’re picking out songs for the CD with a few of my favorites. I’ll be doing some of the guitar work on the CD so I really have to concentrate and try to keep it as close to his version

as possible. This is probably one of the biggest challenges in my life next to learning to swim at the tender age of 52!

How come you moved down to Georgia?

My son lived here and some friends, they’d always say how wonderful it was. Well we’d visit and we began to really like it. For our retirement we decided it’d be a lot more economical to live in Georgia instead of California because you get so much more for your buck. We also travel extensively to Europe and South America and leaving from Atlanta Airport is quicker and much cheaper than leaving from San Francisco.

And what can we expect from you in the future?

Hopefully there will be more good music. As I said earlier my next project will be a new acoustic CD of my father’s music. I’m also putting on a producer hat and working with my husband for his first release in over 40 years. It’ll be primarily an R&B and smooth Jazz CD.

Anything else?

Thank you for the opportunity to share my thoughts with you. I hope to see you in Europe soon.

Many, many thanks! We here at Blues Matters hope to see you over here in the UK sometime very soon!

Greetings! The label sent the new album over to me and so which number album is this for you?

Well it’s the third one with The Limits that we’ve put out.

So The Limits are pretty much played in and ready to go, let’s run through the tracks for the lowdown on those, we kick off with Devils Not Angels, a heavy brisk sound – what guitar are you using on that cut?

I’m using my Fender Stratocaster, the BloaterCaster and I used that guitar on all the recording on this release.

What’s the history of that model?

It’s actually a Japanese import model, 2003? It’s had a few mods and pickups changed, wiring changed – so it’s grown into the BloaterCaster! I specifically went out to get a Japanese one as I had heard they were about three times better than the American ones. For half the price.

I like to take budget guitars and get them sounding better than a five grand Les Paul, there’s too much mythology about expensive guitars

Absolutely! I’m totally with you on that one. And if it’s a gigging guitar you don’t really want to take it outside if it’s worth thousands, do you?

What struck me right from the off on this record of yours is that the band do not sound like a standard blues band but more like The Attractions. With the organ, the jump beat…

(Pause) I’m glad you said that – it’s quite a compliment.

This opener – had you told me that was a new single on the revived Stiff label I would have believed you. And I’m a big fan of that era stuff so yes I will take that as a huge compliment, Pete.

You obviously heard all the Nick Lowe and Lew Lewis releases from that time. Indeed and I did tentatively ask whether Nick Lowe could maybe produce us but he was too busy and nicely declined.

I saw him about six months ago with one of my inspirations Bill Kirchen (Commander Cody guitarist – PS).he got up on stage and did Forty Nights. I know you’re not keen to be tagged as a bluesman or whatever, but people like him can step into any style and work it. You have to admire a musician who can turn his hand to any kind of music, agreed.

It Came Out Of The Swamp has got this flanged bass and loping beat – it’s a bit like a B movie film track. Or were you not going for that? (Laughs) Ha! Yeah that terrible Fifties B movie feel, horror from the swamp type thing. I wanted to get that bass with a synth line alongside, as well, pumping away. The relentless it’s-behind-you, chased-from-the shadows.

Yes, it’s like Tom Waits being chased through the undergrowth. Again another great compliment.

Well your voice is often on the edge of Waits – the character and delivery is more important than any operatic purity.

Absolutely correct, that is what I try to do with my songs and singing. Neat slide on there. Thanks, that is something I’m only now getting into now, the slide guitar playing and I did have fun with that.

If you get a passive volume pedal, pick a note and then bring up the sound you can get close to pedal steel. Ooh that’s complicated stuff, isn’t it?

“ YOU HAVE TO ADMIRE A MUSICIAN WHO CAN TURN HIS HAND TO ANY KIND OF MUSIC.”

I used to have this joke with Dickie Peterson of Blue Cheer that when the dinosaurs appeared in Jurassic Park they really should have been playing their Out of Focus. Were you ever a fan of the US hard rock bands?

Not so much the American stuff, more the English acts really – not so much early Fleetwood Mac, more the Seventies groups for me, T Rex, Mott The Hoople and so on, really.

Cowell and co have never got acts like the Screaming Blue Messiahs. Very true. Well last day on Earth it will all come right in the end, though!

Now this track I Love You But I Can’t Stand Your Friends, very crisp tempo

Big B Bl ter

RICH PICKINGS

With a new album called Luxury Hobo out on Mascot/ Provogue, BBB delivers a set of new compositions backed by his band The Limits. In a general sense working the upbeat side of the blues, guitar man and vocalist Bloater talks to BM about the tracks and everything related…

Verbals: Pete Sargeant Visuals: Gemma Hall

and almost a Stonesish riff but is this from real experience?

Do you know what? Not particularly but there are people who have hooked up with partners and been introduced to the friends and thought, how am I going to put up with this? Is this person worth putting up with all these morons? Personally I haven’t had much of this but I know people who have been there (Laughs).

Isn’t it a common dynamic that with some couples, one partner tends to dominate. I did want to make the song blunt, no holding back there. No messing around

or soft talk! And the riff is also blunt, to-the-point, yes, almost Stonesy as you say.

The Devil’s Tail, slide, a choppy attack again. A kind of warning?

Hmm, this is really about what people will do to try and grab a piece of fame. Go to any lengths to have say a million hits on YouTube. You know, throw themselves off roofs and things, and hurt themselves – just to be famous. Hence the line that you may as well stand on The Devil’s tail. So it’s about that fameclaiming YouTube generation.

Shallowness. It’s everywhere. OK – I Got

The Feeling Someone’s Watching

Me. I would humbly suggest that this Waits-ish moment is my favourite track on the set because it has its own atmosphere. Third person or do you feel this way ever? I sort of wrote this about things like CCTV being everywhere. In any one day you are seen on hundreds of cameras, unwittingly. You are tracked wherever you go. That feeling that you’re always being watched.

I love CCTV. Those four blokes who committed 7/7 here in London– the Police could track whatever they did that day. So to me it’s

not black and white. (Ironic tone) If you have nothing to hide, you’re all right aren’t you?

Till the Government changes….Luxury Hobo Blues, great cowbell on there. Is that a set-starter? I haven’t thought of using that as set-starter, these songs in the main haven’t been gigged yet. I’m not sure where to put that in the pending tour setlist.

Let’s ring Beth Hart and ask her to drop by! Exactly! Someone like that would be the one. I would love her to sing it, totally.

It’s a good inclusion. On to Not Cool Man. Is it true that on a show you overran by a few seconds and a roadie told you off? Yes – one of George Thorogood’s roadies. He was not impressed that we ran a few seconds over our time.

was actually throwing up between guitar solo’s.

What’s the message here? Watch the diet?

Yes, I’d been eating a really dodgy meal that morning, something to avoid!

Please give me three words about Matt Cowley? Professional. Talented. Happy.

Dan Edwards? Funny. Amazing. Talented, again.

Steve Oates? Talented. There’s a theme running through this! Grooving. Cool.

It has a New Orleans touch. Yes I guess it has, hasn’t it? There are all kinds of elements in there, things the band did. It does have that cowbell and slow easy Southern feel, doesn’t it?

Robot Girfriend – excellent bassline.

Oh yes he did a fantastic job on that.

Were you ever a fan of The Cramps?

(Warmly) Yeah!! One of the very first things I learned to play on the guitar was Human Fly, that’s going back some time now. Their bass player was something else and again a lot of that dark humour.

They loved their B movies, for sure. All Things

Considered – sounds like you enjoy singing this one? Sounds like you do. Yes I do and actually it’s one of those songs that I could see a better singer doing something with it.

A nice clavinet sound on here by Dan.

I don’t know what that is, he has one of those Nord keyboards and comes up with these tones. I do push him to come up with crazier and weirder sounds, to really push it.

It’s a strange dynamic that clavinet and slide guitar with reverb always works –ask Joe Walsh.

A happy coincidence, I think on this one – not really planned out as such.

Tell me about Adam

Whalley’s role here please? Producing, and he’s a real rock guy. Does some very heavy things. He has great wide-ranging taste in music. So helpful to have him come in with that second ear, y’know?

What have you learned NOT to do on stage?

I had a really severe bout of food poisoning once and with a show to do. I

So your album, overall – do you recall R L Burnside? When I heard him I thought I could probably enjoy this in a few years’ time because it has nothing to do with fashion or trendiness. I would have to go along with that notion, get on with the goddamn song!

Big Boy Bloater and The Limits are on tour in May

For more information visit: www.bigboybloater.com LUXURY

DISCOGRAPHY

IN ANY ONE DAY YOU ARE SEEN ON HUNDREDS OF CAMERAS, UNWITTINGLY. YOU ARE TRACKED WHEREVER YOU GO.

Ru ie F ter

WHEN THE SPIRIT MOVES YOU

Ruthie Foster is way more than just another blues lady. She's a true gospel diva with an astonishingly powerful voice that sounds like it must have literally raised more than a few rooves and rafters over the years.

Verbals: Iain Patience Visuals: Janet Patience

HER STAGE-PRESENCE IS ALWAYS DYNAMIC; CLUTCHING HER TRUSTY GIBSON GUITAR, SHE LAUNCHES HERSELF INTO EACH NUMBER WITH IMMEDIACY AND CLEAR INTENT. AUDIENCES LOOK ON IN AWE AS SHE STORMS FROM ONE SONG TO THE NEXT, PULLING TRACKS FROM HER BEADED, BRAIDED HEAD AND AN IMPRESSIVE AWARD-WINNING BACK CATALOGUE OF SULTRY, SOULFUL MUSIC WITH CONFIDENT EASE AND PURPOSE. AND SURPRISINGLY, PERHAPS, GUITAR IS NOT HER FIRST INSTRUMENT. RUTHIE'S A PIANO-PLAYER BUT, AS SHE QUIPS: 'THE GUITAR'S A LOT MORE PORTABLE.' AND UNLIKE MOST MUSICIANS OF THE BLUES WORLD AND STAGE, SHE CAN READ MUSIC, HAVING GRADUATED IN THAT SUBJECT BEFORE SIGNING UP WITH UNCLE SAM AND JOINING THE NAVY TO SEE THE WORLD AS AN ENGINEER. IT WAS WHILE WITH THE NAVY SHE TURNED HER ATTENTION TO FRETWORK DEVELOPING A HARD-HITTING PERCUSSIVE STYLE THAT HAS CERTAINLY SERVED HER WELL OVER THE YEARS SINCE HER DEMOB. BUT FOSTER HAS IN REALITY COVERED MOST OF THE ACOUSTIC MUSIC BASES IN THE USA OVER THE YEARS. SHE'S PLAYED WITH NAVY BANDS, BIG-BAND STYLE, COVERED TOP 40 HITS, PLAYED NEW YORK COFFEE-SHOPS AND FESTIVALS IN THE FOLK IDIOM AND THROWN HERSELF INTO BLUES, GOSPEL AND SOUL WITH AN APPARENT NEAR-ABANDON.

So, does Foster see herself as straddling a variety of roots styles or as a single-genre blues-soul kind of player?

'Yeah, I guess I do feel like I’m still in both those worlds - or all of those worlds, if you want to say it that way: folk and blues and gospel. … I was one of the few black women in these folk festivals doing what I was doing. I guess my vehicle for that was the acoustic guitar, just to be able to get out and be heard. So it came across as folk because of that. I was doing blues and gospel and the same stuff I’m doing now even then — I just had an acoustic guitar.'

An answer that doesn't exactly clarify matters but clearly lights the way towards her overall thinking. But it's as a professional, qualified and trained musician that

she approaches everything she does nowadays:

'That’s exactly how it feels because that’s all me. I do have training, and I do have a church background and singing with a big band and being able to read charts. I have all of that. So that’s what you’re hearing bumpin’ around all at once.'

'My voice is my first instrument, though,' she says. A positively barnstorming quality developed and honed as a kid growing up in rural Central Texas where her grandmother ensured she attended the local Baptist church and weekly song sessions. The same grandmother who introduced Foster to piano and a love of music in a more general way as she grew-up.

Foster is quick to thank both her mother and grandmother

for introducing her to music and performance, initially as a purely family thing, followed by church outings and a college course where she majored, as might be expected given her tremendous voice, in vocal-work, and that eventually led her to the world stage.

'I started out singing in our local Baptist church. It was really a sort of family situation. It was important to my mother and grandmother. Not singing at church was never an option,' she says with a rueful but clearly grateful smile.

As for inspiration, she simply plucks themes from everyday life and love. Songs that mirror her own interests and observations as she hits the road on tour, spending substantial chunks of time away from home, missing her young daughter.

It's difficult to avoid comparisons with Mavis Staples. Both are awardwinning singers with huge voices and a grasp of gospel music few, if any, can equal. Foster is quick to pay her respect to the veteran singer, citing the near-legendary Staples as an obvious gospelinfluence and a true survivor. "I love Mavis Staples. She still has such an amazing voice and energy. Despite her age, she gives it her all every time.'

In the studio she tries to capture the spirit of live performance as much as possible, eschewing over- much technology and overdubs. 'I've always preferred acoustic sound and instruments wherever possible,' she confirms. 'I have to plug my guitar in, of course, with a pick-up, but that's because I need to be heard when I play in front

of a crowd, on a stage where that whole sound projection thing is real important.'

Blues music is in many ways central to Foster's continued success and she's quick to acknowledge its importance with a minor proviso in the overall music mix. She laughs at the suggestion blues often focuses on at times depressive themes like, lost love, despair and the old grim reaper:

'I don’t look at it necessarily as blues. It’s all about spirit — and maybe that’s what blues is. A lot of people do look at blues as down and out: “My heart is on the floor and I’m gonna sing about it for a while.” And it can be that. I went through some stuff with my relationship that was really, really hard. I remember coming to that point, and blues was the one thing I could listen to. I felt like, “I need to know that

With almost a dozen albums now behind her - mostly since she turned professional in '….. around 1995-96' - she nods, as she thinks back over the years - she still loves doing what she does, despite the travelling and the hassle that invariably goes with it.

'I love singing, it's what I do best. And I have freedom to change my set whenever I want. I might start-off a set with one number then just turn it around with another, with something different, like 'Ring Of Fire', for example. It all depends on the gig and the audience. Picking up the mood out front and going for it.'

But perhaps first and certainly foremost, Foster works the stage, her audience and her music, hard. She admits to having a powerful ingrained work-ethic, one she's had since childhood

I LOVE SINGING, IT'S WHAT I DO BEST “ ”

I’m not alone in feeling like this.” Blues did that for me.'

always RUTHIE FOSTER | INTERVIEW

It's a formula that clearly works. Foster has picked-up awards galore. Best Female Vocalist; Best Contemporary Blues Female Vocalist; Living Blues Writers' Poll Winner; Koko Taylor Award for Best Traditional Blues Female Vocalist - 2012, 2013, and again this year, 2015. In addition, Grammy nominations and plaudits rain down on her from all quarters. Foster seems to take it all in her stride without appearing complacent or smug in any way: 'Yea, I've sure been real lucky with the awards,' she smiles. 'It's all been great.'

back home down on the farm: 'Success, this life and my music hasn't been one of those things where it's just been given to me, for sure. It may look like it has, with the awards and the recognition, but I've sure worked. And sacrificed relationships, and being around my family. I still do, in some ways. This is no joke. When you really want to get to that place that, you know, means something to you. Yea, it's great to be recognised, but I'm a worker, too. I come from farmers, where you work from sun-up till sun-down. That's the way I work in music, too,' she adds. With her current release, Promise Of A Brand New Day

already gathering critical acclaim, Foster says she enjoys and looks forward to gigging in Europe where she has played Italy, France and Spain in the recent past. 'Audiences are real cool over here. They know the music. They love it. They always make me feel welcome.'.

PROMISE OF A BRAND

NEW DAY - 2014

LET IT BURN - 2012

LIVE AT ANTONES (CD AND DVD) - 2011

THE TRUTH ACCORDING

TO RUTHIE FOSTER - 2009

THE PHENOMENAL

RUTHIE FOSTER - 2007

STAGES - 2004

RUNAWAY SOUL - 2002

CROSSOVER - 1999

FULL CIRCLE - 1997

anniversary 50th TheYardbirds

half speed

V172

NEW REMASTERED AND RESTORED 2CD SET:

Features both the original Stereo & Mono versions of the album. Plus

8 Mono bonus tracks

• A non-album Yardbirds Single • ‘Stroll On’, from the soundtrack of the film ‘Blow Up’ •

5 Keith Relf solo recordings from 1966

4 Stereo bonus tracks rare alternate versions of album tracks, together for the first time. Illustrated 28-page booklet with authoritative liner notes, including detailed data and quotes from Jim McCarty and Paul Samwell-Smith.

NEW REMASTERED MONO & STEREO LPs:

Available soon on 180g vinyl, Half-Speed mastered at Abbey Road Studios

Yardbird Jim McCarty writes a new note exclusively for these releases, looking back at the 50 years since the launch.

Sandi ONWARD JOURNEY

With a new album about to be released and a busy UK tour under way, Pete caught up with Sandi for a chat about songs, instruments, The blues and much more. It won’t be long before our Sandi gives birth to her first child, too…

Verbals: Pete Sargeant Visuals: Supplied by artist

First question! – How many weeks are you now?

Er, twenty one weeks! (at the time of the interview)

And you’re busy working?

Oh yeah! Definitely! I am working hard. I have just about finished this album and I’m about to go out and promote the single and play the gigs. Right now Pete, I am at home resting with my guitar and my dog.

A good case for the thinline guitar, really… I hope to get to one of the promo shows, probably Jazz Café if I’m not playing anywhere. I hope you keep steady - I know it’s not easy, hard for a bloke to imagine it. Yes, because when you’re singing, you know you’re giving it your all and the baby kinda reacts…starts to move round and get a little lively.

It’s the nearest member of your audience. (Laughs) And the baby now knows everything about the record.

OK now this album, there’s a single coming out called Earthquake? and the album is Weapons Of Past Destruction…Why

Earthquake for the single?

It’s about a dark year and a half in my own life, heartbreaking moments, and finding out the reasons for them. Anyone in that situation might feel that their entire world had shattered round them. Anyway, the song is about that moment in the aftermath of all that when you start to rebuild your life. Back then I didn’t think there would be good

things around the corner, but you can emerge - maybe a lot stronger, depending upon circumstances. There is a positive message in it really. At the time it does seem to be an emotional disaster. What did come after, for me, was great things. I didn’t know that was coming.

It’s a cliché but it’s very rare in life that a door closes without another one opening. That’s very true.

And you have to reassess things and just maybe you have more going for you than you realise. You have a talent after all - and friends.

Ah yes, great friends, and through them I met my husband, so you’re correct there.

What does he do?

He’s in a very sort of suity job, financial world, Head of Operations. He’s a creative, positive person.

It must help if someone’s different enough from you, to always have something to talk about. My other relationships were with musicians…leading the same kind of life.

On this record you’re self-produced. I think the person who produces female voices best is Mitchell Froom (Suzanne Vega, Bonnie Raitt). Your perspective presumably is different from the Sandi Thom of 16 years old. Oh yeah! Definitely. I’ve never been given that full option before, I’ve always had someone somewhere along

the line steering me in a direction. Earlier, I think I could have been pushed into any musical territory. It’s great now to take your exact blueprint of what’s in your mind and translate it into the recording. Plus I have this luxury of time 'cos I don’t now really work to a big time scale or plan. I have done some organically BUT with Earthquake I was using layered production to get the sounds I wanted. This record blends the pop styles with the more roots, organic elements into something that I like.

If you were a painter, you wouldn’t keep painting the same picture over and over, would you? Let’s do the Top Ten Blues thing we were planning:

The Thrill Is Gone – B.B. King. It’s the simplicity and sincerity. It’s kind of hypnotic. Just a few chords, very simple, very classy. One of the songs I wish I had written.

Help Me – Sonny Boy Williamson (the second –PS) you do this live. Now that comes from my love of playing the harmonica. I’ve been discovering more harmonica players for the past year. Probably what drew me into that particular song initially was the harmonica playing. To me it’s cool to perform a song in a different way from the recorded original, so my version is pretty far removed from that.

Hoochie Coochie Man –Muddy Waters. It’s hard to pick a Muddy song, isn’t it? In my iTunes, Muddy Waters probably takes about half of the catalogue! There’s so

many of them, it’s one of those recordings that just sounds great, isn’t it? The vibe at the session. Folky elements, some magic about it. One of his most defining songs.

I do Bottom of the Sea, from After The Rain. Real gravelly feel to it, depth – no pun meant. I saw him twice, once with Otis Spann. He had nothing to prove, very regal gent. Such a good presence and rapport with his audience.

Spoonful – Howlin’ Wolf. I am with you there. A one-chord song pretty much, with the stops. A classic Chess record.

They just captured a pokey sound which stands up now.

It’s very current at the same time, using sex appeal to sell records. That song’s all about sex.

I saw him do that backed by Dave Kelly’s band and he sang the whole song to a tiny blonde girl who was perched on the balcony. Oh wow…there’s your proof of that! I saw Clapton and BB do that on a video and it was all call and response, so very live.

The Sky Is Crying – Stevie Ray Vaughan/Elmore James. There was a lot more to that guy than the Dust My Broom type tunes. It was a huge hit. More of an R&B song, I suppose. It’s that tempo that’s a little more complicated than a blues standard. I do love the Stevie version.

Sinner’s Prayer – Ray Charles. Again it’s hard to pick one Ray number. Yes, the subject matter, it’s about repentance. There are so many amazing Ray Charles songs. And he was always as much blues as R&B in his delivery. It’s in a way biblical, this song, but you wouldn’t have to believe in God to just understand what he’s singing about.

I can vouch for that. Guitars... you’re using a Taylor T5 12 string are you?

I still use that and I have a Guild, and for electric a Duesenberg, again 12 string. If you don’t have too many instruments on stage for a particular gig, the 12 just fills up the sound really well - it gives more body to the overall sound. I do have a very nice Gibson Custom, a SongWriter it’s called.

A 12 stops you playing clichés.

Absolutely, also it encourages me to try open tunings. I’m not a learned guitar player as such. But the 12s make me explore a bit more, give me cooler sounds to use in the songs.

The best 12 string album is Dave Crosby’s If I Could Only Remember My Name. If you speak to the Jefferson and Dead guys they are all on it, somewhere. Very ethereal sounds.

It leads into the atmospheric rock stuff, Tom Petty. Joe Perry uses 12 string a bit.

What are your hopes for this new album, Sandi? Well I hadn’t really – through circumstance, mainly – given my own career my all for a while. But it’s that open door you mentioned, Pete. Now I can push forward with just me to be worried about. So it’s to get songs finished and out there, now. Hi, I’m back! I’m still making music!!

PS – Sandi’s Top Ten Blues is completed by Cocaine (Eric Clapton) Still Got The Blues (Gary Moore) Chain of Fools (Aretha Franklin) In The Midnight Hour (Wilson Pickett).

visit www.sandithom.com for more info

Dave Weld IN HIS OWN WORDS

With his recent CD, Slip Into A Dream receiving rave reviews, Dave Weld is a force to be reckoned with. Having served his time playing alongside many blues luminaries and with a story to tell, reviewer Clive Rawlings decided to break with tradition and asked Dave to put together a narrative in his own words. I hope you enjoy reading Dave's story.

Verbals: Clive Rawlings Visuals: Mike Graham

When is the fi rst time the blues comes creeping into your soul? I know when it happened to me and I was already primed for it, like a dormant seed waiting for that fi rst big drink of water. The vessel carrying that life-giving water was, Chester Burnet, aka Howlin' Wolf!

I was down in the basement years before, at age 7, listening to blues 78s left as undiscovered treasures by the previous home owners, on the wind-up Victrola, but this awakening to the blues from Howlin' Wolf was something different. This was the same basement where my mother had a breakdown, which I found out later was “schizophrenia”, a catch-all phrase for mental illness, and in these ways, you can see I had been primed for the blues.

But it was THE RHYTHM, the groove of Wolf and his band, with Willie Johnson that hit me one day in my early teens, when I had to paint the porch, and put on Big City Blues by the Wolf, and blasted it loud while I worked. “I got a brown skin woman, they call the chocolate drop...I don't want no black woman, put her hands on me!"

The rhythm of the work, and the music of Mississippi, where good music was a respite from a hard day's work in the field, caught me standing, brush in hand, staring at that console stereo wondering, “Is that right?” as I heard the unfamiliar style of music which captured my mind! After that I bought albums by Muddy, BB King and Lightnin' Hopkins.

One night a strange dream

came to me, of a short man playing slide in a display case - he had a bright suit, a wide smile and was looking directly into my eyes. I was mesmerized by his blues playing. Later in life that man turned out to be JB Hutto. I had dreamed my future! Fast forward to the early 70’s in a desert in New Mexico, where I had parked my 1967 Ford Galaxy to get drunk and high, after finishing four years of college at New Mexico State University, and guitar lessons by Kurt Black, Benny Carter's guitarist, as well as meeting and jamming with Clarence 'Gatemouth' Brown! The faint, crackling static from the radio gave me sounds of my first inspiration, the Howlin' Wolf, and that was it! I had decided to head back to Chicago to play the Blues! Little did I know I would end up in his old band!!

I had also been listening to Hound Dog Taylors' first album on Alligator, and could not believe the raw groove, and I never imagined that the Houserockers, minus Hound Dog Taylor, would be my first band!! Thanks to JB Hutto - legendary slide man/ Blues Hall of Fame/Grammy Award winner - it was not too long before I had my first gig with the Houserockers - Ted Harvey, and Brewer Phillips!

In 1976 I wrote the cover story for Living Blues on JB Hutto. JB Hutto was my secret weapon, and for all those that did not want me around, his advice and encouragement was worth twenty times more than the rejections on the north side of Chicago!!

Every Tuesday for four years, JB gave me lessons at his house in Harvey IL. - he was my mentor. The lesson

consisted of: slide, second and lead guitar, "Stay in key at all times!!' song writing, "Write a song like a full-grown man!!" band leading and selfconfidence!! JB was rehearsing with the Houserockers on the South Side and I went and met Ted Harvey and Brewer Phillips. JB and the Houserockers went to Boston and they did not get along, so the Houserockers returned to Chicago to play at Sweet Pea's on the South Side. That was where I joined them and that was my first pro gig!

In 1974, Hound Dog had died of cancer and the Houserockers and I stayed playing at Sweet Pea's a full year. Sweet Pea's was a blues hotspot - shake dancers and many blues musicians played there. Left Hand Frank, Little Arthur and Pat Rushing were among many others who welcomed me - the only white guy there. Then I got the news Brewer's wife, Suzy, stabbed him in the throat for messing around, bringing another woman to their house while Suzy was away. Brewer recovered and he and Suzy stayed together for the rest of their lives, but the gig was over.

After the Houserockers, I headed for the West Side, where I played at the 1815 Club, on West Roosevelt for the following year! Eddie Shaw was holding together the Wolf Pack after Howlin' Wolf had passed away. He hired me for 6 or 7 dollars a night, every Friday and Saturday. We had Hubert Sumlin on guitar, Lafayette Gilbert, 'Shorty' on bass, Chico Chism on drums and Detroit Junior on piano. They let me play rhythm on my old 1954

CE 100 Guild and we hosted everyone from Otis Rush, Tail Dragger, Johnny Littlejohn, Guitar Junior, Maxwell St. Jimmy, Jewtown Burks, Little Wolf, BB Jones, LC Robey, Highwayman, Boston Blackie, and all the local regulars.

The band was arrested because of a shake dancer smoking a cigarette out of her coochie. The cops took us to the Maxwell St. Lockup, but Eddie Shaw bailed us out and the judge laughed when he read, "Arrested in a house of fornication"!!

I recorded with the band, and it was later released by Bob Corritore, in 2009, as Chico Chism's West Side Blues, and I played behind Eddie 'Jewtown' Burks and Chico Chism, who loved my augmented 9th cord, behind his "Coo Fanny Coo" cut!!

During my time at the1815 club, I was still taking lessons at JB's house, and one day his nephews showed up, Lil' Ed and Pookie! JB was steady going back and forth from Chicago to Boston, so we founded Lil' Ed and the Blues Imperials. We played the West Side for about ten years - Necktie Nate's, the Casablanca Blanca, the Garfield, Boss Joe's.

Bruce Iglauer from Alligator found us in 1989 and recorded a historic marathon live session - Roughhousin.

We toured the US and went overseas for the first time and to Canada! JB Hutto had died of cancer in 1983, and at his deathbed I brought my guitar and played - and his fingers flew in the air making the notes I should have, teaching me until the end.

In 1989 I decided to start my own band and named it

Dave Weld and the Imperial Flames! My first drummer was of course Ted Harvey, Harry Yaseen piano, Mike Scharf bass, later Donny Nichilo piano and Herman Applewhite bass. In 1994 we self-produced out of Streeterville Studios, where we had recorded for Alligator. Thanks to a writer, Andre Hobus, Soul Bag magazine of France, we signed with Parsifal (Blue Sting) out of Belgium, with Lil' Ed as special guest and it was called Roughrockin In Chicago. We worked for years off that CD and toured EU, Japan, as well as the States. The next new band member was Jeff Taylor, drummer vocalist, who worked with Tyrone Davis, Artie Blues Boy White, Koko Taylor, Lonnie Brooks, Eddy Clearwater and more. Leo Davis on piano and Bernard Reed on bass. Both Davis as well as Reed were top players, with Bernard Reed playing on so many hits it is hard to list!! Additional band members were Darryl Mahon (Mighty Joe Young), Vernon Rodgers on drums and Jasper Buchanan on piano (OV Wright).

Lil' Ed and I always stayed close throughout the years. Ed eventually joined my band replacing Leo Davis on piano. Many times Ed and I did duo gigs together to fill the calendar and we did songs that were later used with the band to record. Michael Frank with Earwig signed us in 1996 and recorded the CD Keep On Walkin, with Ed as a special guest. We toured for years in the US, EU and then Ed decided to go back to his band. The legendary Abb Locke on sax joined the band replacing him. Abb has played with us ever since.

Abb is a real blues legend who worked with Howlin' Wolf, Elmore, Muddy, Mabon, Earl Hooker, Memphis Slim, Albert Collins, BB King, the Rolling Stones and was a session man at Chess Records! The band worked for years as Abb, Jeff, Herman and myself.

In 2001, when I was taking care of my mother someone came along to help. I met Monica Myhre, at a benefit when she was the Vice President of the Crossroads Blues Society. I found out later that she was a singer and writer, performing since the age of six, singing with International Mexican singers. She was in bands her whole life, a RAMI winner, but coming home from a gig, her fiancée was killed and she was badly injured. This did not defeat her, and with spirit from her grandfather (who actually rode and fought with Pancho Villa) she pitched in to help with the skilled nursing of my mother, and singing in my band! The song Sweet Love (Dulce Amor) on our current CD Slip Into A Dream (Delmark 842) is actually a song about our love!! Monica helped me take care of Mom until her death, 2007!

I had known Bob Koester since the 70’s, at his old store on Grand Ave, and he was proud of the way I took care of Mom, and held my gigs, and kept a top band! This was my biggest break, getting signed by Delmark!! The Imperial Flames, Jeff Taylor, Dave Kaye, Abb Locke, Harry Yaseen, Monica and myself put together my first CD for Delmark, Burnin Love in 2010. Burnin Love is a raucous monster. “Weld performs wonderfully wild guitar... their sweet harmonies are as

animated as Weld's wicked and rockin slide guitar", --Tim Holek, Living Blues, 2010.

On my second CD for Delmark, Slip Into A Dream (2015) the music was even better!! Featuring special guests, Bobby Rush on harp, Sax Gordon tenor, Greg Guy bari - Buddy’s son - guitar and our regular band Monica Myhre vocals, Jeff Taylor drums, vocal, harmony, Dave Kaye bass, Harry Yaseen piano, along with some kick ass horn sectionsthe Heard, the Chicago Horns, Kenny Anderson trumpet, Bill McFarland bones, Hank Ford tenor, and Graham Guest piano, B3. Delmark engineer/producer, Steve Wagner worked his heart out with us and was essential!

"Bearing the influence of Hound Dog Taylor and JB Hutto, Weld’s torrid guitar

playing steals the show, and..... possessing a sweet, yet strong mezzo, Myhre’s plummy vocals blend well with Weld’s raspier ones... congenial harmonies ... packed with tight, lively musicianship, Slip Into A Dream is an enticing set of contemporary Chicago-style blues"."—Melanie Young, Living Blues Nov 2015.

With the harmonies perfect, the arrangements clever, the rhythm section powerful and hot, the words meaningful and the rhythm section groove an irresistible force, I got all the way back to my start, with the kind of emotion and intensity I had at the beginning of my career, but add 30+ years of gigs and playing the most important music of my life, as if my life depends on it!! The full circle came around doing

JB's 20% Alcohol, with Bobby Rush playing 50's style harp, and I felt JB's presence in the studio, smiling at me like he did in my dream from long ago! Then we put the same groove Wolf had on Brown Skin Woman, and I was back at the beginning, where I started, and where I loved the blues. This is my story!

Sincerely, Dave Weld.

DISCOGRAPHY

SLIP INTO A

–

Ten Years A er THE NAME REMAINS THE SAME

Our Pete interviewed the guitar ace and vocalist for BM a while ago, but now Marcus is a member of one of Britain’s most renowned blues-rock aggregations, we thought we would ask this genial musician about Ten Years After and everything else. Many thanks to Marcus for his responses and see you at a gig, amigo.

Verbals: Pete Sargeant Visuals: Supplied by Artist

Could you nominate for us two recordings (artist/title/source album) that make sense as night time listening and two that make sense as daytime listening? At the moment it’s these: Night Time Listening:- Tom Waits - Hold On - Mule Variations & Freddie King - Help Me Through The Night - Woman Across The River. Day Time Listening:- The Meters - People Say – Rejuvenation & B Movie Box Car Blues - Delbert & Glen - Delbert & Glen.

It has been said that you shouldn’t write songs when you’re in love. What are your thoughts on this notion?

I think you got to be in love to write songs. Love is probably the strongest feeling out there, and to write music that touches the people who listen to it, you got to talk about things we've all felt. Love is most definitely one of them. You don't necessarily have to be in love with a person, you could be in love with the idea of something unrequited, or a place, or anything that makes you feel that way. I been in love many times, and as a result, had my heart broken many times too. This all goes into making me who I am and giving me real things to write about. I sometimes think that if I'm too content, I might not be able to feel certain things and write the songs I want to write, but, for example, I'm in love right now but I still got things in my life that make me unhappy and give me plenty of vitriol to write the angry song when I need to. Love is a universal thing we all understand, but it’s not the only thing.

Have you ever in your life/ would you ever take part in a song or singing contest? No, I've never really gone in for that. In fact I don't like the idea of music being a competition at all. It’s the opposite of why I got into music in the first place. It was also one of the reasons I left the university I was at in Liverpool. The 'songwriting class' was exactly like a competition. The lecturer thought that anything other than Elvis Costello and that kind of writing wasn’t any good. Now I love Elvis Costello, but I don't write that way, and I constantly felt I was being derided for writing the way I wanted to - and not being told how to improve my style, just judged against my fellow students. I don't think I'd ever enter a singing or song contest, and in truth, I don't think I'd be in with a shot of winning either of those things.

Best song ever about drinking? Who is it by? Why do you favour it? Whiskey River - Willie Nelson and there's a version by Canadian band Grady from their album Good As Dead which is killer. I like it because the lyrics are simple and it talks about one of the reasons we sometimes drink which is to forget about something or someone, but it's not a dark tune - it captures that blissful moment of inebriation when everything is great and there are no consequences. Grady take that song and that idea and turn it right round into something that sounds like a three-day bender where all the bad stuff happens. When you can do that to a song without changing the lyrics you know it’s a good song.

For dates with Ten Years

After, are you tempted to use gear similar to the late Alvin Lee? I recall his red ‘Chuck Berry’ Gibson with the peace sticker…what are you taking out on tour?

I have an endorsement with Gibson Guitars and they called me when I got the gig with Ten Years After asking if I'd like to use the Alvin Lee signature guitar, but I declined as I felt it might be a bit weird. I spoke with the guys in the band and they agreed. They wanted me to come into the band and do my own thing with the material and not try to emulate Alvin. Now obviously as a guitar player I think Alvin is pretty untouchable, but I've never wanted to be like him - or anyone else for that matter. I wanna be me. In the band I use a '74 Gibson SG through a Blackstar Artisan 15 head and cab as it definitely gives me the sound I need at the volume everyone can deal with. It's a great looking guitar and all. Goes with all my shirts!

I saw TYA at the Toby Jug in Tolworth back in the day. Alvin said they’d do a long set – which they did, including Crossroads – as they were off to an American Festival… turned out to be Woodstock. What are your thoughts when you see the footage?

My thoughts are usually: wow I get to play with these guys most nights, that’s pretty special. I've always loved that era of music and especially the live concerts that are available to watch. They are all really on the edge, which is how I like my music played. The musicianship on these guys is great, everyone

LOVE IS A UNIVERSAL THING WE ALL UNDERSTAND

is listening and looking to take the song somewhere interesting and different each night. I remember seeing the Woodstock footage many years before I joined the band, and just thinking how cool it was that they basically had a great jam in front of thousands of people and how amazing that band sounded together. Also watching Alvin in that short clip tells you all you need to know about how to front a band. Incredible.

Two tracks by TYA that I loved were Portable People, the acoustic style song, and moreover I Can’t Keep From Crying. I have played with Roy, the drummer of The Blues Project, and we agreed this song still has a supernatural vibe. Will you be playing it?

Portable People is a great tune - I'd love to do some more of that acoustic Broonzy inspired stuff that Alvin did and I think we will, live, at some point.

The new record we've been writing has a few of those moments on it, so I imagine they will make their way into the set soon. I Can't Keep From Crying was one of the songs the boys retired from the set as I joined, in favour of doing some other material that was requested by people on the website like Help Me, Standing at The Station, I Say Yeah. I first heard Al Kooper's original version and was well into him for ages so I didn't hear TYA's version until very recently, but it's great. So sadly neither of those songs are in the set at the moment, but by the time we hit England who knows?

The third track on an album is often a gem - can you think of any? – as many as you like!!!

Spanish Castle Magic - Jimi Hendrix - Axis Bold As Love:- Lucy In The Sky With Diamonds - The Beatles – Sgt. Pepper:-Christmas Card From A Hooker In Minneapolis - Tom

Waits - Blue Valentine:- Roll

Um Easy - Little Feat - Dixie

Chicken:-Skin It Back - Little

Feat - Feats Don't Fail Me

Now:- Texas Flood - Stevie

Ray Vaughan - Texas Flood:Sound Of The City - Delaney & Bonnie - D & B Together:- I Want To Be Loved - Muddy Waters - Hard Again. I'm gonna stop there cos I got things to do and this list could go on for a long time, Pete.

Name a song or instrumental that fades too early, for you (artist/title)

Spanish Moon - Little Feat - Feats Don't Fail Me Now This tune is one of them ones you never want to stop, the groove is killer and Lowell George's vocal on it is just too cool. Right at the end it starts to fade as they settle on this real nice chilled outro and then just as the fade is about out, you hear it break into something bigger and then.. it’s gone. Geniuses.

A recording that makes you laugh...intentionally or otherwise! (artist/track/ source album)

Ha ha, that’s a good question…. Bill Withers - Medley: Harlem/ Cold Baloney - Live at Carnegie Hall. The whole record makes me laugh cos Bill Withers is so damn funny between songs, telling stories and joking with his band. This track makes me laugh because during the outro he introduces the band using funny anecdotes about them, and also the way he talks to the New York audience and jokes with them as they try to sing with him is beautiful. Then you hear the groove the band are laying down behind him and you just have to laugh because it’s unreal.

Name an album or a couple of albums where the cover or artwork could have been better, in your humble opinion…give any thoughts around this Easy, my first two albums. Especially the second album. Man I do not like that cover. My old record label sort of took creative control over them and by the time I had a chance to object, they were already pretty much printed. I was quite young when I did these albums, but also old enough and broke enough to know that I needed this dealotherwise my records weren't coming out! I remember the photo shoots being a lot of fun and getting a lot of interesting shots. Just seems none of them made it on to the album covers though! Still I don't mind, it's what's inside that counts and I'm very proud of both those albums.

Best rock ’n’ roll swagger recording NOT by the Rolling Stones (artist/ track/source album)

Bad N Ruin - Faces - Long Player

This band just had it all, Rod Stewart was probably the hippest thing on the planet round this time and the band sounded so good behind him. I feel these guys are some of the most underrated musicians. No one ever talks about Kenney Jones enough. He is a great drummer. I always feel that way 'bout Ric Lee too. Back in the day, the stuff him and Alvin were doing together during solo sections was key to that band sounding the way they did. Bad N Ruin has got all the swagger I need to feel good on a bad day.

Bonnie Raitt and Boz Scaggs record a duet –which song and who is in the backing band? Willin’ by Little Feat. If it’s happening right now it’s:- Jim Keltner on Kit, Colin Hodgkinson on Bass, Dr John on Keys and Derek Trucks on Guitar. If those guys can't make it then my band will be there!

Best 2nd or follow up album of all time and why? (I love The Doors ‘Strange Days’) Led Zeppelin II - I mean it came out less than 10 months after the fi rst one. No 'difficult second album' here, just an incredible follow up to a great debut. I think it's arguably the majority of people’s favourite Zep album (mine is III but that’s not important now). Chick Churchill from TYA told me about the fi rst time he heard Whole Lotta Love in an A&R man's office before anyone else had heard it, and he said it blew him away - and Chick don't get blown away by much! I think your shout of Strange Days is great too, I love the Doors and agree that it’s a great follow up but for me Zep II edges it.

Name an actor or actress who made a listenable song recording – and what’s the appeal?

I'm not sure if I understand the question totally, so sorry if I get the wrong end of the stick here, but Tom Waits has been in loads of great fi lms and made so many incredible albums. Check out Down By Law to see him at his acting best - it's a real funny fi lm.

Where are Ten Years After

planning to tour next?

Well we have Germany, France and Belgium to do at the beginning of the year and then we come to the UK in April, as well as Russia and more Germany and France and lots of Festivals over the summer - culminating in a big tour of Europe in November. We are pretty much always on tour, which is great as there are so many people that want to see the band. We also have to find the time to record this new album we've written somewhere in amongst all that, as we are releasing it before the November tour.

Which artist did you go to see perform with low expectations but ended up impressed? Where and when was this?

About 6 or 7 years ago my girlfriend took me to see Tori Amos. Now I didn't have low expectations - I had absolutely no expectations. She was someone who had seemed to have passed me by. I'd never even heard a song by her and knew nothing of what she did. After 2 hours of watching her at the Apollo I was totally hooked. She is an incredible performer and writer, and her band were something else too. I'll never forget having my mind blown open that night. It sadly doesn’t happen enough at gigs these days. (I was there. She didn’t talk much, but great songs – PS)

Where in the world in your opinion is live music best received? What venues appeal?

To be honest all the audiences I play to are great, but you're right, there are some places or some situations where

the audience are that extra spoonful of crazy. I like touring Spain a lot. I do like the way they enjoy music over there. Some of the best audiences I've ever had have been in Germany, but the most incredible night we had was in Lyon. It was the day after the Paris attacks and we flew out with TYA to play a show in Lyon, which I was expecting to be pretty badly attended after what had happened the night before. Instead we had a packed room of about 500 people, all wanting to lose themselves in music and make a stand that their lives wouldn’t be dictated to by fear. It was an unforgettable night. We dedicated Love To Change The World to them that night.

Has a radio DJ anywhere (and any era) ever impressed you and if so why?

Weirdly enough I don't listen to much music radio these days, I should probably listen to more. Maybe that’s my New Years’ resolution...that and learn to drive. Huey Morgan on 6Music has turned me onto loads of new music. It was his show I first heard Houndmouth and got their first EP off the back of it, which I've played to death at home. Yeah, Huey Morgan, Guy Garvey and Cerys Matthews always have really interesting stuff on their shows.

Name a recording (an album maybe) that really ‘grew’ on you and has ended up as essential listening? What is it about this recording that you value? Swordfishtrombones - Tom Waits. When I first heard this album it scared the hell out of

me. I wondered what happened to the guy from Blue Valentine and Heart of Saturday Night that had turned him into this creature from the deep. It wasn’t until I went back and listened to the albums in between these records, that I saw the progression and understood what was going on, and now I think it’s a great record. I also just shelled out a lot of money for an original vinyl of it so I must like it now.

Every time I get a ‘Best Of…’ of anybody, there’s a song or two missing that I wish had been included…. can you think of an instance of this? What are the missing items that you would like to have seen included?

In all honesty I don't buy 'best of' albums. I sometimes start there on Spotify if I want to check out an artist I don’t know and haven't had a specific record recommended to me. Then if I dig it I buy the full records. Maybe if the Beatles’ Blue album is classed as a 'best of' I wonder why more of the White Album second record isn't represented on it.

Suggest a song that reminds you of your childhood - and why might this be?

Wild World - Cat Stevens. My mum used to clean the house listening to Tea For The Tillerman on a Sunday morning when I was little. I'd always be woken up by the sound of her dusting the piano from high to low just before the chorus of Wild World. It sounded like Jerry Lee Lewis had jumped up on this track for a second when she did it. It almost seems weird

listening to it now without that cos this happened every Sunday for about 15 years.

Is there a book or novel that you would like to create songs or the score for? Why is this?

Old Man and The Sea - Ernest Hemmingway. I'd love to do the score for whoever would be brave enough to make this film. It's one of my most favourite books - everyone should read it. I've read it so many times now, I reckon I could write some great tunes inspired by that book. In fact I might just do that anyway.

For touring info etc. visit www. ten-years-after.co.uk

BONNIE IS VERY MUCH IN DEMAND BY THE MEDIA, AND APART FROM THAT, WILL BE ON THE ROAD FOR TWO YEARS TOURING THE NEW ALBUM, ON WHICH SHE WAS RESPONSIBLE FOR FIVE COMPOSITIONS A FIRST FOR HER. HAVING LOST A NUMBER OF FAMILY MEMBERS, SHE WROTE 'THE ONES WE COULDN'T BE' IN HONOUR OF THEM. BM'S CLIVE RAWLINGS WAS LUCKY TO GET A WINDOW IN BONNIE'S SCHEDULE AND OBTAIN A QUICK INTERVIEW.

Tell Me About Dig In Deep as the album title?

It’s a line from Unintended Consequence Of Love, and I picked it because it really fits the way I feel the band and I dug in on these grooves, and also some of the more soul-searching topics I got into on the ballads. It’s really something that’s come from all of us playing together so long, being so experienced and attuned to each other. At this point in my life, if I can’t dig deeper in ways that are important, what’s the point?

Where did the inspiration to write again come from?

Well, after such a difficult decade of so much loss and illness, I knew I didn’t want to write about that. I’d spent enough time in that painful place and I was just looking for some new music to lift me up. For Slipstream, it was about looking for really great songs by others, although I did write Down to You with my bandmate, George Marinelli and songwriter, Randall Bramblett. I think writing that, and working with the band on tour, really spurred me to come up with my own songs for this new album. I really enjoyed co-writing with George and Jon Cleary. The response to Slipstream was such a refreshing and unexpected boost, and the tour was one of the most fun I’ve ever had. With the reaction

from the critics and the fans to my first venture on my new record label, and then it winning a Grammy, I was really thrilled. So going into this album, I had renewed energy and enthusiasm.

Was your writing a recent burst of activity, or is this material that has accrued over time?

For me, they were ideas I’d been culling for a while. Some came from fresh musical ideas, others were inspired by music or titles George and Jon gave me. As always, I spend a lot of time listening to my music collection, talking to musician/ writer friends, journalists, combing the internet and YouTube for great finds. Once the tour wrapped, starting last year I really focused on writing and looking for songs.

There's certainly a lot of guitar playing on the album. Well, George and I go at it pretty hard live, and lately I’ve been picking and writing songs that let us stretch out. I love bands that have two guitars playing off each other - Los Lobos, the Stones, Little Feat - there is nothing like it. On the last three albums in particular, there’s been a lot more room to kick it back and forth. Having a killer band is a great part of the inspiration. I’m also happy that I have two songs I wrote on the piano for

this album. I love that gospel style and I wrote What You’re Doin’ To Me just to be able to add that infectious groove to our shows. Especially having a master like Mike Finnigan on B3 right next to me - that's gonna be a highlight for me. And the ballad that closes the album, The Ones We Couldn’t Be, that's another kind of very personal song of the type I’ve written over the years on piano.

The way you talk about Slipstream, it seems it really marked a new chapter for you?

I was knocked out by the response. My fans stay loyal and stand up and cheer and love Angel from Montgomery, but I feel like we built a whole new audience with the younger Americana generation. The Civil Wars and Shovels & Rope and all of these bands come up at the Americana Awards and tell me how much I’ve meant to them, and Adele giving such great props around I Can’t Make You Love Me. It’s not an ego thing, it's just very gratifying to know that there’s some traction there, that it wasn’t just a couple of songs on the radio around Nick of Time or Something to Talk About or I Can’t Make You Love Me. They're going deep. It’s thrilling to be around at this time. I feel part of a continuum and I feel validated, I feel encouraged in a way that was really inspirational on this new record.

What did you learn from putting an album out on your own for the fi rst time?

Years ago, I started studying others who went independent, learning from them what

B

DIG IN DEEP

nie Ra

Bonnie Raitt is a busy lady at the moment. As well as the imminent release of her new album Dig In Deep, she's planning a tour, including the UK, and appeared on the 2016 Grammys − joining forces with country singer Chris Stapleton, Gary Clark Jr. for a moving tribute to BB King − performing the classic The Thrill Is Gone.

Verbals: Clive Rawlings Visuals: Supplied by Artist

BONNIE RAITT DIG IN DEEP REDWING RECORDS

Debuting on her own record label, this is Bonnie's twentieth album, following 2012's triumphal Slipstream. Having been on the road for two years, Bonnie was keen to get her touring band into the studio for this recording and it proves to be a success. Those stalwarts are James 'Hutch' Hutchinson on bass, Ricky Fataar drums George Marinelli guitar and Mike Finnigan keyboards and the twelve songs here draw on her characteristic blend of blues, rock, funk, r&b, from the funk of opener Unintended Consequence Of Love to the deeply personal ballad and closer The Ones We Couldn't Be. There are five originals on here, the most Bonnie has contributed on an album since 1998's Fundamental. There are also a couple of covers by some of her favourite songwriters, notably an explosive version of Los Lobos' Shakin' Shakin' Shakes and the earthy take on INXS' Need You Tonight. Dig In Deep features a healthy dose of the signature slide guitar, but also Bonnie at the piano for a couple of more emotional numbers, notably the Bonnie Bishop cover Undone. But the real poignancy of Bonnie's recent sense of loss is in the lyrics of the aforementioned closer, The Ones We Couldn't Be. Over the space of five years she lost her mother, father and brother, the song takes a look at the relationships, good and bad. I can say no more than if you have followed Bonnie over the years, or if she's new to you, you won't go far wrong getting hold of this latest offering. Even better, try to get to see her when she passes through the UK at the end of May, early June.

CLIVE RAWLINGS

worked and what didn’t. I was always interested in eventually owning my own music. It’s a lot to take on, but because I have an incredibly effective and prepared team of three amazing women running my operation, we were able to make the transition smoothly. It’s a lot about finding the

right promo/distribution and co-ordinating partners. Turns out it takes the same level of oversight of everything from manufacturing to distribution, radio/press promotion, tracking royalties, that we always did working with the major labels, to now run our own.

The biggest difference, aside from how fast people call you back, is that we can change players in the middle of a campaign if something’s not working. One of the blessings of having been around this long is that we’ve learned a lot about what does and doesn’t work. There’s a huge learning curve for staying up on this rapidly changing businesswith social media, digital, streaming and performing rights, new technologies we couldn’t have imagined before. You’ve got to stay on top of it and be ready to spring-load a change when it’s called for. When you have the right people helping get you information and are able to run things so effectively, it’s as satisfying as it is exhilarating. I’m very lucky to have this kind of control.

DISCOGRAPHY

DIG IN DEEP - 2016

NOW AND THEN - 2013

SLIPSTREAM - 2012

STARBUCKS OPUS COLLECTION:

BONNIE RAITT - 2011

BONNIE RAITT & FRIENDS

CD/DVD - 2006

SOULS ALIKE - 2005

LIVE AT MONTREUX

‘77/’91 DVD - 2005

NICK OF TIME DVD - 2004

THE BEST OF BONNIE RAITT ON CAPITOL (1989 – 2003) - 2003

SILVER LINING - 2002

ROAD TESTED DVD - 2001

FUNDAMENTAL - 1998

ROADTESTED - 1995

LONGING IN THEIR HEARTS - 1994

LUCK OF THE DRAW - 1991

THE BONNIE RAITT

COLLECTION - 1990

Paul Nels HEADING FOR VICTORY

The Paul Nelson Band have a brand new album out on Sony, so Pete gave it a listen and spoke to the man himself in the States about the record, (Grammy-winning) playing, producing and getting the best from star guests…

Verbals: Pete Sargeant Visuals: Michael Weintrob

Well I’m managing to catch up with a lot of people lately who know you – Sonny Landreth, playing here in London and Edgar Winter….

Oh! Great artists and friends!

Now I know you as a great guitarist and bandleader, but you also produce?

Yeah, nowadays you have to do everything and cover all the bases to keep in motion, you know how it is…to stay in work. I was Johnny Winter’s guitar player and he gave me the really great honour of letting me produce his record. All that developed out of a friendship and close musical partnership over many years.

The people on Johnny’s album Step Back are an incredible list of stars, like that Gregg Allman & Friends thing. Edgar signed my ‘bible’ which is Second Winter by him and Johnny, an album with so much fi re and adventure! When I heard their Highway 61 Revisited, the Dylan song I was floored! What you have on Step Back, his voice is obviously deeper than on previous recordings.

Yep, he was deservedly an icon. He was an older and more experienced guy. He had gone through a lot with his addictions and hard times but was now having one hell of a comeback. He had managed to get back to a good place and had that more aged voice to work with. The commitment was back, the energy was back. It was time to record him again and capture that era properly, for him and for the

fans. On the album Step Back there was Joe Perry, Dr John, Eric Clapton and Ben Harper, so we got it all recorded.

He sounds on Killing Floor closer to James Cotton in vocal delivery? That was actually a song where Johnny and I thought we’d get harp on it, too. And all that energy, I really like Who Do You Love.

Ah! Do you know the Juicy Lucy version? I’ll send it to you, no problem. What’s your favourite track?

Where Can You Be, if you twist my arm, Paul. With Billy Gibbons, there’s something about that… The more mainstream track, the overall idea during this session was to get kinda close to the originals. Even, Unchain My Heart, the Ray Charles song. Johnny turned me onto those originals many times. He took me under his wing and got me to listen closely to the riffs and arrangements. I think that’s why he wanted me as his producer; he had brought all these artists and recordings to me, to soak up. He did that with Tommy Shannon too, turned him on to the blues as he most appreciated it.

Tommy was more of a Motown/R&B guy way back, but Johnny turned him on to Freddie King and everything, Son House, T Bone and all that. Johnny had me learn specific riffs to use on the recordings. By the time we came to record the songs, he knew that I knew what he wanted. See, he’d produced a lotta Muddy stuff and other artists. So he just wanted to play, do his thing and have somebody else

make it comfortable for him. He’d come in and he’d sing and play over it, he’d do what I call Winterise it. There was a great communication between him and the band members.

What I sense and especially from Joe Bonamassa and Brian Setzer is a deep respect. They are not there to cut Johnny, but to add their something. No and that was really important and I’m glad you hear it. This wasn’t for people to beat each other up; it was for the sake of each song. Johnny picked the songs and I picked the guests. I worked hard to ensure that the guest artist matched the song they were going to play on. So it sounds like a perfect fit, for that number.

One of my own favourite Winter recordings was Johnny Winter And... Guess I’ll Go Away, where he does such a personal take on blues rock, with his own songs.

Fine music, and here he is now an elder statesman on the blues in all its forms. He just needed to be reinvented and I don’t mean totally reinvented for the public to enjoy him this way.

My favourite thing in playing is making other people sound good. In your playing you are doing that all the time, so do you recall Jesse Ed Davis, from the early Taj Mahal band? Absolutely! One of the best players ever!

That KiIling Floor riff, Mahal and Davis used it on Estes’ Everybody Gotta Change Sometime.

I actually doubled that riff, to make it thicker.

There’s a dedication to Steve Hecht? Ah, he was a booking agent and friend of Johnny’s and had passed away.

Your own Paul Nelson Band has a new album Badass Generation out soon on Sony. I have heard the Down Home Boogie track. Whaddya think??

What’s difficult these days, is to make a blues based record that a younger audience can also enjoy. We have a young artist here Laurence Jones who can do that. This seems to have a contemporary feel without being synthesised to mush. Yes!! You’re getting it! We have the influences of Southern Rock which has a big following. Plus we have a vocalist from The Voice, TV show; he came in second and can really sing with depth. The band like the 70s jam bands, so we can combine all those styles when we’re writing songs and see what we can come up with. I love blues and many forms of music but what I want to do is write SONGS. And having a very good singer inspires me.

Sonny Landreth says you had fun on tour in Japan with him and Johnny. (Sighs) He and I are close. We were playing in Jamaica with Govt Mule, too. The Island Exodus. He was our opening act in Japan and he also did a lot of The Johnny Winter AllStars shows with us.

What gear are you taking out to tour with PNB? I’m big into Les Pauls now. I used a Strat on most shows with Johnny because I wanted to have a different tone to him for the performance and for the contrast. We didn’t step on each other and that’s what he liked about me the most. He used to say ‘Rick Derringer used to play all over me!’ (Laughs). We had a good musical partnership.

For slide I do take Kim Simmonds’ advice. I just played with him at BB Kings! What a fine player.

Kim advised me long ago to use glass for electric and metal for acoustic. I tend to use metal at all times and I like the neck action really high and with thicker strings.

Paul, I did a piece with Joe Louis Walker, what a nice man.

I produced his album, have you written about it? Please send me the piece. He opened for Johnny a few times so I got to know him. I played with him and he asked me to produce his record.

He sounds more like Joe Louis Walker – and I have seen him live - on this new album more than on his older records. Yes. I wanted to really capture his voice.

He’s authentic without being a big shot. Well, he has so many inputs and influences. He’s a soul player and a blues player, gospel too. Plus he’s also knowledgeable about the British blues scene and all the guys you know.

You’re working on a Junior Wells project. I did a tribute show on his 100th birthday anniversary – an idea since pinched by all and sundry here – but to be frank, I found it hard to pick the songs from the many many recordings. It is. I have the Blues Brothers horns in on this one. Cleopatra Records bought the rights to the whole Wells catalogue so they approached me to take it forward. All the tracks are ready and we’re now working on the guests for this one. Pete, I’ll make sure you hear it!

Stevie Ni o

A CHANGE DOES US ALL GOOD

Stevie Nimmo returns with an outstanding release full of emotional drive and power.

Verbals: Colin Campbell Visuals: Andy Hibbs and Lise Ritter

STEVIE NIMMO IS BEST KNOWN FOR HIS WORK WITH HIS BROTHER ALAN IN THE NIMMO BROTHERS. HE IS ABOUT TO RELEASE A NEW ALBUM, SKY WON’T FALL, IT’S THE SECOND ALBUM AS A TRIO FEATURING MAT BEABLE ON BASS AND CRAIG BACON ON DRUMS. I CAUGHT UP WITH HIM DURING HIS PRESENT EXTENSIVE EUROPEAN TOUR PROMOTING THIS NEW RELEASE. A VARIED RANGE OF TOPICS WERE DISCUSSED INCLUDING HIS SONG WRITING INFLUENCES, TOURING AND MUSICAL CAREER TO DATE.

Hi Stevie good to talk to you how’s the tour going?

Very well, we’re just on the way to Germany after a good night in Luxemburg it’s good to play live again. With the last release Wynds Of Life we only did a small tour and thought it was far too short, so this time round we have more gigs booked. I really enjoy connecting with the audience and getting good responses especially after playing new songs. If the lyrics touch a chord with people and connects me with them then that’s what I need.

It’s taken six years since your acclaimed debut with this trio why so?

Me and my brother Alan have played a lot of gigs in that time and recorded other material. Alan was busy with King King and I had medical issues and stuff. You know how it is with time schedules and I couldn’t get into the studio to record. We pulled the Nimmo’s off the road at the end of last year, so this meant I could concentrate more on my solo project.

How did you go about making the new album?

What is the process and structure you go through and who makes these decisions? Why indeed is it called Sky Won't Fall?

The title is a line from one of my songs. It’s really about

life, and that if things aren’t done then life will still go on. I class myself as a songwriter, then singer and guitarist. I write songs kind of to order. If say you needed ten songs for a certain date then it will be done. We needed the new album to be finished by October and it was. But if somebody was to say we need another album straight after it, then they’ll be waiting a long time for it. The ideas for lyrics are first then writing a song, I tend to write quickly. If a song doesn’t pass my quality control test it doesn’t get on the album. I get the band together share ideas and we add bass and drums. I let the band get on with it; I don’t claim to be anything other than a guitarist and songwriter. I cannot read music and I’m even more clueless on music theory, I leave that to the rest of the band. The way I look at guitar playing is likening it to a golf club with dots at regular intervals.

That is some admission, is it the same with your song writing and lyrics? What started you being interested in music and who have been your influences in your career? We were always a musical family and I’ve always been creative. It was my mother’s sister who influenced me especially relating to

creativity. I would have liked to have been an artist but made up wee stories and these led me to writing songs as my canvas. I bought my first guitar a K electric one then moved on to a Hondo which was passed on to my brother. Then I bought a Les Paul Gibson the type I now always play. My singing voice is natural, again no theory or lessons. I prefer singing than anything else. I started writing songs and playing guitar when I was sixteen and was never really satisfied by singing other people’s songs. The real things in life make good stories and are very personal and honest. I never fake emotion and feel humble when people relate to my songs when speaking to me after concerts.

Do you prefer playing acoustic or electric guitar, and how does it feel being the frontman of a band and playing solo, as you’ve shared singing and playing for twenty odd years in The Nimmo Brothers?

Difficult to say, I enjoy playing both types of guitar. You can go on for a long time with an electric guitar but acoustic is more challenging as there is no competing with the volume behind you, as I said though I prefer singing more than anything else musically. As for being frontman of the trio I’m not an extrovert I just want to connect with the audience, I wasn’t brought up to show off although there has to be showmanship. I judge the set list and like to think like a punter, am I getting value for money and at what point do I want to go home. My attitude is to leave them hungry and wanting more.

What about your family life, you now live in France, how did that come about; you seem happier with that way of life?

I needed a change. I was tired of the music business and went to live in France. I try to fit in tours at certain times of the year so life is not too hectic. I needed a more laid back life and have learned a bit of the language too. Previously, I’d left some gigs feeling I’d cheated the audience and hadn’t played to my full ability. This was unhealthy and I didn’t play guitar for two years. If I get to this point again I am out if I don’t enjoy it. But I do enjoy connecting with people again and that’s all. Scotland is a beautiful country; I took it for granted when living there in Glasgow, and if I was to go back I would live out in the country.

ALWAYS

One of the things I have trouble with is how to keep the blues alive and get younger audiences coming to gigs. Do you agree and what can be changed to achieve this?

I was influenced by a lot of bands in the 1970’s like Free, The Eagles, BB King and Gary Moore to name a few. Their influences are important to how blues music changed. I’m always having arguments about what constitutes the blues but try not to get involved, I see blues in everything played. None of us have picked cotton in a field so how can you or I know

what the blues is about. The word blues scares people off; its better just having music festivals and it’s how the music is marketed. In Holland for example it is just stage 1 and stage 2, not a blues stage which gets away from the stigma, but would people in the UK be open to this, is another matter. Temperance Movement are a band who never pigeon hole their music but it’s based on blues, and their audiences are under twenty five, again it’s the way things are marketed. The Nimmo’s got away with it and were not criticised by the blues police. We don’t ask you to like it but don’t say it’s played badly for the musicality of it.

Where do you think newish statesmen such as Joe Bonamassa fit in with the blues phenomenon? He now plays to thousands

I would love to write songs for other bands to play but would have to be in the same room as them collaborating and just getting on with the interpretation of my songs. I want to do more solo shows, more acoustic based, even try some country and just try new projects. In a couple of years’ time The Nimmo’s will be back touring and possibly doing a new album, we’ll just see what happens.

of people surely this is something other bands aspire to?

I reserved judgement, there was too much hype surrounding him, it is only when you see the likes of these performers live that you know they are professional and deserve all plaudits for heart felt music. We as musicians in general feel if it wasn’t for him that type of music would die off.

What does the future hold for you? What can we expect; do you want to be a producer or anything like that?

Well hope all goes well for the future and your new release is a success, likewise with the tour good luck and thanks.

Cheers man all the best.

www.stevienimmo.com for more information

SKY WON'T FALL – 2016

WYNDS OF LIFE – 2010

WE WERE ALWAYS A MUSICAL FAMILY AND I’VE

BEEN CREATIVE

BLUES TOP 10 STEVIE NIMMO

Verbals: Stevie Nimmo Visual: Lise Ritter

01STORYVILLE A PIECE OF YOUR SOUL

My introduction to Texas music that wasn't Stevie Ray Vaughan. Great songs, great playing and great vocals. Everything I look for in music, really.

02 ALLMAN BROTHERS BAND SEVEN TURNS

I always loved the Allman Brothers but this was the first of the newer albums that really made me stand up and listen. Warren Haynes has been a huge influence on my playing ever since.

03 AMOS LEE AMOS LEE

Amos lee is probably one of my favourite artists of all time. Every album has been consistently brilliant as far as I'm concerned. When he sings you feel that you are living whatever he is talking about. It just touches your soul.

04 RED DEVILS KING KING

For me, the best straight down the line live blues album ever. Many bands have tried to be the Red Devils but none quite manage. A moment in time captured of a band at the crest of a very high but short lived wave.

05

FLEETWOOD MAC BLUES JAM IN CHICAGO

First blues album I ever bought, I think. On vinyl as well!! The outtakes are just astounding. And 'Guitar Buddy' on there didn't hurt!

06 JOE BONAMASSA DIFFERENT SHADES OF BLUE

There are many Joe haters out there for whatever reason - too much success etc. etc... but this album was the one that convinced me that this guy deserved to be recognised for what he is. A wonderful and very talented musician who has brought many new fans to the blues world. Without Bonamassa I really believe the blues would have been on a very slippy slope into oblivion.

08 THE EAGLES THE BEST OF

I just love the Eagles. And this was the first introduction I had to them. All the classics are on there. It's just the best music to chill out to. And the harmonies are just out of this world. The world needs more bands like the Eagles!

07 GARY MOORE STILL GOT THE BLUES

I was a Gary Moore fan from his Thin Lizzy days but this album made me aware of the blues/rock cross over. Yes he plays as fast as you'll ever hear on there but there is also some moments of absolute blues genius.

09 KEB MO JUST LIKE YOU

This album was the first time I realised acoustic blues didn't have to be the clichéd old guy on the porch stomping his foot. The songs and melodies made me think a lot more about how to write a song. And the spacious production was like a breath of fresh air.

10 FREE LIVE IN CROYDON

Paul Rogers was the man as far as I was concerned when I started singing and the pure, raw simplicity of Free was epitomised by this album. I have all of Free's studio albums but the live thing was just magical.

Red Lick Records, PO Box 55, Cardiff CF11 1JT sales@redlick.com www.redlick.com

08 BUDDY GUY & JUNIOR WELLS DRINKIN’ TNT & SMOKIN’ DYNAMITE Demon CD

09 MIKE ZITO & THE WHEEL KEEP COMING BACK Ruf CD

10 THEM COMPLETE THEM 1964-1967 Sony 3CD

11 ROSCOE HOLCOMB SAN DIEGO STATE FOLK FESTIVAL 1972 Tompkins Square CD

12 LESLIE WEST SOUNDCHECK Provogue CD

13 BILL GREENSMITH, MIKE ROWE & MARK CAMARIGG (ED) BLUES UNLIMITED - ESSENTIAL INTERVIEWS FROM THE ORIGINAL BLUES MAGAZINE University Of Illinois Press book

14 BOB DYLAN

THE BEST OF THE CUTTING EDGE 1965-66 - BOOTLEG SERIES VOL 12 Columbia 2CD

15 20 YEARS OF BLUE ROSE RECORDS VOL 2 Blue Rose 2CD

16 MIKE BLOOMFIELD

THE RECORD PLANT ‘73 Shady Grove CD

17 CHICAGO CALLING - THE ROOTS OF THE BRITISH BLUES/R&B BOOM

Highnote 2CD

18

EDDIE MARTIN’S BIG RED RADIO LIVE IN TUSCANY Blueblood CD

19 FABULOUS THUNDERBIRDS

TASTE OF CHICAGO - LIVE 1989 Silver Dollar CD

20 DANIELLE NICOL WOLF DEN Concord CD

AL HUGHES BOTTLENECK SERENADE

VAUDIOVILLE

I don’t know about this album! Whether I have been sent a promo version or a full production version remains to be seen. However whichever it is sometimes a record comes along and, for whatever reason, everything just works. Such is the case here with the new release from Fife blues maestro Al Hughes. My copy arrived with a simple plain brown, recycled paper, slip sleeve with the title and name in beautiful copperplate handwriting. Inside the running order is printed on folded tactile paper revealing the five originals and five covers. The whole package has a simple elegance to it and that is before a single note has been heard. The final pieces of the jigsaw fall into place once the record starts to play. It’s a long way from the Mississippi Delta to Fife but this is back-porch blues at its brilliant contemporary very best. The recording is

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exquisite with the various guitar parts sounding fabulous. I believe that Al himself has never sounded better and perhaps this is the album where he finally breaks free from his former band legacy and becomes a consummate solo performer. As with his last album he opens with a quiet John Fahey instrumental, Steamboat Coming Round The Bend before presenting two originals Once Again and Boudoir Landing with both, in a sense, about lost chances. Vigilante Man, Champagne And Reefer, Mean Old ‘Frisco and a rather surprising cover of Jesu Joy Of Man’s Desiring complete the cover selections. Imagination has perhaps got the grungiest guitar feel of all the tracks. Can’t Catch Me has the protagonist trying very hard not to get tied down in a relationship. Moving Right Along closes out this very tasty release in an optimistic mood. I loved it a lot.

GRAEME SCOTT

ZAKIYA HOOKER LIVE IN EUROPE

BOOGIE WITH THE HOOK

John Lee Hooker’s daughter

is a fine blues artist, with the obvious advantage of having such a famous father, but she has forged her own path, as underlined by this release, recorded at the International Bluesfest, Eutin, Germany. It is Zakiya’s seventh album, and features her husband Ollan “Chris James” Christopher on bass - and he takes the vocal on the jazzy funk (or funky jazz) of Johnny “Guitar” Watson’s Ta Ta You (Thank You), the opening track. He was the former singer with Chicago soul band The Natural Four in the 70s, so the results are certainly worth hearing. Zakiya herself comes to the fore on the rabble-rousing Let The Good Times Roll, gets a bit jazzy on Funny But I Still Love You, nods towards blues-rock with a slightly Cream inflected cover of Robert Johnson’s Crossroads, pays tribute to Etta James with a fine version of Damn Your Eyes, and sings the blues pure, simple and nicely relaxed with Z.Z. Hill’s Down Home Blues, whilst the band hit an excellent forceful, but also rather laid-back groove – guitarist Federico Bozas takes a brittle solo and keyboards player Fabricio Laborde adds a fine break and grounding; they are Argentineans, as is drummer Willy Bozas. Zakiya is canny enough to realise

that a large proportion of the audience may have been initially attracted by her father’s music, so she includes One Bourbon, One Scotch (as the sleeve puts it), associated of course with the King Of The Boogie. The encore Big Boss Man hits a fine groove and sports strong vocals from Zakiya and her husband, though a full-blown duet would be nice! Proceedings close out with one of her father’s songs that Zakiya has recorded before, Hug You Kiss You, here given a nicely humorous treatment, and a wonderful eight minutes long tour-de-force blues medley to provide a very impressive end to a fine set.

NORMAN DARWEN

ROMI MAYES DEVIL ON BOTH SHOULDERS

Independent

Moody cover in a lot of shadow of back of head and shoulders. Symbolic? On the inside Romi has a large hood over her head so mystery here then!? What is no mystery is that this is a damn fine CD. I loved her

last album the live Lucky Tonight from four years ago that exuded gripping riffs and smoking sounds and great lyrics. Here we have changes. The voice has opened up and I find that Romi ceased smoking and getting used to her wider range and, I must say, putting it to good use. Here then are ten tracks of fine stature and content. Very accessible sounds that stand heavy repeat playing. Romi has caught a groove and it’s infectious yet not driven so more accessible. Time exorcising her demons shows and you can hear the relief which is why this really pulls you in. The rasp of her voice and the clever underlying tensions you can hear make this a pretty gritty and emotionally charged set that shows her stronger and gentler sides. Opening with the title song that is a smouldering 3:59 about refusing to grow up or conform (sounds familiar to many I reckon), Monkey Of A Man is about what a woman can do to one. Let You Down is about getting out of a relationship while Gonna Miss Me is what happens afterwards. Romi does cover relationships well from all sides. There is stinging dobro in Soul Stealer, seduction instruction is the theme to Make Your Move while Bee Sting is a slide driven plea for the man to come home. We get dueling slide on Wonder How and the consistent, dogged rhythm portrays the eternal question we all ask which is the title. Produced by Grant Siemens, who doubles guitars with Romi we have

Marc Arnold on keyboards and the rhythm section of Bernie Thiessen on bass and Damon Mitchell on drums and they are tight and on fire. The album closes with the gorgeous piano led Walk Away which is a strong statement of independence. I read in an interview that Romi said: “If I never made another album, I would be really happy that this was my last one,” and that cannot happen there is too much talent here. Somewhere else this album was described as a 70’s Bonnie Raitt, which is some tribute to this lady. This album must be highly recommended to you.

FRANK LEIGH

THE BOOM BAND THE MOON GOES BOOM INDEPENDENT

Hello! This is a bit good. In case you hadn’t noticed, the Boom Band features a who’s who of blues, with the four man guitar army (© The Outlaws) of Jon Amor (The Hoax), Marcus Bonfanti (solo/Ten Years After), former England cricketer Mark Butcher and Matt Taylor (Snowy White/The Motives), with keyboard player Paddy Milner (Tom Jones/Jack Bruce/) along for the ride. Their debut album was justly raved about, and September 2015 saw them set up a recording rig at the Half

Moon, Putney, to tape a show, which is now out as a cracking live album. Add on a rhythm section comprising Jon Noyce (Gary Moore/ Jethro Tull) on bass and Evan Jenkins (Neil Cowley Trio/Matt Scofield) on drums, and it was never likely that they were going to fail. The live set saw them performing tracks from their debut as well as an array of classic covers, from the likes of Dr. John and Blind Faith. It’s a righteous sound, and it’s hard to pick favourites, but I have found myself returning to Under The Skin, Red Eye Of The Devil and When You Come Home. As you would expect with so much virtuosity on offer, there are lots of instrumental breaks, but it never takes away from the song. Granted, there are a couple of bum steers on the opening and closing songs (Diamond In The Rust and We Can Work Together, but sandwiched in-between, things get as good as they’re going to. Highly recommended.

KIM LEMBO 45 MILES INDEPENDENT

Every now and then a CD arrives for review that makes you go; Aaaah. There are so many good CDs out there but every now and then there is that ‘magic’ one that conjures up something

special and I am pleased to say this is one of those pretty rare discs. After four terrific albums on New York based Blue Wave label Kim moved across the USA and worked in fundraising for charity. We are lucky that she has been encouraged to return to music and with a fundraising campaign put the funds together to deliver this very easy going yet hugely engaging record of thirteen tracks that vary so much. The musicians do a really great job here and Kim on vocal delivers a fine return to the grooves she had left behind. She has been compared to Lou Ann Barton and Susan Tedeschi. Having been titled a young blues beltin’ diva and International blues magazine Blues Revue saying “she possesses the kind of harnessed electricity that would blow the doors down in a packed blues joint on a Saturday night.”, while Living Blues stated “with careful phrasing and a gritty edge, Kim Lembo’s voice is a force to be reckoned with.” Well she returns here with some fine work starting off gently on Country Roads easy acoustic swell behind the voice with banjo and drum kicking in to move along that Country Road, a fine, foot tapping start that whets the appetite. There’s an easy chemistry here between Kim and the musicians that allows a flow that is so natural and engaging. Gawain Mathews produces and plays some excellent guitar parts, there are moving strings and piano parts throughout the album. I Could Use A

STUART A HAMILTON

Friend is an inward looking lyric that reflects and moves and there is a suitably fine guitar break before Kim’s vocal returns and pulls you in. The Howling is simply sumptuous and gently ebbs and flows so finely with tinkling piano like the water rippling and the guitar does the ‘howling’ and the cello meld so beautifully here. 45 Miles picks up a bit of pace and look out your feet are at it again tapping away unfettered as you cover those 45 miles. Sisters Rising Up does find the pace rising and the drums doing the driving while Kim lets go some vocally. Few, but haunting, notes of slide introduce The Lover In Me as this tumbles along gently. I must leave you to discover more of this excellent disc for yourselves and highly recommended it you.

TOBY ORNOTT

VARIOUS ANGELS SING THE BLUES

EARWIG

I’m not entirely sure why this has suddenly appeared, bearing in mind that it was recorded way back in 2007 at Chicago’s Taste Entertainment Center. It features a main band of Johnny Drummer and the Starlighters backing up Shirley Johnson, Mary Lane and Liz Mandeville. Although some of the tracks seem to be studio numbers, if the lack of background noise is anything to go by. It’s a bit of a hodge podge with the early, band only, numbers not much to write home about, and it takes a while to get things warmed up.

Shirley Johnson does a good job on Get Your Lovin’ Where You Spend Your Time and You Can Have My Husband But Please Don’t Mess with My Man. All three female singers appear on an excellent version of Angel From Montgomery, another studio cut, and then the producers of the album who double as Blues Brothers impersonators do an unfunny skit. It’s a strange album in all respects, although there are probably half a dozen tracks here that deserve repeat plays. It’s probably only essential to die-hard fans of Johnson, Lane and Mandeville, while the average listening public will get along quite nicely without it.

STUART A HAMILTON

BLUES HARP WOMEN BLUES HARP WOMEN (2 CD)

RUF

If you’re partial to a bit of blues women and harmonica, then your Christmas and birthday have come together. This double CD has it all, opening, as it does, with the lively shuffle and crisp harp laying of Paula Rangell's Harmonica Girl. Roxy Perry has a cool horn section backing her up on Roadmaster, followed by one of my favourites, Stacy Jones Band and Heavy Water. The instrumental

Down Home Shakedown shows that Big Mama Thornton has just as much power in her lungs for vocals or harp. Husband and wife duo Lynnan Hyde and Stu Kinzel on guitar offer a traditional acoustic take on 32-20 Blues. Kat Balhoun takes a more R'n'B route on Why You So Mean To Me, whilst Beth Kohnen brings it down for Ain't Easy, with just bass and acoustic guitar accompanying. Zola Moon ups the ante on the thumping Mechanical Beast. Please Call Daddy has a classic blues rhythm and sassy vocals from Mattie Phifer. Dorothy Jane 'DJ' Gosper closes CD1 with her own Sadder Than Sad, a slow blues track, strongly supported by organ, but with an incredible harp outro. Disc two opens with Jenny Kerr's own Cash Is King, full on blues/rock here, great start, swiftly followed by Cheryl Arena's Blues Got Me, which owes a lot to the old classic The Hunter. Veteran Annie Raines is next up with a live recording of Lookin' Good, sounding remarkably like Shake Yer Money Maker. As for the rest, classically trained Christelle Berthon offers a jazzy Summertime, with just piano and bass adding to the quality. Judy Rudin rocks on Hit The Road, Big Nancy calms things down on the standard Bring It On Home (To Me), before Rhonda Rucker brings proceedings to a close with the bluesy Rhonda Alla Blue. To summarise, a diverse collection, it has to be said, a few duds, but to be expected on a thirty

one track compilation, but all in all I liked it. By the way, if, like me, a lot of these names are unfamiliar, the enclosed informative booklet is a great help.

THE GREAT WEST GROOVE WHY THE HELL WASN'T I BORN RICH GWG

Turns out there’s plenty of mileage in updating Delta lyrical concerns on behalf of the cash-strapped and generally skint wage slaves of Britain in the twenty-first century, as The Great West Groove establish on this tasty three-tracker, built around the theme of having too much month left at the end of the money. The three-member band brings together self-professed ‘bluesmaster, funkateer, global groover and master of wit and repartee’ Robert Hokum on guitar and vocals with Steve King on acoustic bass and Paul White on percussion, including a Mississippi stomp box. The set opens with the title track, in which Mr Hokum laments his general penury, leaving the listener in no doubt about his desire for more commodious living accommodation and readily available mistresses. In Trouble Again sees the narrator’s financial woes augmented by venereal

disease and the inability to purchase a new guitar, on account of a maxed-out credit card. On top of the two originals, we get a cover of golden oldie Your Cash Ain’t Nothing But Trash, originally penned by classic R&B songwriter Jesse Stone under the pseudonym Charles Calhoun, and released by doo whoppers The Clovers as far back as 1954. The number was subsequently reprised in a very rocky way by Steve Miller on his The Joker album in 1973, and then in a saxophone-led take by Huey Lewis and the News in 1994. Suffice to say, GWG’s rootsy reading sounds like none of its predecessors. It’s all witty and tuneful stuff.

DAVID OSLER

PAUL WINN LIVE IN NEW YORK CITY

HOLLOW TREE RECORDS

I have to admit Paul is a new name to me but this double set of CD and DVD is an excellent introduction to this four-piece outfit of whom it seems three are Australians now settled in NY for between three and ten years and absorbing the musical scene. The influences are Robben Ford, Robert Cray and Dave Matthews even a little of the vocal is reminiscent of one of America. The music

is blues with equal dashes of funk, jazz and soul and gives up a very well rounded and enjoyable, comfortable sound that sure has the feet tapping. This is the bands fourth album having released Fortunate Man in 2004, Nothing New in 2009 and the acoustic Live in 2013. Paul Winn is on vocals and guitar, Simon Fishburn on drums, Neville L’Green, bass and Adrian Cunningham is the sax man. These guys give each other the room to move and show what they can do and keep your attention throughout. There are seven tracks on both the CD and the DVD, moving from the extended opener Look Around to the gentle Everybody’s Gotta Learn Sometime with its’ toneful guitar solo, there’s some neat counter-play on Beat Ain’t Messed With and the trade offs are so good. There’s an easy Lay Down Sally, before the pace is picked up a bit on Down So Long where the saxophone gives great punctuation to the groove. I Like A Drink is a sort of confession, “but I like you more”, short and making a point we feel. Leave It To Fate is the closing track of the set which has passed so smoothly, the band blend so well and the musicianship is clear to hear. They have nearly half a million views on YouTube and their music has featured in films, TV and radio the world over with tours to match, not least one in India. A well-presented set in good quality triple fold digi pack, and a very good set indeed

FRANK LEIGH

THE REVEREND SHAWN AMOS LOVES YOU PUT TOGETHER

This is an album that fills you with delights, it is blues that definitely Loves You. A debut album crammed with musical treats and sweetened further by guest appearances from Blind Boys of Alabama and Mindi Abair. This is gospel powered secular with combination of clever harp playing, song writing and blues sung with warm honey tones from the talented Shawn Amos. The album, with two covers and ten originals is varied in tempo and style keeping your musical ear engaged and your feet stomping in time with the beat. Opening with Days Of Depression, the blues hit you as the clapping starts the Blind Boys of Alabama adding a musical equivalent of the cherry on top of the cake on this the opening track the love is shared. Fancy some R n’ B then Will You Be Mine fits the bill. The track has grinding vocals seeking redemption; then there is Boogie, steeped in sex appeal as Shawn’s vocals crone and growl over the instrumentation you just want to get onto the dance floor and gyrate those hips in time with the mesmerising music and then Miss Anderson joins in ‘you got to boogie’ this is a track that ignites. The guitar playing intro of You’re Gonna Miss Me (When I Get Home) is sharp and sassy and the vocals are smoking, moodily augmenting the rhythmic drive of the guitar

and the stomping beat. This is an album that digs deep into the structure of the blues with the combination of up front vocals dripping with emotion and lyrics that tell a story of different roads travelled, hurts and experiences. Full of shining gems of the blues, The Reverend Shawn Amos Loves You a debut full of modern blues relevant, listenable and you always want one more song…

LIZ AIKEN

DAVE KELLY SOLO PERFORMANCES LIVE IN GERMANY 1986-1989 HYPERTENSION RECORDS

If ever there was a UK bluesman needing no introduction it must surely be Dave Kelly. If anyone has paid his blues dues in this country, and beyond as this release proves, it must be him. Always in total control of his music, Kelly has been packing them into small, sweaty clubs and bars alongside bigger venues across Europe and the UK for more years than even he might want to remember. As this double-disc set shows, he has been touring Germany for many years now, a country with a strong blues-fan base and where his style of intimate acoustic mastery and anecdotal sidetracks and wisecracks slip down with absolute ease, despite language differences. All of the 35yes, 35 - tracks here in this double album come from soundboard recordings made by Kelly's on-the-road soundman back in the lateeighties when the bluesman

was a regular annual feature at clubs and bars across Germany. They only came to light relatively recently when Kelly was again on the German road and his old soundman turned up at a gig bearing boxes of tapes he'd made back in the day. The resulting mass of material has been gradually whittled down to 35 - to date - tracks that Kelly himself feels worthy of release and that reflect well his talent, ability and downright command of acoustic blues guitar, with electric forays and flourishes as we'd expect, captured live and featuring a pretty comprehensive range of his touring menu with diverse covers of Ray Davies's Sunny Afternoon, Buddy Holly's Peggy Sue Got Married, Willie McTells' Statesboro Blues, Jesse Fuller's old favourite San Francisco Bay Blues and Son House's Death Letter. Add a side of Willie Dixon, Arthur Crudup, Broonzy, Muddy and Robert Johnson to the mix and you have an excellent, little short of astonishing collection and live album, reflecting Kelly's own love of and immersion in the traditional blues.

IAIN PATIENCE

DUKE ROBILLARD THE ACOUSTIC BLUES AND ROOTS OF DUKE ROBILLARD

STONY PLAIN RECORDS

The guitarist Duke Robillard is best known for his electric blues work, so the acoustic jazz strains on this release are something of a departure. There are no electric instruments on this album, to get in the

way of the down-home vibe, provided as it is by Robillard’s care worn vocals, acoustic guitars, dobro, mandolin, tenor harp ukulele and cumbus, and a number of guest musicians offering telling contributions on clarinet, saxes, concertina etc. Robillard is a first call musician, so it is not surprising that the guest musicians are of the calibre of Maria Muldaur on vocals, or Jerry Portnoy on Harmonica, and the choice of songs is also quite revealing, with songs by the likes of Hank Williams, The Delmore Brothers Robbie Robertson, and Big Bill Broonzy all featuring. This album puts the song above anything else, so there are very few solos, as all of the songs are kept to the bare minimum, and the originals by Robillard, such as Ukulele Swing only last 46 seconds. These are not songs that out stay their welcome, but the album should find a welcome amongst fans of roots, folk, or early blues. This may be a heritage album, but it still has plenty of life in it to be preserved.

BEN MACNAIR

CLARENCE “THE BLUES MAN” TURNER THE CASTER BLASTER UNIQEK SOUND

On the opening track, Fame & Fortune, Washington DC born

Clarence Turner tells us that everyone knows his name. That’s probably a bit of an exaggeration but when he sings of being feted in Europe, it certainly has the ring of truth. This fi fty years old singer, guitarist, and bandleader is very proudly an old school bluesman who initially heard the music through his father’s record collection. He has a fi ne and soulful voice and a variety of approaches to his guitar playing, though a slightly distorted tone of the kind that used to crop up in the late 60s and early 70s is his only concession to blues-rock. There are three cover songs: a Stax-era Albert King arrangement of Ray Charles’ Black Jack, a wonderfully swinging take on Chuck Willis’s late 50s version of the standard C.C. Rider, and a brassy cover of Muddy Waters/ Willie Dixon’s I’m Ready, with an excellent growl-y vocal. The remaining eight tracks are all Turner originals, and fi ne songs they are too – some originally saw the light of day on Clarence’s 2012 debut album Pay Day, but the versions on this set are re-recordings. Some are straight 12 bar items, some have a touch of funk in the arrangements, but all are well worth a listen. Hopefully this CD –very well-presented and packaged, I should mention – will spread Clarence’s name further, and so help him to gain the fortune that comes with fame. He certainly deserves it.

VICTOR IAN LEYLAND

KING LOUIE & LARHONDA STEELE ROCK ME BABY SHOUG

First recording together by these Portland, Oregon based pair featuring Louis Pain’s impressive Hammond B-3 organ playing and LaRhonda Steele’s big soulful voice. That old chestnut Twenty Nine Ways so beloved of many blues/rock bands gets a refreshingly jazzy makeover here and kicks the album off in fine style. The Isley Bros funky It’s Your Thing grooves along superbly with swinging organ from Louie and soulful vocals from LaRhonda. BB King’s Rock Me Baby gets a relaxed jazzy treatment featuring sultry, playful vocals and typically commanding organ. The album features a mostly stripped down, spontaneous approach with the one exception being a powerhouse rendition of Maya Angelou’s Phenomenal Woman. That track features passionate vocals from LaRhonda and it’s my personal favourite. There is some excellent playing from guest saxophonist Renato Caranto on the jazzy, swinging I Love You More And More which also features a Jimmy Smith style solo from Louie. What A Difference A Day Makes is presented as a slow bluesy ramble but For

You My Love is a jumping blues with a lively sax solo. Walking The Dog gets a funky workout and Aretha Franklin’s You Make Me

Feel Like A Natural Woman sounds like a late night jazz song with particularly soulful vocals from LaRhonda. The funky cover of Stevie Wonder’s I Wish is followed by album closer Blue Moon which is given a slight Latin tempo. This is a superbly crafted album made by top class musicians who are prepared to give each enough space to create something special and they have achieved that here.

DAVE DRURY

EDDIE MARTIN’S BIG RED RADIO LIVE IN TUSCANY

BLUEBLOOD RECORDS

One can never predict Eddie Martin. Just when you think he has created something wonderful and found something different, he’s off exploring the next possibility or experience. So it is with Big Red Radio. Named after a pre-war German street theatre group, he has taken two years to find the right musicians to promote his case for tolerance and social harmony within the world. The album was recorded at Big Red Radio’s first show in Barga, Tuscany, sold out to rave previews. After a studio album made as a tribute

to electric blues Guitar Pioneers, the draw of the acoustic style, particularly Fred McDowell and Charlie Patton grabbed his attention and focused his songwriting. He had in mind however a different approach to the widely accepted acoustic blues, with a desire to mix with more earthy sounding instruments but still keeping the dynamics of rock music. Banjo, mandolin, percussion and double bass sit easily alongside Eddie’s National Resophonic and harmonica, all mixed with some excellent vocals, whether singly or as in the case of the opener, Blues Took Me By The Hand, the Jubilation Gospel Choir spreading joy throughout. Songs broach the usual subjects of love, loss and sexual attraction, but also refugees, anti racism and inequality feature. Ingolstadt gives an insight to life on the road as the band bus breaks down in the snow and rain on the way to a gig. Each song has something to grab onto and as with a live gig, there are no three minute tracks. Each song develops, whether the story line, musicianship or in many cases a great groove and beat and Eddie’s vocals are quite simply wonderful throughout. All songs are originals although a couple are from his back catalogue in order to maintain his desired dynamic. Something About You Baby is a case in point, and the expanded sound of the band works very well in comparison with the original recording.

Watching The Weather starts with a great percussive intro that really points to

the original backbone of African-American music. My favourite track is Flowers To The Desert, a true fusion of blues, jazz and funk, the whole band busily working behind the leader and with the Gospel choir interacting in a call and response way. Magnificent!

MERV OSBORNE

ERIC CORNE KID DYNAMITE & THE COMMON MAN

FORTY BELOW

Canadian-born but now based in Los Angeles, producer and multiinstrumentalist Eric Corne has come to the fore recently for his work with John Mayall – including last year’s mid-60s live Blues Breakers recordings – and Walter Trout. Indeed Mayall himself is now on Corne’s Forty Below label. So, Eric should be at least a familiar name to followers of today’s blues scene; he has a wide range of experience both within and outside of the blues, and he brings much of it to bear on this, his own debut studio set. Here he handles vocals, bass, electric and acoustic guitars, harmonica and tambourine, plus recording, mixing and producing duties, and he is backed by an equally eclectic and talented bunch of musicians whose previous work ranges across Little Feat, Bob Dylan and Ben Harper to Bruce Springsteen, The Blasters and Peter Tosh – and echoes of all those are to be encountered on this album. Reggae? Try the very dubby Nobody Plays Here Any More. New

Wave? Listen to the chunky (and bluesy) shuffle of the opening Kid Dynamite/ Rancho Mirage. Then there are the tinges of Tom Waits on Not Familiar, and even hints of Manchester’s own Oasis on Evil Men - listen to the vocal. Part of the fun is also identifying some of those influences – was that The Byrds? Tom Petty? The Hollies? Not a blues set then, but one infused with the music and do listen to the lyrics, Eric does tend to make some salient points.

NORMAN DARWEN

FIONA BOYES BOX & DICE

BLUE EMPRESS RECORDS

Fiona Boyes is a veteran Australian blues performer who likes to meddle with somewhat unusual stringed instruments of yore, combined with her husky voice, makes for great music. To be precise, for the anoraks out there, she plays a six-string Box and Dice cigar box guitar, which gives the album its title, a four-string cigar box guitar, a National Resolectric baritone guitar and a custom-made Maton Mastersound electric guitar. This is her first recording with her long-time Australian rhythm section, drummer Mark Grunden and Dean Addison, double bass. The unusual instruments used here make for a different and interesting

sound as illustrated on this collection of eight great originals and three covers. For both opener Juke Joint On Moses Lane and I'm A Stranger Here, Boyes uses the six-string to great effect, the latter accentuates the starkness of traditional southern American spirituals. She uses her usual electric for a smoking version of Smokestack Lightning and Magic Sam's Easy Baby. The six-string is used again for my favourite tracks, the blues/ rock of Mama's Sanctified Amp and I Done Quit. This album is an example of how great stripped-down blues can be. Fiona Boyes has a great blues voice, she and her band have instrumental style and ability to burn, and she’s a pretty mean songwriter too! CLIVE RAWLING

GEORGIE FAME AND THE LAST BLUE FLAMES SWAN SONGS

THREE LINE WHIP

There are sayings “that you should quit while you’re ahead” and that “we all get promoted to our own level of incompetence.”

As far as I’m concerned neither of those have ever applied to Georgie Fame. A wonderful performer whose career spans, more than six decades at the highest levels possible. I suppose

that we all must face the progress of time and with this new release Georgie intends that this, as the title suggests, will be his Swan Song album. If that proves to be the case then what we have here is a musician still very much at the top of his game. The really good news is that we have eleven, plus a short intro piece, brand new songs not just a best of package. Still pushing boundaries and surrounded by very fine players schooled in Blues, Jazz and every other genre the tracks have an edge and vibrancy to them very much in keeping with the sound of 2016.Yet they still have with them all the familiarity with which we have become accustomed to from Georgie. Each track has a main and a supplementary title. For example De Caribbean Way (The Fantasist) or Uncle Ezra (The Realist) which are an indication of the mood of the song. Apart from two, Floyd Dixon’s sparkling Lovin’ Brought Me Into This World and Michael O’Neil’s lovely optimistic My Ship all are self penned and as a result have degrees of autobiography about them specifically The Diary Blues which covers Georgie’s musical life in four minutes. I’m sure Georgie and the band will still continue to gig bringing us terrific music. So thanks for opening our ears up to wonderful world of rhythmic Blues and Jazz

GRAEME SCOTT

GRAHAM BOND LIVE AT THE BBC & OTHER STORIES REPERTOIRE

It takes this great German label to bring us more ancient treasures, this time in the shape of a comprehensive set of four discs covering Graham Bond and GBO/GBI appearances on BBC shows and elsewhere. I did see the GB Initiation and I can attest that his keyboard playing was just as good as his sax outings. Albert Ayler struck me as a likely influence on Bond and my later conversations with Pete Brown - who contributes liner notes here - confirmed this player as someone this crew all dug. Bond was a good singer, too. As for his musical cohorts, well the likes of Dick Heckstall Smith, Jack Bruce, Ginger Baker, Ed Spevock and Brian Dee were always able to add something to a live performance, feeding on audience reaction and encouraged to play out by the bandleader. There are four and a half hours of music here from all over the place, embracing rare and previously unreleased recordings. So beyond the obvious inclusions such as Wade In The Water, Love Is The Law, Walking In The Park and I Got A Woman, we get to hear The World Will Soon Be Free, Blew

Through and Things Are Getting Better. Very much for established fans, whose Xmas has truly come.

PETE SARGEANT

GUY DAVIS KOKOMO KIDD

DIXIEFROG

This CD oozes’ real class the 13 tracks all acoustic based although the supporting musicians add some subtle electricity here and there, Guy performs like a Blues Bob Dylan, he writes some superb songs that tell real stories and he has such a commanding vocal that moulds the material and makes each song really stand out, in fact I would go as far to say that he has one of the strongest vocals I have heard, not in decibels but in its intensity. Besides his vocals Guy plays six and twelve string guitars and for completeness he also plays banjo, keyboards and harmonica, all but a couple of tracks are self written, the pick of these is the infectious title song and the pure acoustic Blues of Maybe I’ll Go which has a real traditional feel to it. The cover songs are a bit hit and miss, the version of Little Red Rooster does nothing for me but Lay Lady Lay is a treat, five minutes of pure ecstasy, lovely production and musicianship with some great Percy Sledge style guitar by John Platania. Guy has self produced the album superbly and brought in some quality musicians including Charlie Musslewhite, who all gel well and this album is a must buy, certainly one of the best that has crossed

my path for a long time.

ADRIAN BLACKLEE

KING EDWARD 50 YEARS OF THE BLUES

HIT THE ROAD RECORDS

King Edward, you say?

Name ring a bell? Yes, but don’t worry, the Plantagenet monarch who met his maker in 1327, after an unfortunate encounter with a red hot poker, has not been reincarnated as a bluesman. In this instance, the moniker refers to ‘King’ Edward Antoine, a 78 year old Jackson, Mississippi, based guitar veteran who is the star turn at the regular Monday night blues jam at Hal and Mal’s drinking establishment in that fine city. Having had the pleasure of hearing him there on a visit a few years back, I can testify that the old dude still kicks ass. Most of the tracks on this, his first studio album in 15 years, are indecently funky for a man well past bus pass-carrying age. It has to be said that right from the opening track, the selfpenned Bring Your Pretty Self Home, the influence of a certain Albert King is very plainly in evidence. But hell, that can’t be no bad thing, right? On top of the original material, we also get covers of Guitar Slim, Bo Diddley, Lightnin’ Hopkins and soul singer Ted Taylor. There is also a foray into country and western, in

the shape of a bluesified take on Merle Haggard’s Today I Started Loving You Again. Sadly, it’s overlong, and the song doesn’t quite work without the whining pedal steel licks. That small aberration aside, this is a strong slice of 12 bar, and here’s to your next half century, your majesty.

DAVID OSLER

RONNIE EARL & THE BROADCASTERS FATHER’S DAY

STONY PLAIN

Master craftsman guitarist

Ronnie Earl’s latest album features two special guest vocalists throughout: Diane Blue and Michael Ledbetter. The one instrumental track is Bobby Timmons’ jazz classic Moanin’ which features wonderful guitar from Earl, superb swinging Hammond organ from Dave Limina and a funky horn section. Lovely stuff. I always look forward to a new Ronnie Earl album and this is a belter. The Otis Rush penned It Takes Time opens with Earl’s chiming guitar, honking horn riffs and storming Hammond B3 riffs all topped off by Ledbetter’s powerful vocals. Diane Blue duets with Ledbetter on Earl’s original soul-blues Higher Love with the pair cooking up a heady brew. The Otis Rush classic slow blues Right Place Wrong Time gets a high intensity deep blues makeover with

Earl’s blazing guitar and Ledbetter’s soul-drenched vocals. There are a couple of Magic Sam numbers with my favourite being All Your Love with another powerful performance by Ledbetter plus the horns moaning menacingly in the background and Earl’s guitar perfectly capturing the bright West Side Chicago sound. A cover of Fats Domino’s New Orleans favourite Every Night About This Time features Dave Limina on piano and some great guitar fills from Earl. BB’s I Need You So Bad is a suitable tribute to the great man and the lengthy cover of Brook Benton’s hit ballad I’ll Take Care Of You features soulful vocals from Diane Blue and tasteful solos from Earl and Limina on Hammond. Other highlights are a tense, emotional version of Gladys Knight & The Pips 1964 R&B hit Giving Up and the uplifting spiritual Precious Lord which closes this wonderful album. At 79 minutes this album provides many highlights and barely a note is wasted. Thoroughly recommended.

DAVE DRURY

JACK BRUCE & HR BIGBAND MORE JACK THAN BRUCE

MIG MUSIC

Jack Bruce is known

the world over for his work with Cream, the sixties powerhouse that fundamentally changed the face of rock music for ever. But how many fans know of Jack’s wider musical world? He is seen by many as first and foremost a jazz musician although this is something he would disagree with. He states “I don’t play jazz, I play Jack!” And how true that is! In his wonderful biography, “Composing Himself” the reader is treated to an insight of a musician who played just about every genre of music available, and who could call on the world’s great to play with. The title of this two disc set, both audio and video, is a true reflection of his status as Jack fronts the acclaimed German HR Bigband at the 2006 German Jazz Festival in Frankfurt. Watching the DVD adds an additional element to this set as well as two extra songs. Taking this project to his heart, he allowed the bandleader, Jorg Keller full rein with the arrangements and when Jack & band met, the resulting music had a radiance of its own. In fact the empathy between Jack and the band stands out foremost. This empathy also brings a different translation to lesser known songs such as Milonga and The Consul At Sunset hinting at his attraction to Latin music. We’re Going Wrong sounds vastly different to the original due to the thick layer of accompaniment, whilst the brass section adds drama to the threatening sound of Spoonful. Jack features both on his trademark

fretless bass and piano which features heavily in the middle section of the set. The audio format finishes with Sunshine Of Your Love which has young Martin Scales on guitar. He had only recently joined the Band, but was undaunted by filling the shoes of the master, Clapton, playing his own wild solo whilst the brass fills out the sound to give it an identity of its own. Jack isn’t interested in fashion, trend or the past, merely producing music of quality, and there is plenty of that here.

MERV OSBORNE

RON SAYER JUNIOR AND CHARLOTTE JOYCE LIVE AT THE LITTLE THEATRE INDEPENDENT

Ron has been around the UK blues scene for quite some time, influencing such artists as Oli Brown, for whom he played bass. Classically trained at Cambridge University, he has supported many well-known blues artists, too many to mention. As if this wasn't enough talent, Ron is joined on Live at the Little Theatre by his wife Charlotte Joyce on keyboards and vocals. The rhythm section is made up of stalwarts Will Overton bass/vocals and Paul Wooden on drums. Recorded at this much loved

local venue, Ron being a native of Norfolk, what impresses me about their live performances is the chemistry between the two and the way they alternate vocal duties. Ron takes lead vocals on the moody funk-rock of the self-penned Little White Lies handing over to Charlotte for the first of a few covers, Nutbush City Limits and J B Lenoir's Mojo Boogie. Charlotte's own Mister Weatherman is swiftly followed by My Mother-in-Law and the beautifully layered I Ain't Leaving, a Ron classic. The band truly comes together on the great blues standard I'm Tore Town, before the audience participation on Sean Costello's Anytime You Want. The country rock of their own Time For Goodbye precedes Fire, before their take on Muddy Waters' I Wonder Who, a master class in slide guitar. Having had the pleasure of seeing this band at Yeovil and Skegness, brilliant as this CD is, I felt I wanted to be there.

CLIVE RAWLINGS

JIMMY BURNS IT AIN’T RIGHT DELMARK

Jimmy Burns is a veteran on the Chicago scene, hosting the Monday night jam at Buddy Guy’s Legends every other week, but Jimmy

is not a typical Chicago bluesman, often blending in soulful elements as well as some of his roots in the Delta countryside. This is his fifth album for Delmark, the last one being a live set recorded in 2008 though he did produce a self-released album in between times.

Jimmy has a great voice, plays tasty guitar and blows occasional harp; he is brilliantly supported by his regular band of Anthony Palmer guitar, Greg McDaniel bass and Bryant Parker drums with ace pianist Ariyo and go-to organist Roosevelt Purifoy helping out, plus a horn section on four tracks. The material is diverse with interesting covers of some standards like Messin’ With The Kid which is re-imagined as a mid-tempo funk tune with a superb guitar solo and the title track which is a sprightly Little Walter tune with some sparkling piano work from Ariyo. At the soul end of the spectrum there is a lovely version of Ben E King’s Stand By Me (a fixture on Jimmy’s set list for many years) and a new song from the pen of fellow Chicago guitar great Billy Flynn entitled Will I Ever Find Somebody? which is simply superb with the horns adding depth and feel to the ballad. Jimmy also reprises Crazy Crazy Crazy from the 5 Royales songbook, reflecting his very early career when he sang doowop. The band really swings on Surrounded, the horns again playing a significant role, and on Hard Hearted Woman, a song by Jimmy’s brother Eddie. There are

two Percy Mayfield songs in contrasting styles: My Heart Is Hanging Heavy is a slower tune with some fine guitar; Long As You’re Mine really rocks along, propelled by the horns and Ariyo’s piano, the whole topped off by an exciting guitar solo. Jimmy closes the set with the traditional Wade In The Water to bring some gospel to the party. This excellent CD is generously filled with 15 tracks and there is no filler at all, making it well worth investigating.

JOHN MITCHELL

JURAJ SCHWEIGERT NOVELTY SHOP

INDEPENDENT

Blues from Slovakia! The band is Juraj on harp and vocals, Zsolt Szitasi on guitar, Martin Kapusnik on bass and Juraj Rasi on drums and the music they play is very West coast in style. Opener instrumental Tropospheric sets the tone with plenty of swinging harp, a fine guitar solo with no effects pedals in sight and short features for the rhythm section too. The album is predominantly instrumental but when Juraj sings he does so in good English with little trace of accent other than American. Russian Mob is another instrumental that rattles along with an almost Latin rhythm, Juraj’s harp

taking on some Russian tones – an interesting track. The oddly titled Harold The Squirrel is equally uptempo with some stop/start elements, perhaps imitating the squirrels one sees in the garden climbing so adeptly! There are just two covers and Paul Reiner’s She’s The No Sleepin’est Woman gives guitarist Zsolt the chance to show his best T-Bone Walker stylings as Juraj sings convincingly, as well as taking a bright harp solo. While Juraj wrote most of the material Zsolt wrote Bald Joe which turns out to be a gentle ballad with some lovely solo acoustic guitar at the beginning, atmospheric late night harp from Juraj and a fine bass solo feature, but no idea where the title comes from! The unusual title track Novelty Shop has an odd rhythm and some heavier guitar chords which are set against the harp refrain. The Bluest Blues (once played by Dizzy Gilliespie) provides a third solid vocal performance from Juraj and some excellent jazz-tinged blues with a really good, sprightly solo from Zsolt. There is a bonus track which was less appealing to this reviewer, a version of the traditional work song Let The Hammer Ring with just handclaps and organ backing Juraj’s vocal and harp which attempts to imitate some traditional Slovak folk instruments. Overall a very good album which will appeal to traditional blues fans (with the possible exception of the bonus track).

JOHN MITCHELL

KEVIN SELFE BUY MY SOUL BACK VIZZTONE

Kevin Selfe and his band, the Tornadoes, have been playing the blues out of Oregon for the last ten years or so, but this album is one that could see them breaking out to a wider audience, if there is any justice in the world. Before forming his own band, Mr Selfe worked with the Fat Daddy Band and Little Rodger Crowder. Since then he’s recorded three albums prior to this one, his first on Vizztone. He’s got a large cast of supporting players on this record, of the calibre of Jimi Bott, Allen Markel, Sugaray Rayford, Mitch Kashmar, Willie J Campbell, Gene Taylor and others, but he stays the star of his own show, on an excellent set of mainly originals. He’s got a modern blues sound, which highlights his excellent guitar work, and when the horn section kicks in, then things really take off. The only track that doesn’t work is the Bruce Springsteen cover, I’m On Fire, and it’s his own songs, such as Picking Empty Pockets, Digging My Own Grave and Keep Pushing Or Die Trying that get you grooving to his sound. It’s a mix of Chicago, funky backbeats and even a touch of country blues, but it’s all worth hearing.

STUART

A HAMILTON

LARA & THE BLUZ DAWGZ HOWLIN'

LOCK ALLEY MUSIC

Lara & The Bluz Dawgz hail from the capital of country music, Nashville. With Howlin', their second release since forming relatively recently in 2012, the band largely charts a clear line of blues and soul-infused music with a dozen band-written tracks that mirror their country-music city origins at times with emotion, hope, heartache and heartbreak hiding round every corner. Soulful, near-perfectly pitched horns add to the fun, with tinkling keys rattling along, adding an everpopular vibe that marries nicely with Lara's bouncy, hi-energy vocals. This is sassy, confi dent blues with jazzy, soulful, simpering fl avours and fruity spinetingling touches. Howlin' is one of those albums that marries gripping vocals with a crafted, well-honed instrumental balance where individual musicians make their mark by seamlessly blending into the mix rather than standing out with screeching solos or demanding, look-atme licks and riffs. The result is an aural treat with thoughtful lyrics and loving, inspired

instrumental integrity at its core. From Tennessee, Lara & the Bluz Dawgz bring more than a fl avour of deep-southern fried blues and swampy soul gumbo to this rewarding release. An album well worth checking out.

IAIN PATIENCE

ROWLAND JONES YOU GIVE ME THE BLUES INDEPENDENT

An EP crammed with acoustic blues across the six tracks, You Give Me The Blues, very true Rowland Jones. There is a twist in the tail of Rowland’s approach to the blues with it’s syncopated rhythm hinting at a jazz infused influence. This is in the main Rowland and his acoustic guitar, added to the mix and filling out the sound is Chris Hilllman on pedal steel and double bass courtesy of Mark Lewis. Opening with Too Much To Do we are off at a fast tempo this is a high octane trip and the lap steel adds interest and musical movement. His speaking blues approach works with the singing instrumentation and the story unfolds through his words, on this opener. Closing with the title number the double bass is full and the jazz feel flows through the blues seamlessly re-connecting

these styles. Again with the lyrics almost spoken the voice is at the heart of You Give Me The Blues; creating as he has throughout the album a nuanced mood and atmosphere that is engaging. In between these two numbers there are four carefully crafted numbers all with a twist Where’s The Why, with the complexity of the guitar riffs and licks followed by True True Blues, with its Latino feel the beat is salsa and adds another stroke of musical variance, Blues is warm in tone and musical shading on Feelin’ Blues is another example of the dexterity and range of approaches that Rowland Jones has crammed into the E.P.

LIZ AIKEN

LAURA RAIN & THE CAESARS GOLD

LRC RECORDS

New album from Detroit based retro-soul outfit containing twelve original songs and plenty of dynamic performances. Opener Work So Hard is a punchy, dance floor filling stomper topped off by funky horn riffs and Miss Rain’s fiery vocal. Hard Times has more of a bluesy feel with powerful vocals and hard rocking guitar provided by song writing partner, guitarist and producer George Friend. You Can’t Stop is an even heavier slab of hard rock/ funk with crashing drums and fuzz guitar with Laura wailing seductively “I think I’ll lose control”. There are echoes of Motown, Stax and Muscle Shoals here but the material is presented in

a modern style with a harder rocking edge. Pay To Play has more of a disco feel and I’m sure many musicians will identify with the sentiments of this song. The title track Gold has a classic big Motown sound with the tambourine leading the way and the horns riffing mightily behind Laura’s dramatic vocal - wow – this one would make a great movie soundtrack. Maybe the next James Bond outing. The sweet soul of Guilty Me is a tale of temptation and regret featuring sultry vocals and a searing fuzzed out guitar solo from Friend. Lonely Girl starts off with Laura in gentle, contemplative tone but as the tension builds she becomes more troubled. The lascivious Cherry Pickin’ is a toe tapper and Ring On The Table is a confessional break up number. Better Than Me is a soul-ballad and the sparsely backed Ready To love with Laura’s soulful double tracked vocals brings this fine album to a stunningly beautiful conclusion. This lady has a great voice, the band are grooving and the material harks back to the golden era of soul. Recommended.

DAVE DRURY

Part of an 8 CD collection that takes the listener on a musical history journey of soul music from 1927 through to 1963. This CD opens with Heaven Bound Train, Jackson Gospel Singers in 1949 through to The Four Rivers, Sooner or later in 1962. The twentyeight tracks are all short and everyone is a snippet of musical memories and effective influences on blues, rock, soul and popular music today. This album gives you an insight in to the secular, sacred music that makes you want to clap and sing, the vocalization is strong and the musicianship superb. The version of Oh Mary Don’t You Weep by Swan Silvertone Singers from 1958 is full of power, the singing shaped by the heat of the cotton fields. So many of the tracks have a holler in them memories of slavery and the continuing toil in the cotton fields, sawmills and segregation is the underlying story of every track with the emergence of rock n’ roll and a modern music scene. James Brown I’ll Go Crazy exemplifies the links with the past and the opening doors of the future. This is a celebration of a period of change the tone of the electric guitar, with Sister Rosetta Thorpe’s Beams Of Heaven and the growing Civil Rights movement, the album is a sound-scape that encapsulates a period in the history of America full of change and optimism. The names on this are a lexicon on the influential movers and shakers Bobby “Blue” Bland, You Got Me; Ray Charles – I Believe To My

Soul, Etta James – Don’t Cry Baby and Ike & Tina Turner – I Idolize You to pick out a few. From Sacred to Secular is a must for any collection that wants an album linking the past to now, this is twenty-eight gems that all warrant a mention. Music for the soul from the first to the last note as it fades away.

LIZ AIKEN

JAY JESSE JOHNSON SET THE BLUES ON FIRE GROOVEYARD RECORDS

The blues guitar virtuoso and singer Jay Jesse Johnson and his quartet set the bar very high on Set The Blues On Fire. With a technically perfect guitar style, and a broad imagination, the twelve tracks on this album contain tuneful, tasteful playing, moody singing, and sterling support from keyboard player Lee Evans, bassist Reed Bogart and drummer Jeff Donaldson. There is a definite funk blues sound on the album, with Johnson’s guitar playing being steeped in the style of Hendrix, with the obligatory thick tone, wah wah guitar, and elongated codas. However, all of the solos fit the songs and the mood they are trying to reflect range from the fast and furious Hell Or High Water, to the slightly slower Wheelhouse Boogie, there is some playing that is

VARIOUS FROM SACRED TO SECULAR: A SOUL AWAKENING CARGO RECORDS

bound to upset some blues purists, with techniques like two-handed tapping and tremolo arm abuse adding to the myriad moods displayed on this album. However, the best track on the album is the closing instrumental Rio De Los Suenos (River Of Dreams) a long form instrumental that brings to mind Pink Floyd. It is perhaps a lesson that less is more, but it makes up for the overplaying that plagues a few of the lesser tracks, and it would have been nice to have heard some more of the keyboards, but these are minor points. This is a guitar album, with some great playing, and if you are looking for that, then this album will suit you down to the ground.

BEN MACNAIR

JEFF BECK

LIVE + RHINO RECORDS

Anybody who saw Jeff Beck’s 2014 tour will be pleased by the resulting live album. Capturing a selection of music from Beck’s career, with a very accomplished band, as well as Beck’s sterling guitar work, the album also features vocalist Jimmy Hall, bassist and singer Rhonda Smith, drummer Jonathan Joseph, and guitarist Nicolas Meier, they cover everything from tribal, techno rhythms to lush

Irish balladry. Although Beck has never really been known as a composer, some of his best known collaborations, such as Big Block and Where Were You both receive a good workout, whilst the beauty of Beck’s phrasing is shown to its best advantage during the solo rendition of Danny Boy. Ensemble standouts feature throughout the album, from Meier’s exemplary support work during Little Wing, or the blues infused Rollin’ and Tumblin’ which is a fine showcase for the rhythm work of Rhonda Smith and Jonathan Joseph, whilst the two studio tracks, which finish the album, Tribal, and My Tiled White Floor are indicators of Beck’s future intentions. For anyone who is already familiar with Beck’s work, this is another example of his distinctive playing, his wide range of musical interests, and his way of putting together exemplary bands. For anyone who is new to the man’s work, this is a very fine way of seeing just how an electric guitar can sound when left to its own devices.

BEN MACNAIR

LEWIS HAMILTON SHIPWRECKED

LEWIS HAMILTON MUSIC

Lewis Hamilton was born in Perth in 1993 and is a singer/songwriter, who hails from a family of

highly respected Scottish musicians. In 2010, he formed the Lewis Hamilton band, along with his father Nick, and eventually, Ben O'Reilly. Their fi rst album, Gambling Machine, won the Scottish New Music Award for 'Best Jazz/Blues Recording' in 2012. Since then, they have performed at over 500 shows from Shetland to Croatia and have appeared at most of the UK’s biggest blues festivals. As a guitarist, Lewis’s infl uences included Stevie Ray Vaughan, Jimi Hendrix and Rory Gallagher and when coupled to his own powerful vocals, he gives a very energetic and virtuoso performance, which has resulted in Lewis being nominated on several occasions in the British Blues Awards as best young artist, including 2015. The band’s fourth album, Shipwrecked, was released in November 2015 with Jim Harcus, featuring on harmonica on Iceberg Blues, a great blues track. The CD also includes a superb cover of John The Revelator and the other tracks are well written, produced and engineered. Overall, the album gives a good feel for their future musical direction and I can only concur with a previous comment from a Blues Matters reviewer who said: “Lewis has a tuneful and authentic blues voice which belies his age but it is as a virtuoso guitarist that he excels.” He is certainly one to watch and someone I will be defi nitely seeing now that he is doing more shows

in the North of England. ANDY

MANN

BRAD VICKERS & HIS VESTOPOLITANS THAT'S WHAT THEY SAY

MAD HAT

Fifteen tracks of mostly deep-rooted, southern, get-down ragtime-influenced blues from the USA, That's What They Say kicks off with a subtle bit of sensitive acoustic blues from Tampa Red's classic Seminole Blues, before moving onto the traditional standard, picked up by Vickers from the playing of Lead Belly way back, Don't You Love Your Daddy No More?, played with a full ragtime band sound of guitar, tinkling drum, mandolin, sax, bass and clarinet. Come the third track, we move on to Vickers own material for a bit, all written with clarity and a shining love for the dance-hall music of the USA in the twenties and thirties. Vickers himself doubles on slide, guitar and vocals, his soothing voice matched perfectly by the overall demands of the periodfeel and material included here. Vickers has played alongside such luminaries as Jimmy Rogers, Hubert Sumlin, Odetta, Chuck Berry and Pinetop Perkins. So, this is a guy firmly rooted in the tradition of which he speaks and sings here. For me, this is an excellent release, an album that echoes old-time string band music from the southern states, via Chicago and all points North American. An album steeped in a long-lost tradition that

provided the groundwork for much of the acoustic, country-blues tradition we all know and love, this is an absolute winner.

IAIN PATIENCE

LUCY ZIRINS WHAT’S IN FRONT OF ME

GINGERSNAP

A quite enchanting EP, Ms Zirins is a singer/ songwriter of rare quality. She describes herself as a country/folk/singersongwriter/blues artist and all of those genres are to be found here but at heart she writes songs that describe the human condition and makes the listener interested in the results. It would be easy to compare her with many other ladies in similar vein but if you set aside those comparisons you find something a little special and that charms even the hard heart. Right from the off –the title track – her voice is a little whispery and plaintive and set alongside some delightful keyboards from Pete Billington she creates a light groove that keeps you listening and even humming with the refrain. For me this is her greatest strength: you don’t just listen to the songs but their very simplicity and easy flow make you a part of the songs and actively engaging with them. The lyrics are clearly meaningful to Ms Kirins but they also

have the ability to avoid excluding the listener – You Won’t Remember Me is dedicated to her Grandfather but could equally be a song for any ex-lover and it has a folky/celtic feel that makes it universal – and considering her youth, that is a talent in itself. Jim Knight’s production gives the EP an expansive soundscape but the focus is all on the vocals and the lyrics. Young, sweet and very able – not a blues singer but she has a great future in front of her.

ANDY SNIPPER

repeatedly with pleasure; never tiring or repetitive in nature, the music jumps along with class and clarity, highlighting Keith's fretwork and gritty vocals to great effect. Pacing is mostly fast with occasional soulful, slower flourishes. With absolutely no dead-wood in the mix, this is an album that really rips away from the starting blocks to roar full-tilt to a rocking, roaring close that leaves you hoping for more and reaching for the repeat button, time and time again. Grab this if you love that solid, scorching, soulful fret-fuelled Detroit, Motown sound.

LUTHER BADMAN KEITH BLUESMEN ARE KINGS

BMB RECORDS

A baker's dozen, with thirteen absolutely excellent tracks here from a simply gripping, fiery guitarist with a complete hold of the Detroit sound. This guy is a great discovery and hopefully has loads more fire in his belly for the future. With Bluesmen Are King, Keith turns his eye and searching spotlight on his home-town with a tip of the hat to all those journeymen late-night bar and club musicians who have made the old, original motor-town what it is and ensured its secure, significance in the modern blues-soul world. This is a release that I've found myself returning to

JOHNNY WINTER WHITE HOT BLUES

ELEPHANT RECORDS

Distinctive and stand out blues rock and roll tones abound in this much acclaimed rerelease with added bonus tracks of this definitive release, a must for all guitarists old or new generations. He was and is certainly one of the best guitarists around. Part of the Mojo Blues For The Next Generation series these are all produced by Johnny Winter. Spanning late sixties and early seventies this has it all. It is the energy and vibrancy that some present blues rock guitarists strive for, and this release shows his driving power be it slow

blues like the excellent Be Careful With The Fool exhibiting his deep tone to his faithful Stratocaster or driving force of his signature song the evergreen cover of Rollin And Tumblin. I Love Everybody a very early tune written by Johnny in 1969 has all the hallmarks of his Texas blues approach to music, with twanging riffs, very atmospheric feel to this one. His virtuoso slide guitar playing on New York New York is sublime and even dreamy in places his gritty vocals also add a variation to a big sound.

Walkin By Myself is another highlight in a release full of classic songs including a country feel on Too Much Seconal the mesmerising Messin With The Kid and the honky tonk approach to Johnny B Goode proved his inspirational musicianship. A must for any blues lover and great introduction for the unconverted a true legacy to the blues.

COLIN CAMPBELL

JORDAN OFFICER BLUE SKIES INDEPENDENT

There’s a feeling in the industry that artists must be writing their own material to be successful however that is just hogwash. Doing mostly covers never hurt Sinatra, Streisand, Bennett, The Vienna Philharmonic

Orchestra etc. Ok that is slightly stating the obvious but for me the measure of an artist should always be based on their ability to interpret material well, bringing something original to the table, thereby making it their own. So we come to this CD where there are only two self penned tracks alongside nine covers. Straightaway I have to say that in my book this is not a full on blues record as it would sit more comfortably within a jazz arena. Yet the counter side to that is the selection of the material as it is wide, varied and in fact eclectic. There I’ve fi nally used that word within one of my reviews. Jordan, out of Montreal, is a fi ne jazz guitarist with a voice, so laid back he’s almost horizontal, which he never pushes at all. He’s not the fi nest vocalist on the planet but that is not the point. Here it’s the overall musical content and I’ve no complaints on that score. Ranging from Tom Waits titular Blue Skies song and Got You On My Mind which I fi rst heard on Clapton’s Reptile album. The old rock number Shot Of Rhythm And Blues is treated to a makeover. Both The Crystals & The Beach Boys tackled Then He/She Kissed Me but here Jordan makes it almost unrecognisable with a brilliant country ramble take that defi es description. Dylan’s When The Deal Goes Down, with a kind of South Sea Island feel, has the same languid vocal delivery.

Perhaps not for the purists but worth checking out.

GRAEME SCOTT

POPA CHUBBY BIG BAD AND BEAUTIFUL LIVE

DIXIEFROG RECORDS

Fifty five year old blues veteran, Theodore Joseph Horowitz was born in New York, and is better known by his stage name of Popa Chubby. He is renowned for his aggressive style of blues, combining his abilities as a singer, songwriter and guitar player, in an electric format, known as New York City blues He was initially influenced by legends such as Willie Dixon, Freddie King, Jimi Hendrix, Otis Redding and Jerry Lewis, but surprisingly he is more popular in Europe, especially France, than the U.S and he is signed to the French Dixiefrog label. His career began aged fourteen, when he picked up his first “Popa Chubby basically means to get excited. The core of my music is about excitement. I think music should make people feel alive." In 2015, he completed a world tour to celebrate 25 years on the road and released his first live double CD in almost 10 years, Big, Bad and Beautiful, which, in over two and a half hours and 27 tracks, captures the energy and showmanship of his great live performances and

the blues as he knows it. The recording was made at four venues in France in March 2015 and his band comprises Dave Keyes keyboards, Francesco Beccaro bass and Andrea Beccaro drums. The CD has so many fantastic tracks from his career and is great value for money. I particularly liked his tribute to the Rolling Stones, one of his influences and the dedication to two of his mentors, Hubert Sumlin and Johnny Winter. From the first track, Working Class Blues to the last, Somewhere Over The Rainbow, it is a very enjoyable experience. Go out and buy this double CD, it is one of my favourites for 2015.

ANDY MANN

MARK PONTIN GROUP TEXTURES

MOOCHEE RECORDS

Let's face it, hands-up time here, I'm not a huge fan of power trios or Hendrixwannabes in general and Pontin slides into that Jimiarea with ease at times but never with a simple copyists twang or bellow. Pontin's guitar-work is immensely strong, powerful, purposeful and genre-bending. This is a guy who can reel through styles and sounds like a man possessed - with talent and know-how. This Welsh band have been stalwarts of the UK rock-blues scene

for many years, touring as support to both Walter Trout and Royal Southern Brotherhood in recent years. On Textures, Pontin is joined by Alun Walters on bass, Dafydd Davies on drums and Ayesha Pontin on keys to produce an ear-bending twelve tracks that hold and howl with passing hints of David Gilmour and Floyd at times before slipping away to the world of Jimmy Page, Hendrix and the old Chicago masters. Davies' drum driving positively propels the whole work along and Pontin's voice is at times gritty, gravelly and glorious while at others slipping down a few notches to find a mellow, soulful slipstream that comes as a true surprise. All tracks here come from Pontin's pen and showcase his ability perfectly. This is a little bit of British quality from a band that evidently enjoys pushing the musical envelop just that little bit more with each twist and turn. Highly recommended release that surprises from start to finish with its delicately picked, melodic acoustic closing track.

IAIN PATIENCE

MARVIN AND THE HANG GLIDERS NEW THING GOIN ON FREEFALL

Oh dear! I didn’t get off to a

good start with this band. My copy of the album was completely blank! Thankfully the guys had included contact numbers so after a quick call to Spud’s wife I was directed to a Spotify version of the album so I was off and running and what a frantic pace it was. New Thing Going On gets us out of the starting blocks and it is clear that these guys are in it for the fun and the love of playing. Vocals are handled jointly, between the aforementioned Spud, guitar, and the be-kilted Keith Rowley, guitar and sax. The line-up is completed by Gareth Goodwin, bass and Paul Taylor drums. The guys came together on the back of an urgent phone call for help filling in for Gareth’s previous band, unable to play a confirmed gig. So with two days of quick rehearsal and a daft name the one off gig passed rather successfully. Now a couple of years down the road comes the debut CD. I think it would be fair to say that there are little in the way of frills on the recording. It sounds fabulously rough and ready. You can just imagine them turning up well prepared and just plugging in and pressing record. It works very well indeed. No pretentiousness just straight out Rhythm ‘n’ Blues sounding pretty close, I should think, to how they do live. Eleven cuts, mostly original including Bad Weather, See What Two Can Do, Deep Down And Dirty along with Dealer Wins, plus a couple of bonus tracks completes this rather fun album. If you get the chance guys

send me another working copy for my archives.

GRAEME SCOTT

DANE PHILIP SMITH I’LL CARRY ON INDEPENDENT

Well they say that making and playing the blues your career will open up your heart to many other influences. For sure that is certainly reflected in the release by this young man. Blending together blues, country, jazz and even a little swing, Dane has a fine little album here. I know nothing about him really apart from gaining a very little info from the net. The album was recorded in Columbus Ohio so I’m guessing that is his home territory. So down to the nitty gritty. Dane has written all of the tracks both music and lyrics. There is nothing in the songs that we have not heard many times before. That sounds like a negative comment but that is not the case. It is simply a statement of fact. If you take a young man with a strong love of the blues it stands to reason that his writing will revolve around lost loves, found loves, booze and cars etc. Dane takes his experiences and those translate into a collection of fine songs just not particularly unique. They are played with obvious passion and the instrumental skill levels from both him, and

his supporting musicians, are plenty good enough to make this a professional sounding album. Produced between Dane and his bass player Stephen Perakis there is a nice mix of electric and acoustic blues. The title track which closes the album is just Dane, acoustic and harp is really good. Other stand out cuts are the extended work out on Blues That’s All, Living Again with its fine vocal, Walk With Me and the opener Lovers Curse. If this is Dane’s first effort then this augers well for the future. Simple straight forward blues never goes wrong

GRAEME SCOTT

CECILE DOO-KINGUE ANYBODY LISTENING PART 2 DIALOGUES

INDEPENDENT

Montreal based Cecile Doo-Kingue’s 5th CD and second in the Anybody Listening trilogy is a quest for social and political equity through her versions of blues based music with lyrics written from the heart. Cecile’s lusty soulful voice backed by her stunning electric and acoustic guitar playing kicks ass more than just musically. Dialogues continues her discussion of racism, religion, sexual injustice, greed, love and lust (two brighter sides of life). The 12 song album opens

with exclusion and disorder on Riot And Revolution with her masterful slide work and ends in a tribute to Hendrix. Carried over from Part 1 Monologues is Six Letters which chronicles two highly publicized racially based homicides, one by cop and one by gun. ‘Six letters spelt from evil’ where ‘Jim Crow’s legacy prevails’. Blood Stained Vodka takes a slow blues acoustic shot at Russia and a mocking chorus toast to the regime for the jailing of Pussy Riot. Adding her brother, ‘Dook’ on guitar during the Bottega Studio recordings complete with her stage band, a harem of friends and other noted locals like banjoist Jesse Padgett and Montreal’s legendary, ‘DJ’ Joseph complements the tasteful mix of songs. Adding balance to the harder side of life is Sunshine Lady with sweet soul sister harmonies and Animal Kingdom with jungle love, ‘where you’re always welcome’. Little Bit starts that positive vibe on track 4 in search of ’a little bit of good time and a whole lotta love’. There’s much here for everyone to love in Cecile’s music, especially the vocal range she is blessed with and an unlimited musical talent passed down from her parent’s Cameroon gene pool. Lyrically powerful and moody, Doo-Kingue blends blues, soul, jazz, folk and rock to create an album once again worthy of several Maple Blues Award nominations. Everybody should be

listening to her Dialogues.

DARREL SAGE

covers, another string to her bow. As you can probably tell, I have a lot of time for this lady, having followed her since her TUF days, well worth a punt, in my opinion.

CLIVE RAWLINGS

DANIELLE NICOLE WOLF DEN

CONCORD RECORDS

Ex Trampled Under Foot singer/bassist Danielle relocated to New Orleans from Kansas City to record this, her debut solo album. Having toured the world with her siblings, Nick and Kris Schnebelen, she ended up in the Crescent City and teamed up with the legendary Anders Osborne, who not only plays guitar throughout, but produces as well. Every genre is covered on here, tasty jazz-blues on It Ain't You, rock on Didn't Do You No Good. The funk on How You Gonna Do Me Like That, You Only Need Me and In My Dreams, showcase Nicole's versatility with nods to gospel and perhaps, dare I say, pop. Luther Dickinson appears on two tracks, Waiting For Your Love, great to hear Luther and Anders hitting it off together and the cover of I Feel Like Breaking Up Somebody's Home.

Lest we forget, Nicole is also an award winning bassist and together with Galatic's drummer Stanton Moore make for an amazing rhythm section along with Mike 'Shinetop' Sedovic on keyboards. Six of the twelve tracks are co-written with Anders Osborne, with two

MICHAEL CHAPMAN JOURNEYMAN

SECRET

Back when I were a lad, Michael Chapman had instant respect. He appeared on 1970s Harvest label double album sampler Picnic: A Breath Of Fresh Air, sharing grooves with the likes of Deep Purple, Pink Floyd and The Edgar Broughton Band, which meant that he must be a star. Not that I recall paying much attention to him at that time, but that was not really the point. As it turns out, I now realise that much of Michael’s music was blues-based, and that he was really a quite phenomenal guitar player, spoken of in the notes to this release alongside the legendary Bert Jansch, with a uniquely English – or more specifically, a northern English - take on the folk-blues, and folk music itself. This live set comprises two CDs and a DVD offering a visual record of the show - offering the listener in total around one hundred and three minutes of Michael Chapman at a

folk club, Barrel’s Ale House in Berwick-On-Tweed, in 2003. He obviously thrives on the intimate setting, chatting to the audience about his long career and the songs he is about to play. As a very rough guide, the first CD contains his bluesier material, his own compositions with wonderful fingerpicking in the vein of Reverend Gary Davis or Mississippi John Hurt, the second his folkier stuff, including his hit Postcards Of Scarborough (which was on that Harvest sampler). However, towards the end of the evening he also threw in his excellent tribute to his friend, the late legendary guitarist John Fahey. Certainly this makes for a fine introductory set, or just as a collection of live tracks for longer-term fans. Just a note of caution though – the review copy came with the DVD artwork proclaiming Michael Chapman , but in fact it turned out to be a German television show by prog-rockers Sky. Hopefully Secret will have sorted this out by the time of the official release.

NORMAN DARWEN

BOOGIE BEASTS COME AND GET ME

BLUES BOULEVARD RECORDS

Back to the Low Countries for a debut album from a Belgian Group with a pretty puerile name. That is probably

me being a bit picky, but fortunately the music didn’t put me off as much as their name did. The Benelux/Low Countries have had a long running love affair with the blues, much to their credit. This album is a sort of hybrid with a punk like rawness to their blues delivery. There are some really super lead guitar strokes on track three Shake ‘Em, even if the lyrics are a bit repetitive. The very next track, Dig is similarly blessed with the effective guitar work of Messrs; Jasper and Dalle but with added quality harmonica effects from Fabian Bennardo.

Track five, Coming Home To You has an almost Ghost Riders sound to it and is a treat with percussion of Gert Servaes matching the quality of the guitar playing. As a debut album this is pretty good from an instrumental perspective and fairly belts along. It improves as it progresses and the future looks bright for this Belgian quartet. Lyrically it leaves something to be desired, but all of them can play well instrumentally and in real terms how good would any of us be writing lyrics in Belgian? It’s not going to burst the charts but it is worth a wee punt if you appreciate the output of the Benelux scene in terms of blues music.

TOM WALKER

MILES GILDERDALE & THE BLUEFLIES 10 ROCKETS FOR YA POCKET

SUPERB RECORDS

Gilderdale is a guy who has been around more than most. Over the years

he has been involved with soul and funk-biased bands - think Zoot & The Roots back in the nineties - before moving on and up covering jazz-influenced, flowing guitar-work with Acoustic Alchemy, and good old R&B. Switching genres without a hitch, on this release he is joined by his old trooper buddy Gavin Ewing on bass and Paul Stipetic on drums and a seldom seen blues instrument, concertina - a first, maybe? With support gigs under his belt for the likes of Robert Plant, Jools Holland, George Benson and Wilko Johnson, it's easy to see why this guy has a growing popularity both sides of the Pond. For the Blueflies is a power-trio with more than a hint of subtlety at times rather than just yet another loud, thumping, guitar-led source of noise. Tracks are varied in pace and power with an ever-present sense of melodic understanding and skill underlying the entire project - something often sadly missing in the power-trio format. Gilderdale's own fretwork is more than competent, bursting with skilful chops and licks that reflect his diverse interests and musical history. The result is an album of rare skill, assured and confident with a fine groove and grip of essentials. This is a seriously good album held together with hints of rock, even pop, R&B and funky soul. Well worth catching.

MISSISSIPPI BIGFOOT POPULATION UNKNOWN

SILVER TONGUE RECORDS

A recently formed five piece band from Clarksdale in the USA have released their debut album which is a mix of Blues and Swamp style Rock, their biggest attribute is lead singer Christina Vierra who has recently recorded as the voice of Janis Joplin in the Biopic film being released by Sony Pictures in 2016, a powerhouse singer who also handles ballads, as she demonstrates expertly on the extended rambling song You Did. The band have written all their own material and besides the aforementioned track the opening track Burn That Woman Down is a standout track, it starts with some slide guitar before Christina kicks in with a great emotional vocal that draws out every emotion out of the song, following close behind is The Hunter which has a great ZZ Top boogie feel to it with all the band making significant contributions. The band are multi-instrumental as examples drummer Doug McMinn plays some tasty harp throughout and Christina plays the Ukulele, which while used infrequently does add a different sound slant to the bands sound, with the band name you will not be surprised to hear that the Bigfoot gets a mention on

the final track Tree Knockin, which is one of the lighter songs on the album, with humorous undertones. This is an impressive lively debut Blues album by a band that are sticking to their roots and producing some great music.

ADRIAN BLACKLEE

ROB TOGNONI BIRA FOR LIRA

BLUES BOULEVARD

Also known as the Tasmanian Devil, Tognoni has been around for around 20 years and his live shows have set him up as one of Australia’s prime artists constantly touring Europe and the East of Europe – plus a series of shows in China recently. He is a furious guitarist, definitely in the rock/ blues mould and he just hammers out the albums, year after year without any significant drop in quality or intensity. Right from the off with We Lost Our Blues In The City Of Rome he kicks the listener squarely in the ear with power and pace before ripping out a terrific solo. He shows his PC credentials (not) on the next number Complicated Love, carrying on the pounding blues and adds some funk on The Blues Ain’t Never Fun. He can play in many different styles (with all that experience you would

expect it) but his voice is a trademark – hard and edgy with a slight Aussie twang: Pavarotti he isn’t be he does put over the raunch better than anyone else around at the moment. His band are excellent, driving hard without making any inroads to the lead vocals and guitar and the whole album comes out getting the listener off their chairs and shaking booties like mad things. There aren’t too many original players around at the moment – far too many who simply sound like the classics – but Rob Tognoni is definitely one of them and he is as much fun on album as he is live.

ANDY SNIPPER

SLIM CHANCE ON THE MOVE

FISHPOOL RECORDS

There are no slim-pickings on Slim Chance’s second album On The Move. The tempo is up-beat the rhythms strong as a wide range of instrumentation fills out the sound from slide guitar to accordion, fiddle to percussion. The music flows the vocals tell a tale with the influences from folk, blues, rock and pop have been put through the blender creating the Slim Chance homage to what loosely could be called British Americana. The opening track Fishing Line opens with a flourish just like a fish tempted by

the lure you want to hear more of the sound that is Slim Chance. The original Chancers Charlie Hart, Steve Bingham and Steve Simpson are joined by musicians that make the sound full of fun and joy. The title tells you what to expect and Ragtime is full of ragtime beat and energy that gets the feet tapping and lifts the spirit. The two covers fit in to the flow of the Ronnie Lane penned numbers they have been chosen with care Leadbelly’s Duncan & Brady and Balham Alligator’s Hey Hey, Ho Ho, with its Cajun influences roots music is truly celebrated throughout On The Move. The Poacher is a folk inspired number fiddle led and a British scene is painted as the Poacher goes about his deeds. In contrast it is rock n’ roll that inspires Two Steps Away From Love and this will get everyone dancing it is good time party music that will definitely keep you On The Move

LIZ AIKEN

R.B. STONE SOME CALL IT FREEDOM (SOME CALL IT THE BLUES)

MIDDLE MOUNTAIN MUSIC

R.B Stone records in Nashville but is a modernday troubadour, crisscrossing the States and playing his raucous style of

blues wherever he goes. His last CD Loosen Up was produced by Tom Hambridge and got good reviews and a nomination for a Blues Blast award; this time round R.B. has produced the album himself, wrote all the material and plays guitars, cigar box, harp and does all the vocals, with Terrance Houston (George Porter Jr) on drums, Larry Van Loon (Andy T/ Nick Nixon Band) on keys and Randy Coleman and Josh Fairman (who each engineered sessions for the album) share bass duties on half the tracks. Several songs are North Mississippi Hill Country style and the CD carries a warning that ‘uncontrollable headbobbing may occur’, as is certainly witnessed by the opening Hill Country Stomp with R.B.’s lyrics extolling the virtues of the ‘righteous sound’ as he plays harp and cigar box. On the title track R.B. describes the advantages of his mobile lifestyle with plenty of tough slide work. Larry’s piano is featured on 35 Miles To Mobile with some buzzsaw slide and a solid vocal from R.B. More straight blues tunes are YoYo Lover with rolling piano and the fastpaced Mind Your Bizzness with swirling organ, R.B. playing some good guitar on both tracks. Instrumental Nickajack is named for one of the cigar-boxes R.B. plays and the equally short and sweet You Don’t Want Me has lashings of slide. The last three tracks are particularly strong with R.B. laying down his philosophy in Won’t Stop Rockin’ which

does exactly that; Weapons Of Mass Persuasion is a churning blues with guest Tim ‘Too Slim’ Langford providing the greasy slide work and R.B. praising the ‘weapons’ that the ladies have to win over their men. The album closes with Standin’ On Top Of The World which is a rockier tune with positive lyrics, more good organ work from Larry and guest Austin Young laying down some fine lead guitar as R.B. blows some frantic harp. This is a solid album of original blues that definitely grows on you.

JOHN MITCHELL

bringing both hard-earned experience and road wise savvy to the whole thing. The result is a rocking, rolling disc that works remarkably well, switching slickly from smoky, mellow undertones to rocking, belting horn-fuelled sixties sounding soul a few minutes later and always guaranteeing plenty of toe-tapping quality music that should appeal to most soul-blues tastes. Make no mistake, this is a cracking album, with wailing guitar solos and strong rhythm, pounding percussion giving way to a near-Motown-style of all round sound that grabs the attention comfortably. There is an evident sixties sound to the overall release that gives the effort weight and worthwhile successfully avoiding the possibility of pastiche copy.

IAIN PATIENCE

LARA PRICE I MEAN BUSINESS

LMP/VIZZTONE

Marvellous, sultry, soulful blues from San Francisco Bay area veteran Lara Price, with a dozen tracks that echo her thoughts and clearly give us a gal intent on meaning business. The infl uence of wonderful soulblues singer Ann Peebles is evident in the overall mix and soulful delivery, while backing band sidemen on the project include the likes of guitarist Mighty Mike Schermer - ex-Marcia Ball - and soaring horns from a trio of Mikes, Rinta, Rose and Peloquin. Laura Chavez - Candye Kane band member - also adds her weight to the album,

STERLING KOCH ROCK SLIDE

FULL FORCE MUSIC

I’m a fan of Sterling Koch and his lap steel guitar. His Let It Slide release was a real treat, and this new one, Rock Slide, is equally enjoyable. In case you don’t know, Koch was a traditional six-string guitarist for over twenty years, until a severe neck injury led him to the pedal

steel guitar in 2004. It didn’t take him long to master it and now he’s one of the fi nest exponents in the world of the blues. He kicks things off with an excellent Shake 'Em On Down, in the company of bassist Gene Babula, Jon Goba on drums, Bret Alexander on rhythm guitar and Jack Kulp on harmonica, and it sets you up for an excellent album. He steps away from Chicago for a Little Feat meets JJ Cale vibe on Good To Go, and channels his Stevie Ray Vaughan vibe with a great take on Crossfi re. And if you’re looking for some fi ery guitar work, then wait till you get to the closing Last Call, which is remarkable showcase for his guitar attack. He can boogie, he can turn on a sixties Brit blues vibe and he can pick country riffs galore. A splendid album which comes highly recommended.

STUART A HAMILTON

SUNJAY BLACK & BLUES INDEPENDENT

Young singer and guitarist

Sunjay has certainly captured the distinctive sound of the UK folkblues of the 60s on this completely solo album. His rich, warm and

very English sounding vocals certainly convey a sense of enjoyment of his material whilst his guitar work is also suitably accomplished. His material is largely common-stock blues and folk ballads, many of which can be traced back to reissue albums of the 60s and early 70s – try Blind Willie McTell’s Delia, which Sunjay got from the UK folk-blues veteran Derek Brimstone, who also supplied him with his own rather less than totally serious You Don’t Learn That In School. The legendary Gerry Lockran was the source for Sunjay’s version of St. James Infi rmary, and many of the other tracks are common stock items which were in vogue in the 60s. Take a listen to Drop Down Mama, Nobody Wants To Know You Down & Out, Trouble In Mind or Baby Please Don’t Go, whilst One Scotch, One Bourbon, One Beer may come from John Lee Hooker’s version but this rendition is certainly fi rmly in folk-blues territory. Mississippi John Hurt’s Pallet On The Floor is not a song covered too often these days, but as on all of the other tracks here, Sunjay’s treatment manages to convey a sense of enthusiasm, a sense of discovery and a pleasure in doing them well. To sum up this release then, I would say that it is certainly one to look out for if you enjoy UK folk-blues.

VICTOR IAN LEYLAND

JOHNNY TANNER JUKE JOINT RAMBLER INDEPENDENT

Argentina born Johnny Tanner is best known as the veteran 2001 inductee of the Arizona Blues Hall of Fame, who provides guitar, harmonica and vocals for his band, His Aces, based in Phoenix. However this 14 track CD is an all-star retrospective, based on two California recording sessions - Pasadena in 1997 and Berkeley in 2001 - which have only just been released. It features traditional harp led blues, supported by two prominent West Coast guitar players – JR. Watson in Pasadena and Rusty Zinn in Berkeley. The Southern California set also includes the Hollywood Fats band’s rhythm section – Fred Kaplan keys, Larry Taylor bass and the late Richard Innes, to whom the CD is dedicated, on drums – aided by sax players, Jeff Turmes and Tom Faberge. Richard Innes also features on the other set with Randy Bermudes bass and Billy Flynn guitar. Both sets include some great blues covers from legends such as Little Walter I Got To Go; It Ain’t Right; Nobody But You; Guitar Slim I Done Got Over It; Sonny Boy Williamson Checking On My Baby; Stop Breaking Down and Howlin’ Wolf’s I Don’t Know.

Tanner’s own compositions and confidence obviously increased with time, since there is one original on the first set Searchin’ The World Over from 1997 and four from the 2001 set Run Around Woman; Lighthouse For My Soul; the instrumental Out Arizona Way and Blue Vapor. This is certainly a CD for the harp lovers, delivered by a harp man at the top of his game, supported by quality musicians.

ANDY MANN

THE BEAT DADDY’S HOODOO THAT WE DOO

MELROSE HILL

One of the things I like about being involved with Blues Matters is coming across an artist, or band, of whom you have no knowledge at all and yet, when you begin to do a bit of research, you find, as is the case here, that these guys have been together thirty years and this is their ninth album. It kind of brings home to you that, despite changes in communications, the world is still a big place. Basically this outfit consist of a core duo out of Kentuckian’s Larry Grisham vocals and harp plus Tommy Stillwell guitars and vocals. Augmented by a clutch of four other musicians, who add weight and muscle,

together they all make a big rough, ready and roots blues sound. You get good value for your money as well as the album has ten original tracks plus one cover, These Chains by Muscle Shoals resident Maxwell Russell, which happens to open things up. As a very wide brush stroke description think Tony Joe White kind of swamp drenched vibes and you’ll get the idea. Sorry stays in the same zone slow and moody almost as if they were holding back from blasting it apart. I liked it. You Made Me Cry reminded me a little of Walter Trout in the early days. With a fine wailing harp Pie Or Cake and tasty piano takes us into real blues territory and Hoodoo Woman with shades of Fleetwood Mac/ Santana’s Black Magic Woman is really nice. I loved the premise of D.U.I. Love with its spoken lyrics and the fine closer I Need A Woman with its vintage sound at the start is the heaviest cut of all with great slide and harp interplay.

GRAEME SCOTT

MUDCAT AND THE ATLANTA HORNS WHILE YOU WERE AWAY

30 MILES UP

True originality is not always the most prized quality of the blues these days, but

Atlanta, Georgia-based singer and guitarist Daniel “Mudcat” Dudeck and trombonist Lil Joe Burton don’t pay that no mind! This is a very different sounding set from these two men – Mudcat played all over the south before settling in Atlanta, where he worked with local performers like country bluesman Frank Edwards and singer/saxman Grady “Fats” Jackson, as well as Taj Mahal and Dicky Betts, whilst Joe Burton worked in Chicago as Junior Wells’ bandleader before joining BB King’s band. These diverse backgrounds have melded nicely, resulting in a set that is hard to define, but which falls most definitely within the blues spectrum. Mind you for the first minute or so I though the wrong album had arrivedbut stick with it, and take a listen to a track like The Devil Is Real which combines soul, blues and funk, the country styled Divine The Fight which should please the Americana lovers (and ultimately the blues lovers too) or So Far, which contains elements of 60s styled r ‘n’ b and psychedelia inflected pop and horns and reminds me of The Skatalites - and the instrumental Toodle-Oo has hints of a reggae rhythm among the soul, rock, gospel and blues stylings. The supposed closing track Wake has a fine, very bluesy approach, but let it run on for a few seconds to discover a nicely raving marching jazz band flavoured workout, with Daniel’s always excellent slide guitar work strongly in evidence.

The accompanying band throughout the album includes drums, bass, keyboards and a further two horns, giving a rich and varied sound that is rootsy, bluesy, and often very unexpected.

NORMAN DARWEN

NOAH WOTHERSPOON BAND MYSTIC MUD

INDEPENDENT

That album title is just so apt – listening to Goin’ To Mississippi brought to mind both Muddy Waters and strong memories of Jimi Hendrix in his Band Of Gypsys incarnation. It is very impressive, as is all this CD. Noah himself plays a mean slide guitar, though he is equally adept playing regularly - listen to Troubled with its hints of Freddy Kingand he sings in a warm and convincing voice, whilst his rhythm section of bassist Rob Thraxton and drummer Brian Aylor know just what is required and supply it – as you’d expect from an outfit that has been together since 2009. They can groove mightily - take a listen to Out Of Mind. These guys are from Cincinnati, Ohio, and have placed second in the International Blues Challenge, where Noah also won Best Guitarist award, and I’m not surprised. Jimmy D. Lane (the son of Chicago

blues great Jimmy Rogers) got him his first break and as a youngster Noah had Hubert Sumlin on his debut album in 2002. On the CD presently under review Noah stays pretty much in a solid blues groove throughout, though Natural Fact and Rock ‘N’ Roll Placebo both lean a little towards a classic vintage rock and roll sound – and the latter sports some fine Hawaiian guitar licks.. My only criticism of this excellent set is that it would have been good if the brief closing acoustic slide guitar instrumental Oahu Train Rag had been longer than 45 seconds! That aside, this release does come with a strong recommendation.

NORMAN DARWEN

THE KNICKERBOCKER ALL-STARS GO BACK HOME TO THE BLUES

JP CADILLAC RECORDS

Well, the album cover certainly gets a chap’s attention. A beautiful shiny black 1950s Cadillac, against which leans a shapely 21st century blonde lady in a clinging red dress. You can get a little wary when sex is selling the blues, but what the hell. This blues is sexy indeed. This is big, brassy, bold urban blues played by veterans, among them original members

of Roomful of Blues and the Duke Robillard Band. There’s even four vocalists, including Willie J. Laws. The Knickerbocker Café in Westerly, Rhode Island has been the hub of live blues in New England for decades. Known as ‘The Knick’ this is the place Roomful of Blues honed their act on a rich diet of Bobby Bland, Freddie King, Guitar Slim and Cleanhead Vinson. This ten piece band, driven by the locomotive 5 piece brass section, leave you breathless as they storm through 13 superbly arranged tracks kicking off with an obvious tribute to the girl on the cover, Don Robey’s 36-22-36. Throughout the album the musicianship is outstanding - the superb instrumental, Blockbuster Boogie will have you leaping around the room, as will the big city swing of Take It Like A Man. Monster Mike Welch’s guitar soars and stings, the brass arrangements are crisp, jazzy and thrilling. Big City blues is in safe hands here. A great album to kick off 2016. Terrific.

ROY BAINTON

ROGER WADE AND JAN MOHR DOWNSIZED

ROCKET SOUND LAB RECORDINGS

An interesting combination of well known European

blues stalwarts who have joined together to produce a raw mix of traditional blues standards and fi ve self penned tunes. Englishman Roger Wade is probably better known as the lead singer and harmonica player with Little Roger and The Houserockers . Jan Mohr is from Germany is best known as guitarist for his band Jan Mohr and The Backscratchers. Downsized is their first release as a duo and what an entertaining release this is. It will please the blues purists and music listeners in general as it is straight blues no messing and done mostly in one recording session. Opening with the raw harmonica tones of Roger Mohr Boogie this sets the tone of a steady rolling theme throughout the release nudging with humour on When I Get Drunk a theme also well covered on their whimsical tune Whisky Drinking Woman. Another of their own songs Wait A While is a toe tapper with basic chords and a juke joint feel. More booze driven next on Whisky Tonight a homage to the effects of the nectar. A stripped back approach to the Frank Frost cover My Backscratcher certainly shines through a highlight. But more specifically Nice To Me epitomises what these talented blues musicians are and the way they synchronise well and enjoy what they do proving they do not need any backing instruments or over production like others in this genre style.

COLIN CAMPBELL

THE PATRIK JANSSON BAND HERE WE ARE SNEAKY FOOT RECORDS

Rather alarmingly, the cover of this CD absolutely screams ‘Swedish hipster alert!’ at anyone picking it up. Can some young guy from Stockholm with a goatee beard, yellow tinted specs and dodgy taste in beanie hats really play the blues? Fortunately, one spin is all it takes to convince the listener that the answer is in the affirmative. Like almost all guitar merchants of his generation, Mr Jansson’s debt to Messrs Bonamassa, Moore and Stevie Ray is bleedin’ obvious. But unlike so many of his contemporaries, he thankfully abjures pointless shredding in favour of keeping things firmly on the blues side of the blues rock equation. While the band leader’s Les Paul is always in the driving seat, Petter Stenberg’s keys and three guest appearances from highly-rated harp player Mikael Fall augment the flashy fretwork nicely. The song writing is impressive too, with the nine originals topped off by a cover of BB King’s Never Make Your Move Too Soon. Admittedly, that Scandinavian accent sounds a bit odd at first, but makes a refreshing change from the usual

mid-Atlantic drawl more usually heard on these occasions. Standout tracks include the Moving On and One More Broken Heart, two minor key invocations of the pain of relationship failure that are at once Moore-ish and more-ish, if you see what I mean. Greed is another goodie, with the solo making Jansson’s earlier jazz background readily apparent. Keep an eye out for this fella, I am sure there are plenty of good things to come.

DAVID OSLER

THE PETERSON BROTHERS THE PETERSON BROTHERS BLUE POINT RECORDS

If you’re in the vanguard of the new generation of blues players, how’s this for an auspicious start. At the celebration of Pinetop Perkins’ 97th birthday in Austin, Texas, on July 1st 2010, two young lads from Bastrop, Texas aged 14 and 11 played a set which left the audience drop-jawed. They were Glenn and Alex, the Peterson Brothers. Glenn takes lead vocals and plays fine guitar, Alex also sings, plays bass and violin. On this, their debut album, they’re joined by Brady Blade on Drums and James Pace on keyboards. They may be youngsters, but their

tastes are mature, kicking off with a meaty rendition of Albert King’s You’re My Woman, and there’s a slick version of Tampa Red’s Don’t You Lie To Me, plus well-crafted originals I Gotta Go And Tell Me Everything. In absolute contrast track 10 is a beautiful, sensitive version of Amazing Grace which reveals Alex Peterson’s superb talent as a violinist. Since that stunning night in 2010, the Peterson Brothers have opened for the late B.B. King, Willie Nelson, Hubert Sumlin, Jimmy Vaughan and others. No wonder - talent goes to talent and these guys have plenty to spare - and a great future ahead of them.

ROY BAINTON

TOMMY MCCOY 25 YEAR RETROSPECT

EARWIG

This Florida based songwriter, guitarist and singer has been recording since 1992 and every one of his albums is represented on this career spanning double CD. The opening track is actually a new song previously unreleased. The King Is Gone is McCoy’s tribute to BB and is based on The Thrill… featuring heartfelt vocals and stinging guitar work and this suitably captures the spirit of BB. Another new track is I Got A Reason and it’s a funky

Stax style belter complete with soulful vocals and great honking sax work. The rocking Ludella features a great duel between McCoy’s guitar and Lucky Peterson’s Hammond B3 organ. Ace In The Hole sounds for all the world like The Band which is no surprise as McCoy plays guitar and mandolin and it features Levon Helm on drums and Garth Hudson on organ. Other highlights from the first disc are the slow blues Love ‘N’ Money and the emotional and atmospheric Bitter Soul To Heal. McCoy is a versatile performer and has covered many styles on his various albums and he approaches every song with style and panache. CD 2 opens with a rocking cover of Little Feat’s Spanish Moon complete with funky horns, swirling organ from Hudson and a sparkling guitar solo from McCoy. Pug Baker’s funky drums and Joel Tatangelo’s slinky slide guitar give the mighty Angel On My Shoulder, Devil On My Back a swampy New Orleans feel. The jaunty jump blues Black Eldorado Red features swinging piano from Commander Cody and this is followed by Late In The Lonely Night a thoroughly modern bluesy R&B number. An interesting reworking of Roger Waters’ Money features the distinctively sharp rhythm section of Chris Layton on drums and Tommy Shannon on bass and nice sax from Charlie DeChant backing up McCoy’s splendid guitar and vocals. The stripped back solo acoustic Sugar Cane is in complete contrast to the

swaggering, horn laden Jive Dive. One of my favourite tracks is the jazzy cover of Ray Charles’ grooving R&B classic Hey Now and this collection closes with the Southern Rock feel of Blue Waters Run Deep featuring great slide guitar from Jimmy Bennett. I thoroughly enjoyed this excellent double album and if you’re not familiar with Tommy McCoy it would be a great place to start and give yourself a treat.

very very good, packed full of strong material and superb musicianship and is without a doubt one of the most accomplished true Blues albums I have heard in a long while. There are ten good length tracks on the album that all follow a similar style of guitar led blues, the three covers blend in with the original tracks and other than the one instrumental Catch You on The Flipside all showcase the strong vocals of Giba, particularly impressive is the track Riverside which was written following Giba’s tour going from Chicago to Clarksdale. This is the second album release by Giba Byblos and on the strength of this album it will not be his last, he is a fine component of the Chicago Blues style.

GIBA BYBLOS TOMORROW

CHICAGO BLUES RECORDS

Giba Byblos is a Brazilian Blues musician who worships the late Freddie King and on this album he certainly demonstrates more than a passing resemblance to his mentor’s style, while he has only covered one song written by Freddie, namely She Put A Whammy On Me, the other mostly self written tracks all have a similar feel, electrifying Chicago Blues. While a solo album there are plenty of supporting musicians both locals and American, who include Jimmy Johnson on guitar, who Giba toured the USA with and who has been the inspiration behind the title track which really kicks off the album on a high, the whole album came as quite a surprise to me as it is really

ADRIAN BLACKLEE

VARIOUS ARTISTS A RHYTHM & BLUES ANTHOLOGY 3 1945-46

RHYTHM & BLUES

RECORDS 4 CD SET

Santa Claus must live at Rhythm & Blues records, because he brought me this. Here’s a sobering thought. When track 1 on disc 1 of this set was cut on Victor In October 1945 Elvis Presley was ten years old, but he’d be singing phrases from this song within a decade - Dirt Road Blues by Arthur ‘Big Boy’ Crudup, with its familiar That’s All

DAVE DRURY

Right Mama lines, and Arthur’s That’s All Right from 1946 is here, too. Arthur died penniless; Elvis did slightly better. When Sister Rosetta Tharpe cut Strange Things Happening in April ’45, she was right; the war was drawing to a close. There’s true nostalgia here in these 4 CDs with their generous 110 recordings for a period when a weary, grieving war-torn world was looking for relief. Dizzy Gillespie’s Salt Peanuts, T-Bone Walker’s Come Back to Me Baby. From a British retrospective (and I was alive at the time) it seems hard to believe that the thrills on these records existed when we in the UK were still absorbing the echoes of Glenn Miller as if he’d been some kind of wartime Jimi Hendrix. But this was black American music, and white supremacy hid it away under the disgraceful banner ‘Race Music/Sepia’. One June weekend in 1949, this all changed. Billboard writers Paul Ackerman and Jerry Wexler were sick of the terms hillbilly and folk. Ackerman came up with a new designation; Country and Western. Wexler had another idea for race and sepia. He called it Rhythm and Blues. The rest is history, and its foundations are here, available for all, beautifully packaged and annotated. There’s country with the Delmore Brothers singing Freight Train Blues, the superb vocals of The Ravens with By Bye Baby Blues from 1946, Spade Cooley’s Oklahoma Stomp and a wry look at the dawn of the atomic age by the

Golden Gate Quartet with Atom and Evil, echoed on disc 4 with Pete Johnson’s riotous Atomic Boogie. There are more big names too than you can shake a stick at; Count Basie, Lionel Hampton, Slim Gaillard, Big Joe Turner and a driving Chicago Breakdown by Big Maceo. So be warned, if you’re hungry for real, raw historic R&B, these anthologies will make you a glutton. Thanks for the addiction, Rhythm and Blues records. There’s no rehab, so keep it comingI’m well and truly hooked.

ROY BAINTON

VARIOUS ARTISTS A RHYTHM & BLUES ANTHOLOGY 4 1947-48

RHYTHM & BLUES RECORDS 4 CD SET

When many of these records were cut I was 4 years old and playing in the rubble of a bombed-out Hull, courtesy of the Luftwaffe. Back then, in the UK, any one of these 111 (yes, 111 even!) tracks would have given the BBC a coronary thrombosis because the nearest we got to black music was the bellowing burnt cork of Al Jolson. Following the previous R&B Anthology sets from R&B Records, I knew I’d be in for more thrills with this and I’m not disappointed, yet restricted wordage here precludes a full ecstatic overview. However - if you thought big strident in-your-face electric guitar chords arrived in the 1960s, check out 1947’s Midnight in The Barrel House by Johnny Otis. And there’s Dizzy Gillespie, Mahalia Jackson and even Hank

Williams and Merle Travis. Needing wild, wanton and utterly danceable? You need Fluffy Hunter and Buddy Banks with the manic piano of Fluffy’s Debut. Disc 2 is replete with rare gems too. The sorely neglected Andrew Tibbs pre-empting Jerry Lee Lewis’s Wine Spodey-Odey by over a decade with the rousing Drinking Ink Splink. This is a magical mystery tour with Madam Ira Mae Littlejohn’s boisterous Go Devil Go and even a 1947 Muddy Waters with Gypsy Woman, contrasting nicely with the raucous front porch fiddling of Harry Choates and his Hackberry Hop. By the time you reach disc 3 you feel like you’ve drunk a half bottle of Bourbon. Amos Milburn kicks in with a rolling Chicken Shack Boogie, the sinister, dark and energetic 1948 cut of Hooker’s Boogie Chillen, Nellie Lutcher’s uplifting Fine Brown Frame and the honking saxes of The Twister by Paul Williams, the scintillating acapella harmonies of the Swan Silvertone Singers. Disc 4 boogies along just as agreeably with The Beale Street Gang’s Fat Stuff Boogie, followed by Arthur Smith’s seminal guitar hit, Guitar Boogie, there’s more 1948 Muddy Waters, a bouncy Pettin’ and Pokin’ by Louis Jordan and 20 other delights. This hefty collection curated by Nick Duckett, who also provides the entertaining liner notes, feels like stumbling into a sealed cave of musical pirate treasure; golden nuggets, jewelled crowns, dancing diamonds and rhythmic

rubies. Sometimes musical history can jolt you from the terror and torpor of the present and take you to a long forgotten place of joy. That may sound like Pseud’s Corner, but these R&B Anthologies do it for me. Try it - you’ll be well rewarded.

ROY BAINTON

WENDY DEWITT WITH KIRK HARWOOD GETAWAY

WETTE MUSIC

The singing duo of Wendy Dewitt and Kirk Harwood deliver a sassy, brassy, effortlessly funky set of original songs on Getaway. With Dewitt’s boogiewoogie, blues drenched piano and keyboard playing, and Harwood’s rock solid drumming being a more than equal match for their singing, this is a set that swings from jazz to feel good blues. A brass section adds colour and drama to the countryish groove of album opener Sonoma County, whilst songs such as Treat A Woman, Built To Last, and 29 Ways continue on the feel good New Orleans like groove. There are different moods tackled throughout the album, such as the gospel like Sometimes I Wonder, which blends Dewitt’s Floyd Kramer like Piano part with a soulful vocal performance. Feel So Bad is a slow and brooding blues song, which

gives plenty of space to guitarist Steve Freund, with a stinging vibrato, and a clean sound, completely suited to the mood of the song. This is a fine collection of songs, showing talented musicians to their best advantage. If you like piano led blues music with some lively ensemble playing, this album could well find its way into your collection.

BEN MACNAIR

ZORA YOUNG & LITTLE MIKE AND THE TORNADOES FRIDAY NIGHT

ELROB RECORDS

Although born in Mississippi Zora Young is better known as a stalwart Chicago blues singer and front woman as her family moved there when she was seven. In recent years she has played many blues clubs in Chicago and regularly plays at the yearly festival there. This time she is singing with much acclaimed New York band Little Mike who is Michael Markowitz a talented writer and harmonica player who wrote four songs interspersed with some standard Chicago blues tunes. One cover of note being one of her relation

Howlin Wolf composition

44 Blues. This is a straight no holds barred downtown Chicago blues release and very enjoyable for that. Zora Young sings with passion and soul searching on numbers such as A Fools Lament a very powerful voice overall but not taking too much limelight away from the rest of a very tight band who mix it up with the instrumental final

track Spanns Boogie a real get in the groove dance tune with consummate keyboard playing by Jim McKaba.For me another stand out tune where the band come together well is the slow easy rhythm to Little Walter song Just Your Fool. Tony O Mello plays a mean guitar riff on his song I Love Chicago laid back vocals intermingling with soft harmonica tones. You know what you’re getting with this release a wonderful balance and depth of musicianship. A contender for best female singer of the year pure quality.

COLIN CAMPBELL

BAD NEWS BARNES AND THE BRETHREN OF BLUES BAND 90 PROOF TRUTH

UNDER THE RADAR MUSIC

This is a tub-thumping disc which musically is well-nigh impossible to categorise, but hey that’s what I’m here for, so here goes! It’s only a bit provocative in the lyrics and they are nothing like you’ve ever heard before, or likely to until his next album. Musically it is an absolute belter which is an assault on your aural senses but in a really good way, with a compendium of class musicians and lyrics that just have to be listened to and amused by. The opening track, America Needs A Queen, is a barnstorming rock number and in view of the other tracks and Barnes innate sense of humour, I couldn’t be sure whether he actually meant royalty or and effeminate drag artist as being essential to the USA. Chris Barnes is more

than ably supported with the crème de la crème of rock/blues musicians in this cornucopia of hot music. Track three is called Post Op Transgender and as suggested earlier, the lyrics are witty, perceptive and truly fitting in the context of this album. If you’re an overly sensitive type then these nuggets of gold may not be for you. That said, if you’re into the blues as such, then you’re not likely to be a shrinking violet. In conjunction with the band and a host of friends that are too numerous to list, Barnes has produced an album that will bring a smile as well as pleasure to your ears. My favourite track at number five has to be his version of Westboro’ Baptist Blues, listen to the lyrics especially on this one, but indeed on all of them. No one else writes like this and I’m hooked for sure.

TOM WALKER

KAI STRAUSS I GO BY FEEL

CONTINENTAL SONG CITY

The album title I Go By Feel is a true representation of this Chicago/Urban Blues album is music played by feel, creating a sound that is full of blues from the darkest hues to the hue of a clear blue sky. Kai Strauss is joined by a phalanx of musicians from across

Europe. Opening with an engaging swagger, A Fool Way Too Long sets the character of the album with a depth of tone from sparkling riffs and clever hooks to capture the vocals. The feel and exploration of blues is a continuum from his previous award- winning previous album Electric Blues. All thirteen tracks have a style that matches the lyrics with Chicago blended and mixed with Texas Shuffle, Boogie and Swing. Luther’s Blues is an ode to the blues legend Luther Allison and it is delivered with passion and style. The instrumental Back And Forth is full of fat music shapes painting a tonal picture that takes you back and forth through the scales, it is the use of horns that make this instrumental stand out with its brassy energy. Soul Fixin’ Man with guitar that squeals and the keys adding a cascading backdrop and picture is lyrically drawn we are all back at the Shoe Shine Stand with Kai Strauss. The pitch of Money Is The Name Of The Game cuts through, as clear as crystal and on top of drawn out organ notes are the vocals exploring the lyrics the story is full of pathos that the voice and the instruments reflect with understanding and knowledge having experienced this part of life’s journey. The vocals are stunning from Kai, Mike Wheeler and Tony Vega and the introduction of the harp on the closing track Early In The Morning from Big Pete is the closing glory of an album that exploits the magic and mystery of

playing by feel. This is blues with passion, feeling and the mixing of musical vocabulary to touch your musical heart.

LIZ AIKEN

THE YAWPERS AMERICAN MAN

BLOODSHOT RECORDS

The Yawpers are a trio from Denver who, according to their website play “Loud, straightforward, American” music. My iTunes classed the CD as Punk but whatever their music is there is virtually no discernible blues content, unless some slide steel guitar counts. Burdens takes the concept of Springsteen’s Born To Run, the central character trying to get out of his small town environment, the tune starting in gentle Americana mood before it revs up the pace, adding plenty of loud, ringing guitars.

Frontman and acoustic guitarist Nate Cook’s voice at times recalls Steve Earle and with drummer Noah

Shomberg and slide guitarist Jesse Parmet cooking up a significant storm there are few quiet moments here though the title track American Man does start with Noah solo with acoustic guitar, then builds up as Noah sings of “living my life with my head in the sand, praise the Lord, I’m an American man”. Most of the material here is frenetically upbeat like opener Doing It Right so the fiddle on

Beale Street made for a change, albeit in another high energy piece: the title clearly relates to Memphis, as do the references to “Graceland’s a gravestone” but the blues do not appear to merit a mention. It is hard to recommend this disc to blues fans but those who enjoy Americana themes with amped-up guitars a la Ramones may find that this is the disc they have been waiting for.

JOHN MITCHELL

BONITA & THE BLUES SHACKS BONITA & THE BLUES SHACKS CROSSCUT

RECORDS

I have long been a fan of the excellent German band BB & The Blues Shacks and now they have discovered a gem with South African soul singer Bonita Niessen. The opening track swings mightily with the band cooking up a heady brew and Michael Arlt’s careworn vocals are perfectly complemented by Bonita’s sassy but sweet vocals as she takes charge of the number. The title of this track is Don’t Call Me Babe and the answer is most definitely “no ma’am, whatever you say”. By contrast Love Ain’t Never Hurt Nobody is a passionate, soulful statement which is powered by great organ work by Fabian Fritz and superb guitar by Andreas Arlt with

Bonita cooing sweetly. A rocking cover of Lieber/ Stoller’s Turn The Lamps Down Low is followed by a wonderful version of the Ann Peebles hit You Keep Me Hanging On (Just Enough). The whole band have fun on This Little Girl’s Gone Rockin’ and get to air their blues chops on Magic Sam’s Give Me Time. The jumping Sure Cure For The Blues finds Arlt and Bonita duetting effectively and Fabian Fritz playing a nice rolling bar-room piano solo. Bonita’s heartfelt vocals light up the sweet soul sounds of Bobby Darin’s I’ll Be There. The original song Bad News is a mid-tempo shuffle which features Bonita belting out her vocal over Andreas’ sturdy guitar. The rollicking jump blues of I’m Lonesome opens with wailing harp from Michael Arlt before Bonita’s powerful vocals take command of the song. Bonita’s expressive, soulful vocal’s feature on the gorgeous gospel tinged closing track Never Let Me Go. This album is a bit of a departure for the excellent Blues Shacks but by teaming up with Bonita they have produced an absolute cracker.

DAVE DRURY

second release in five years from this unusual coupling. Derek “D’Mar” Martin is an accomplished drummer, producer, artist educator and songwriter with over fifteen years’ experience with Little Richard. Chris Gill seems to have arrived here from the opposite end of the spectrum, as one of Mississippi’s premier slide guitarists. His vocals are intensely laid back giving their music an air of authenticity and an aura of truth to the statement that less really is more. All thirteen tracks on the album are originals and they echo many of the time tried and tested feelings of the blues, but giving it all a modern feeling. This is demonstrated beautifully in Souvenir Of The Blues, a slow smouldering song that truly epitomises and emphasises the beauty of the blues. Gill’s vocals are emotionally loaded and the guitar soloing expressive. The album opens with I Fell In Love With The Blues, a smooth swinging song with Aki Kumar on punching harmonica and Bob Welch on piano, a great dancing tune. Song For Honeyboy opens with loose slide guitar that underpins this rolling blues, shifting like a train. Dedicated to Honeyboy Edwards, the some references his good ol’ friend that travelled everywhere with him and never let him down, his guitar! The lusty Dancin’ Girl is a straight forward raw Mississippi Blues featuring cigar box slide, with Gill’s vocals sounding as though delivered through

a megaphone and great brushwork from D’Mar. The feel changes completely on the sweet country blues of You Never Know, a gentle almost jug band oriented song about love with some beautiful clean guitar picking throughout. Attitude and swagger is the core of the stomping Three Way Inn, a song about having a good time. Must Be Love references New Orleans in terms of style and tempo with some great jangling piano. The title track feels like reggae played on speed, but with a great sense of a laid back presence. The Delta is reflected in Lonesome Forever, great slide on a slow uncomplicated blues. The closing track, Since I Saw You is a gentle ballad that opens with some beautiful tenor sax courtesy of Frankie Ramos. All together this is a quality release that blues lovers will enjoy.

MERV OSBORNE

CROOKED EYE TOMMY BUTTERFLIES & SNAKES INDEPENDENT

They say in the old song that You can’t tell a book by its cover and it seems that is also true of the CD that I have in front of me, Called Butterflies and Snakes, the front cover leads you to believe that this is probably

a prog rock throwback to the seventies, and nothing about it would have you believe that this a new Blues offering from a 5 piece US based band called Crooked Eye Tommy, Why are they called Crooked Eye Tommy? Because Tommy Marsh is the leader of the band and he has got crooked eyes! Be that as it may, the band are made up of 5 players, covering guitars, bass, drums sax and keyboards and it is fair to say that they are not in the first flush of youth, however, although this is their debut album, I am sure that we will be hearing more of them, because quite simply, it is really very good indeed! All eleven tracks were penned by Tommy and his brother Paddy, and the overall feel is Southern Blues rock. The lyrics are clever and deserve to be listened to and the choice and positioning of the tracks is spot on, there was literally never a dull moment here. Listen to the closing track Southern Heart and imagine it playing to a hall full of Southern Blues fans with the lighters and/or mobile phones all swaying to the beat, well that’s how I saw it anyway. Great album.

DAVE STONE

This album is called and opened with, a track called Compromised, however that song and album title is the only thing that is compromised with this folk/ rock album written and sung by Steve Forbert. This album oozes quality throughout as you’d expect from a musician that has been performing for the length of time Forbert has, and I mean that genuinely with admiration for his longevity approaching forty years. There is an apprenticeship served by him that proffers the sort of quality of work that you’d be entitled to expect from a craftsman of standing. He’s supported by a variety of supportive high quality artists throughout this extremely accomplished album and it would be churlish to acknowledge some rather than all of them. There’s a sort Dylanesque sound to some of his vocals, and speaking as someone who sings myself, it must be hard on his vocal chords, most especially on track six, Rollin’ Home To Someone You Love. Forbert’s use of the harmonica overlaid in recording and between bursts of vocals gives a blues tint to what is essential a folksy rock album. This is an all-round balanced album that may be a bit specialised to crash into charts, but will give pleasure if this genre is your bagatelle. Truth to tell there isn’t a bad song or number on it, and with fifteen tracks, not only are you getting quality but also quantity.

TOM WALKER

GEOFF MULDAUR THE SECRET HANDSHAKE & PASSWORD RETROWORLD

This release offers two of Muldaur’s previous solo albums in a mid-price format. 1998’s The Secret Handshake and Password from 2000 are presented in a two CD pack with the accompanying booklet giving the full credit for each song as well as the story relating to each song on Secret Handshake. Of the twenty two songs here, only four are Muldaur originals, but it is in his interpretation of other people’s songs that he really thrives. Richard Thompson once said "There are only three white blues singers and Geoff Muldaur is at least two of them" and particularly on Secret Handshake, that comment is born out. Indeed, password can be seen as a companion package to Handshake, and in particular, Got To Find Blind Lemon-Part 1, a song inspired by a group of drunken students who buy brooms and set off to find Blind Lemon Jefferson’s grave in order to sweep it and “keep my grave clean” is featured on Handshake. On Password, he returns with Got To Find Blind LemonPart 2, the story of which I will refrain from telling here. Styles and instrumentation

STEVE FORBERT COMPROMISED ROLLING TIDE RECORDS

vary massively. From the paired down sound of Geoff alone with guitar, to full accompaniment with bassoons, accordions, fiddles and jugs. Blues, gospel folk and country are all proffered here, with the majority of his blues credentials displayed on the first of the two albums. His rendition of Sleepy John Estes Chevrolet opens in the fife and drum tradition, one of the oldest Black music genres in American history, with Muldaur on penny whistle before a complete orchestra of instruments open up. Likewise, Leadbelly’s Alberta is given an outing with fiddle, sax, accordion and many other instruments that really brings this song alive. One of my favourite tracks is the opener Wild Ox Moan, written by Vera Hall and Ruby Pickens. The simplicity of this song is a gem and his voice, complete with a form of yodel makes it extremely memorable. Muldaur is a truly accomplished musician and this package is an excellent introduction to the man and his music.

MERV OSBORNE

drums together with pulsating bass and throaty vocals seem to be their signature and it all comes together in a fine sounding album. I couldn’t go so far as to say that they are the first band I’ve heard with this kind of sound but they do bring a tail-wagging brightness and arrogance to their music that is rather pleasing. They cover ZZ Top’s Just Got Paid and the heaviness of their sound adds to what was a pretty awesome song in the beginning while their originals are not too shabby either. Karen is a pretty ballad with subtle and heartfelt guitar – a little reminiscent of Roy Buchanan maybe – and Made Of Stone itself is a groovy little Blues shuffle with good syncopation but Reach For The Sky is my personal favourite with a terrific drum line to open and a grand feeling of confidence – not to mention a pretty fine guitar solo to close. Outro is a classic heavy Blues instrumental pouring out massive volume and rending the air with power. They aren’t original but they do a thing very well and aside from Dirk Paweis vocals - which aren’t bad but he is a better bassist – they make a damn fine noise. I wouldn’t mind seeing them live sometime.

ANDY SNIPPER

MATT JACOBS BAND MADE OF STONE INDEPENDENT

Huge, booming riffs open this debut album from the Matt Jacobs Band. Searing guitar solo and hammer blow

THE CHRIS CORCORAN TRIO LISTEN UP! SHACK RECORDS

Blues and roots based guitar instrumentals with a touch of swing, jazz, rockabilly and funk from a three piece band based in South East England and well known on the London circuit. The catchy toe tapper Strung Out opens the album and immediately establishes Corcoran as a talented guitarist and the rhythm section of Dave Lagnado on double bass and Peter Greatorex on drums as tight and empathetic. Brown Sauce is a chunk of funk featuring Corcoran’s double tracked guitars and, heaven forbid, even includes a drum solo. The atmospheric 526 features tremolo laden guitar over a gentle rhythm and this number along with the jumping Inside Out reinforce the feeling that these guys have listened to and learnt from the late great Link Wray. Kingly Street is an impressive rocking blues featuring sparkling guitar work over the solid rhythm section. Inzago slinks gently along but Swingo rocks along furiously propelled by the frantic drumming of Greatorex, My favourite track is the beguiling, acoustic, mellow and Latin flavoured Mambo Cubita. A very tasty number indeed! The jazzy Curveball swings masterfully and double bass player Lagnado gets a short solo. The trio’s jazz chops are evidenced on the relaxed closer Back At The Shack and it’s a perfect way to finish this fine album. If you are feeling a little jaded by the plethora of blues/rock which seems to dominate the current scene then pour yourself a

large one and settle down with this little beauty.

DAVE DRURY

RANDY MCALLISTER AND THE SCRAPPIEST BAND IN THE MOTHERLAND GRISTLE TO GOLD REACTION RECORDS

The album opens with piercing blues harp and a driving rhythm this is blues on a mission to turn Gristle To Gold, Randy McAllister and his eclectic band does just that. The Kid With Really Old Soul has guitar and vocals that add layers of excitement to the Texas infused blues that is at the heart of the pure American story telling. This is fuss free blues, celebrating the power of the music as it wraps around the songwriting. The tracks whirl by paining lyrical shapes into your music infused landscape. The title of the song and the lyrics reflects the life of many a musician on the road, Crappy Food, No Sleep, A Van And A Bunch of Sleep. This is blues that hits the right notes and tells it as the reality of life as it is really lived not shrouded in mystical fairy-dust. This is the Gristle that may one day turn into Gold! Randy McAllister is a multi-instrumentalist who has gathered a band around him so that there continues to be a new sound and shape with the organ on I’m Like A Boomerang, and once again the backing vocals of Andrea Wallace brings the tempo down, warms the atmosphere as blues morphs into soul. The tonal shape changes with Someone’s Been There which has a simple stripped

back acoustic feel as the pain of the lyrics echo’s through the vocals. Then we have a fuzzy southern rock picking up the foot-tapping beat on Bowling Pin, this s a band that celebrates and explores the full breadth and depth of diverse American music traditions. Starting almost with a holler A Whole Lot Of Nothing has a power of lyrics and great instrumentation and then closing with Ninja Bout Cha, with organ chords, guitar squeals another roller coaster of a tune, Gristle To Gold is a celebration of the blue.

LIZ AIKEN

LITTLE ROGER AND THE HOUSE ROCKERS JUMPING AT JACK’S JOINT INDEPENDENT

One of the joys of doing reviews for Blues Matters is that every so often I receive a CD from a European blues band who I have never heard of. The downside is that it is not always easy to find any information on them!! Today was no exception when I received the latest offering from Little Roger and the Houserockers, a Germany based band, whose style is a throwback to the 40s and 50s, covering Chicago, Memphis and West Coast blues as well as piano boogies and swinging jump blues. The band, founded in 1994, is a mixture of German and English performers, led by 47 year old Roger Wade harp/ vocals along with Marion Wade piano, Tilmann (T-Man) Michalke guitar, Rockin Roman Lieutenant bass, plus two drummers - Andreas

Bock (2015 drummer of the year in Germany) and Andre Werkmeister –complemented by guest performances from Thomas Feldmann sax and Marc T vocals. The band credits their influences as Howlin Wolf, Little Walter, Muddy Waters, Otis Spann, B.B. King, to Sonny Boy Williamson 2. Their latest 17 track fourth CD, Jumping At Jack’s Joint, is everything you’d expect and I really enjoyed listening to it. I just put it on in the car and was in heaven! Their cover of Mona was particularly noteworthy. Whilst they are recognised as one of the leading blues bands in Germany, their songs are performed in English and they also regularly perform gigs in Holland and Belgium; every type of venue from club gigs to large European festivals. Based on this CD, it would be great to see them in the UK and I hope that can be achieved in the near future, since they have a reputation as dynamic live blues show performers.

ANDY MANN

DVD'S FRANK STOKES THE GUITAR OF FRANK STOKES

STEFAN GROSSMAN WORKSHOPS (TAUGHT BY TOM FELDMAN)

Yep, it’s another one! A further issue in the series of tutorials from Tom Feldman who seems to be attempting to cover just about every major (and minor) US blues guitarists from Robert Johnson onwards. Now I have heard of Frank Stokes, and you may know his Ain’t

Nobody’s Business If I Do which I quite like to have a go at every now and then, well I have finally got no excuse for not getting it right, as Tom covers it as part of 10 classics from Frank’s repertoire. As we have now come to expect, the quality of this production is faultless with double camera shots of the fingerings and the neck positions, and broken down into sections, played slowly and then again at performance speed, and you do of course always have the option to pause, or go back until you have got it firmly under your fingers. Tom is a very good teacher and no mean singer either. All of the songs are also on here as originally recorded and you can hear just what a talented guitarist Frank stokes was, and it may well tempt you to go and seek out some more of his recorded works (some 38 titles I think). Happy practising.

DAVE STONE

JUG BAND MUSIC FOR FINGERSTYLE GUITAR STEFAN GROSSMAN

STEFAN GROSSMANS

GUITAR WORKSHOP

Jug Bands never really caught on in the UK or Europe, but in the Twenties and Thirties, they were

really quite big in the States. Made up of a lot of home-made instruments, the musicians were almost always self-taught and repertoires covered just about any type of music that the punters asked to hear.

Stefan Grossman is a great fan of Jug bands, even going as far as to form his own band back in the Sixties. Because of the wide range of songs, this isn’t really a blues product but you can pick up a lot from the lessons as Stefan is really just showing you how to play fingerstyle on these fairly well known tunes. Like all of the Grossman workshop productions, the quality is faultless, as are the notes and PDF that come with the DVD. Don’t let the Jug band part put you off, these are simply good time tunes played fingerstyle, taught by a master.

DAVE STONE

LOVE LOST & FOUND ( THE STORY OF MEL BROWN ) MEL BROWN

Blue Fusion productions

This was a new one to me, but it follows the story of Mel Brown, a talented and well respected guitar player who played with some of the top bands of his heyday, starting off with Johnny Otis and being encouraged along

the way by the likes of T Bone Walker and BB King as well as Albert Collins, Bobby Bland and many others, and believe me there is a long list. He moved to TV as a producer for Bill Cosby, Jerry Lewis, the Smothers Brothers and Sonny and Cher, fi nding time to play for Willie Nelson and Waylon Jennings, before taking up residence in Austin with Antones house band. Finally in December 1989 he was invited to go to Kitchener in Canada to front the house band at a club called Poppa Gators. Well, he went and stayed there, and was largely responsible for kicking off what has ended up as Canada’s largest music Festival, running for 5 days every year (most of it free). This DVD is a sort of tribute/documentary about a Bluesman that many of us will never have heard of, and from the few performances that are featured on here, you can see why the guy is well respected and sorely missed.

DAVE STONE

MISSISSIPPI HILL COUNTRY BLUES GUITAR TOM FELDMAN

STEFAN GROSSMANS

GUITAR WORKSHOP

I can already hear you lot groaning “Not another tuition DVD?” and yes, it is the latest in a seemingly never ending line of high quality productions from the Grossman workshops, this one taught by Tom Feldman who is a highly accomplished acoustic

guitar player and performer, who has a deep feel for all of the many Roots styles of blues that seem to be around every corner in the US. Production values are as good as ever, and it includes all of the original recordings of the songs and artists featured. Now quite often that means the original scratchy recordings, but not in this case, unfortunately, I felt that the version as presented by Tom was a heavily sanitised version in most cases and without the obvious feel of the originals, Tom has chosen to play all of these in both the standard tuning and various altered tunings, but has deliberately ignored that fact that many of the originals were played with a slide. There is of course the usual PDF fi le that you can print off (Careful, it runs to a lot of pages!) giving you all the TAB and notation as well as the lyrics, so if you are into blues from the hills instead of the Delta, this is one for you.

DAVE STONE

BOOKS

OLMS, ZURICH

ISBN 978 3 283 01228 1

A hefty hard back volume selling at £25 this is apparently the fi rst detailed biography of this Blues icon who followed on after Alexis Korner (and let’s not forget Lonnie Donnigan) who of course followed on from Chris Barber who was the man who really introduced us to the blues and really should carry the name as being the Godfather of British Blues with Alexis and John being true descendants of his. This tome then provides an insight as well to the many musicians who passed through as Bluesbreakers and developed their own way later (Eric Clapton, Peter Green, Mick

Taylor, John McVie, Jack Bruce, Aynsley Dunbar, Mick Fleetwood, Walter Trout, Coco Montoya, Jon Hiseman and so many more!). Even if you consider yourself a die-hard fan you are still likely to fi nd undiscovered stories here as this goes well beyond the sixties. Mayall is no doubt a living legend for what he has done for the blues in over fi fty years now with over 130 musicians having passed under his nurturing wings. He has around 86 albums to his name and has played over 5,000 concerts all over the world and truly earned the legendary status thrust upon him. Good book!

FRANK LEIGH

JOHN MAYALL THE BLUES CRUSADER

BY DINU LOGOZ

PUBLISHED BY EDITION

YAZOO, NOT JUST A LABEL

BENTONIA BLUES FESTIVAL

Verbals and Visuals: Billy Hutchinson

The state of Mississippi is pro-active in it's tourism and convention facilities, spurred on by a lot of rallying blues-wise in the past, as well as in the present from the likes of Roger Stolle, Scott Barretta etc. Having been in Yazoo County myself, and hearing that they were to place advertising space within BM I seized the opportunity to comment myself. Topically too, with Dick Waterman (Professional photographer, journalist, manager/booking agent , (Son House, Buddy Guy & Junior Wells and Bonnie Raitt) coming out of retirement to manage the counties best living blues exponent, Jimmy "Duck" Holmes.

Yazoo County is not as prolific a county in producing great blues musicians as some Delta counties to the

west, but it did produce one of the finest and most distinct in Skip James. Today the most well known is Jimmy "Duck" Holmes, keeper of the Bentonia blues style, owner of the county's oldest juke joint, as well as it's longest running blues festival, the Bentonia Blues Festival.

Yazoo County was once the home of the Choctaw Indian, where Casey Jones died in a railroad disaster, and Yazoo County bore the brunt of the 1927 Mississippi flood (High Water). Legend has it that Yazoo County takes its name from the river, and before that the Indian tribe the "Yazoo" itself, but it is also an Indian word meaning "death". Once Yazoo City (the county seat) was called "Manchester", of all things. Places of interest in Yazoo City are The Sam

Olden Yazoo Historical Society Museum, The Oakes AfricanAmerican Cultural Centre, and the B. S. Ricks Memorial Library. There are beautiful Southern homes as well as the Historical District, and some old ghosts, too. Yazoo City, like Memphis, claims the title of "The Gateway to the Delta" because of its situation between the Eastern Bluffs and the Mississippi River to the West. This is actually a great location to explore, being close to the State capital of Jackson, and about the same distance to Vicksburg. Straight up are Belzoni, Hollandale, Greenville, Indianola, Greenwood, and further on, Cleveland, Rosedale, Clarksdale, and Friar's Point. If you wish to travel further South, beyond Jackson, there are Crystal Springs and Hazelhurst. The ex Governor of Mississippi, Haley Barbour, who was active in promoting blues tourism and blues artist's recognition, was born outside of Yazoo City. Tommy McClennan was also born outside of Yazoo City, while most bluesmen hail from Bentonia, the aforementioned Nehemiah "Skip" James, Henry Stuckey, Jack Owens, "Gatemouth" Moore, Bud Spires and the surviving Jimmy "Duck" Holmes. I liken Jimmy to Alabama's Willie King, who also brought the world to his

back door via a festival, and shone a light upon his state.

We know that the blues is global, but more and more blues tourists are wanting not just to read about fabled places and hotspots, but to visit them. With the advent of GPS, that little juke joint is no longer inaccessible, it's now simply a blues dream come true.

BM: Dick, I thought you had retired from the managerial business (laughs). Why the comeback?

Dick Waterman: I really wasn't doing anything with my time, and I saw Jimmy, and he played a Skip James song. It was like all the years had vanished.It was like Skip was right there, like I could see him, it was marvelous. At that point I figured he needs to be seen by more people, so I looked around and I couldn't see anyone who could do it, so I said, “Why not me?”. I just stepped in to fill a vacuum. He needed somebody. Now, I am not going to take care of every little club gig, but I know the festival promoters. So, the first thing I did was to get him booked into the New Orleans Jazz & Heritage festival, which is huge. Then I got him booked into Memphis in May the following weekend, which is a huge outdoor festival. Now, I think I'm a good manager, because you have to have a plan, you have to see the horizon. You cannot look to the immediacy, you have to want to build to something. This is a kind of an example: he is playing New Orleans Jazz & Heritage the first weekend there, which is the last week in April. We have him booked there because Taj Mahal is also

there. Now Taj is a great interview, because he always has great stories to tell. Taj knew Skip James, and played with him in the sixties, so I have Jimmy playing the same weekend and day as Taj. It would give Jimmy's career a fabulous lift if Taj came over and saw him, because Taj is the kind of person who would say, just to paraphrase this a bit, "I thought I had seen everything from the sixties, and there wasn't anything new, and then I saw Jimmy "Duck" Holmes and he totally blew me away". See, if Taj says this, it is a huge lift for Jimmy. Taj will help people, and it would be greater advertising than anything I could do. Most of the summer of 2016 is already booked, I may have the chance of something later in the year, but the April/May/June festivals are booked already. You see, Jimmy is a great talent on his own, and I think my word is respected, and just because I have come out of retirement just to oversee this, I think speaks well of his talent. Jeff Konkel was very instrumental in Jimmy's earlier CD output, Jimmy has since moved on to other labels, and has a new album coming out. Jeff wishes him well, and they are still good friends. Jimmy has a new album set to come out, but I am concerned that he has too much product out on the market. They have an album with him that they recorded in Europe they want to put out, then there is a studio album they want to release. I want them to hold back so that they don't flood his own market. Now I am not involved with the Bentonia Blues festival, but I will go down and photograph it. I met

Jimmy's grandson when I went down to meet Jimmy once He had a guitar with him. He wanted me to hear him. So, I am thinking he is going to be this small boy who is going to pick up the guitar, and he wails away on it. It wasn't like that. He was very careful, and he knew what he was doing. He played parts of a Skip James song, and it was just unexpected and exciting to see that. He has a genuine love for guitar playing, and I think he could end up learning the Bentonia style. I am trying to get Jimmy seen by the maximum number of people, that is why I am booking him into the festivals. I made sure he has lots of business cards, and gave autographs, and I try to help him by getting any bookings sent to me. In other words, if he goes through New Orleans and plays well, there are plenty of people who are in the Jazz fest audience who are connected with blues, blues clubs, blues festivals, blues recording. So if he gets into these big audience situations, he is a smart man, he is intelligent, he knows how to take care of himself, so I think he can help his own business if we can get him into these large live situations.

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GREAT BRITSISH ROCK AND BLUES FESTIVAL JAKS REVIEW SKEGNESS 2016

This was my eighth year at the Festival and my second year working solo at Jaks. TC & The Money Makers kicked off the Friday evening. A four piece from York led by Tom Cocks on harp/ vocals, with Dave on guitar, Tom on upright bass and drummer Dave did a great job as first up with their brand of rockabilly blues, with much interplaying between the band members. They did a lot of covers, primarily by more senior bluesmen, notably Snooky Pryor and Sonny Boy Williamson, but it was their take on closer Scratch My Back where they really shone. Durham's Revolutionaires followed on, what a band! According to security, Jaks had a capacity 750 punters inside and people queueing outside. From the opener When I Get Drunk, writer unknown, they had the crowd in the

SHOWTIME

The BM! Round-up Of live blues

palm of their hands. Charismatic leader Ed Stephenson is a true find, whether it be on guitar, keyboards or harp, along with his vocals, you wonder where has he been hiding? His band are no shrinking violets either, with Rich on double bass, powerhouse Gary on sax and Mark on drums, they make a formidable force. Strictly speaking it was a jump jive set, consisting of many blues covers, but performed in such an infectious manner, it was pure heaven on earth. The way Ed seamlessly swapped from guitar to keyboards (Down The Road Apiece, I'm Ready and Tonight The Bottle Let Me Down) to harp (their own Eddie Boys Jump) was a real feature. A hard act to follow? Gerry Jablonski would have none of it. With his Electric Band , Peter on harp, Grigor on bass and new boy Lewis on drums, the Aberdonians took full control from the opening Fork Fed Dog from their new Trouble With The

Blues album. A particularly poignant moment was the song dedicated to late drummer Dave Innes, Anybody, with its spoken introduction by Lewis and a few bars of Amazing Grace from Peter in the middle - hair standing on nape of neck time! Throughout the whole set, it became apparent as to why this band is such an attraction live, thoroughly professional and polished are two adjectives that spring to mind.

Saturday afternoon, by tradition is given over to Gary Bonner and Roadhouse, who, after a warm-up set, hand the stage over for the jam session. This proved as popular as ever both for musos and punters alike, enabling me to take a back seat! So onto Saturday evening and another first for me, the wonderful LaVendore Rogue, formed after the demise of Hokie Joint. From the opening Gangsters, Thieves & Villains, the audience was hooked. What a

Jo Jo Burgess of LaVendore Rogue by Christine Moore

charismatic front man Jo Jo Burgess is. Mind you the rest of the band are no slouches, stalwarts Joel Fisk on guitar, Stephen 'Cupsey' Cutmore on drums are joined by Rob 'Tank' Barry on bass and Warren Lynn on keyboards. With a mixture of Hokie material and tracks from the new Light Up With....CD the time fair flew by, everything they did was original and riveting, I find it impossible to single out any one track for special praise. Mind you, the only cover Warren Zeavon's Play It All Night Long was very apt. Also, the audience deserves a pat on the back, coughing up, as they did, over £400 cash into a strategically placed bucket to go towards Jo Jo's daughter in need of expensive surgery in the States, well done. To be fair, it was going to be difficult to follow such a performance, that task fell to Sunderland's George Shovlin & The Radars, with their traditional blues. Accompanying George's acoustic guitar and vocals, special mention has to go to electric guitarist George Lamb, but in all honesty the set fell a

little flat. George stuck to his reputation of talking a lot, which is fine in the right context, but not on a Saturday night in Jaks. To close there was a return by The Little Devils, or was it? To be fair from the outset former front lady and multi-instrumentalist Yoka and guitarist husband Big Ray are no longer with the band. Mags, a member of the London Gospel Choir and former Skinny Molly guitarist Chris Walker are the newbies, leaving songwriter, bassist and occasional vocalist Graeme Wheatley and Sara on drums as the only original members. Having enjoyed Little Devils previously on Jaks, it felt more than a little strange to hear the reconstituted band perform the same material. With the addition of Chris on guitar, there's certainly more of a southern rock feel to the soloing. Also I have to admit I missed the sax and flute from previously. Don't get me wrong, the band is good at what they do and will, I'm sure, appeal to a new audience.

Sunday lunch time is acoustic time, starting with Manchester's Soft Shoe Sam, who gave a great

display of his Dobro and various associated instruments, due to a family bereavement, Al Hughes cancelled at the last minute, but George and George from last nights' George Shovlin Band stepped into the breach at short notice and produced an excellent set. But for me, the stars of the afternoon were Swansea's Rumblestrutters. Like a few bands over the weekend, they experienced sound problems and instead of toys being thrown from a pram, they decamped to the floor and carried on their set, as they said, just like the old days. Their brand of jug-band music was a breath of fresh air, coupled with their youthful exuberance, made a hell of an impression. So, onwards and upwards to Sunday's closing session: Roadhouse filled their traditional opening slot and delivered their usual brand of southern rock/ blues. They include at least three tracks from their upcoming CD, Queen Of The Mountain, featuring Sarah's emotional vocals, Mandy G on Midnight Mountain and Garry on Turn Your Faces To The Wind. The rest of the set-list is made up of the live staples, Telling Lies, Dark Angel, Blues Highway, Roadhouse Blues (on which Nick Garner guested on harp) and the closing Preacher Man. They left the stage to rapturous applause as is usual. Next up and making their debut on Jaks, were The Mighty Boss Cats from Essex. Led by the enigmatic Richard Townend on vocals and guitar, they proved to be a very tight group of musicians. Their set is very mellow, material drawn from many years in the business, be it Richard's own experiences or those of others. To be fair I could have listened to this band all night, but their hour and a half just flew by, I couldn't pick out any favourite tracks, it all gelled together a treat. All that and I didn't mention that Richard and Mark Knopfler must have been separated at birth! The final act really tested the mettle of the sound crew, being the ten-piece Dove & Boweevil Band from Norwich. Counting up, they

Aynsley Lister by Liz Aiken

had two keyboard players, two piece horn section, drummer, bassist, Mark 'Boweevil' Howes himself on guitar, Lauren Dove on vocals, ably assisted by two girls on backing vocals. Each member proved to be proficient at their particular instrument, great soloing on mostly original material. Lauren certainly has a voice suited to the blues, roots, Americana that they switch onto seamlessly. Their energy is amazing and contagious, as they swept through their set, catching the late arrivals from the other two stages, which finish before us. It's easy to see how this band went down a storm in the States, catch them if you can. So, onwards and upwards, see you all next year. CLIVE RAWLINGS

THE GREAT BRITISH ROCK & BLUES FESTIVAL BUTLIN’S SKEGNESS

22ND – 24TH JANUARY 2016

Eight pm, the centre stage curtain rose to Rebecca Downes and her band, the winners of Introducing stage 2015. Full of smiles and confidence her silvertoned voice was polished with power and style, Rebecca connected with the crowd and they loved it. Her own self-penned numbers created a vibe that will become recognisable as the Downes way. From this performance the only way is up for Rebecca and her band with a new album due very soon. Off to Reds for some Rock from House of X, for X replace have played for UFO. Added to UFO memory lane with their own No More Tequila with the good vibes of a UFO number. We are now rocking at Butlin’s 2016! FM plays stonking rock, with keyboards adding another dimension. This is a band on form tonight and playing all their favourites. Now for a quick jaunt across to Centre Stage for some Texan blues smooth and delivered with a smile as ever by the genial Eugene ‘Hideaway’ Bridges. Eugene treated us to some glorious clean-cut Louisiana blues. The first authentic blues sound of the weekend, and filled the stage and across the auditorium, the feet

were tapping and the crowds smiled with the joy of the blues vibe. As the notes died away the curtains closed and blues lovers sighed with collective delights. Up next was blues with a modern twist driven by the beautiful blues-harp from Giles Robson. Giles Robson and The Dirty Aces. He is one of only a handful of genuine lead-harp players around, as proved on every tune played. His specialisms is the high notes on the harp, leaping the octaves and shaping the notes. His vocals are laid back and rich, contrasting with the sharp harp. The Mighty Incinerator was as ever a highlight and then the train sounds he produces from the harmonica is a blues-man equivalent of a magician pulling the rabbit out of a hat a party trick that always delights. Saturday’s music chain started with a celebration of the alto sax and a jazzy feel. A laid back journey through the life of Snake Davies and his alto saxophone. Opening with Gerry Rafferty’s Baker Street the tone was set. We had a vast selection of tunes some pop, some soul and a dollop of Jazz suiting the Saturday afternoon. With sax solos ringing in my ear the worm was slaughtered by Manfred Mann’s Earth Band. What

a set and many agreed as they left singing the songs they had heard. With the inevitable encore Mighty Quinn and the singalong was loud and enthusiastic. Then on Centre Stage was The Stumble one of the ultimate festival bands raising the tempo and getting you on your dancing feet. The Stumble are a top-notch R‘n’B band with the vibe and energy of a rocking and rollicking good time. They are one of the best bluesy live bands around. Paul ‘The Voice’ Melville is up front, his vocals are one-hundred percent spot-on. The warmth, emotional shading and the curl of the tones around the band just work perfectly. The Stumble walk tall with blues attitude. Then a complete contrast over at Reds with the Crazy World of Arthur Brown: The world according to Arthurs is different, made up with every colour in the paint box his head being a focal point. A legend of the British Rock scene of the 60’s & 70’s. He is still as energetic and wild as ever, the voice isn’t quite what it once was but the energy and showmanship made up for that in spades. The majority of the crowd were re-living their youth, a quality rocking and just what Skeggy needed on a Saturday afternoon.

The Della Grants by Liz Aiken

The flamenco dancer was superb and difference is always exciting. Saturday night and the comeback of the year was Sean Webster on Centre Stage, now a four-piece band with a double helping of guitars. What a powerhouse of controlled blues. Sean’s vocals are as pure as ever and the interchanging between the guitarists added a depth of tone and interest. There were helpings of clean and dirty guitar sounds and layers of sound and textures. Sean captivated and enthralled with his version of I’d Rather Go Blind and when Aynsley Lister joined him the jam was a delight. More of this entertaining British R‘n’B please. Otis was late on stage and his arrogance won few fans. What I heard, this is blues merging towards jazz and the guitar lead breaks were far too long! Hawkwind over on REDS didn’t disappoint in delivering Space Rock. Then the mighty guitar of Aynsley Lister, with old favourites and some sneak previews of new tracks. His version of

Purple Rain was as ever a superlative rendition, the guitar playing is immense. His many fans were as delighted as Aynsley was to be on a main stage at a rocking Butlin’s weekend. With the last notes dying away it was an end of some excellent music, good music and acts that just didn’t rock my boat. Back to the Church of live music on Sunday with Babajack back on at REDS after raising the roof last year with their unique talented re-working of blues & roots music. Babajack are special they refuse to be pigeon-holed into any genre they just play the music they love. Opening as a duo, Becky & Trevor fill the auditorium with deep chords and zinging energy that ignites with Hammer & Tongs. Then the tempo rises with an additional rhythm section Tosh on drums and Adam on bass. Gallows Pole a British folk tune travelled to be reinterpreted by Leadbelly then back again for a Zep rock number. Now it is Babajack! Once again winning new fans

and there were a few if the length of the queue at the merch desk is a measure. While Tygers of Pantang rocked REDS the scene and feel on Centre stage was very different. It was the jazz zone. Crowds were dancing smiling and delighted to be basking in the sound waves of Courtney Pine’s saxophone. Sunday evening and first up were a smiling and delighted The Della Grants on Centre stage as a result of success on the Introducing Stage in 2015. They stepped up, smiled and played their socks off. The Della Grants loved being on the big stage and the audience loved hearing them, hence the huge queue to buy the EP launched tonight. They opened with Lay My Head a harp driven ditty delivered with confidence and charisma. Joined by Steve Walwyn, guitarist from Dr Feelgood for Red Mist finishing the set in style. The atmosphere was electric what a thoroughbred R‘n’B start to the evening. Dr Feelgood, they are back again, Why? They deliver and are popular as people danced, sang along and had pure festival fun. Closing acts of the weekend were as diverse as the whole weekend. Reds had quirky Willie and The Bandits, a set full of drama and interest. The lyrics were strong and the music was full of textures and tonal shapes, with a mix of electric and acoustic instruments. Their version of Black Magic Woman was spellbinding. Whilst on Centre stage it was harp and Paul Lamb and The King Snakes. They produced a set that always works, the venue was packed and Paul’s harp curled around the stage and beyond. Like the Feelgoods, and Nine Below Zero they will always draw the crowds and have a loyal following. Why? It is quality blues that just leaves you with a smile on your face and spring in your step and the beat of music pulsing through your veins.

LIZ AIKEN

SKEGNESS INTRODUCING STAGE

The Introducing stage at Skegness is still a relatively new addition to this long established UK Rock Blues Festival. Held in the rather cavernous

Ben of the Rainbreakers by Christine Moore

main food and meeting area, it has proved an interesting sideshow for the music hungry crowds in the time gaps between events at the three major venues. An added incentive now is that a daily vote secures a place on the Main Stage for the act most public votes.

That distinction on day one went to Basingstokes finest, Sugarman Sam & The Voodoo Men. Their tasteful retro 60s/70’s brand of blues rock winning them many new friends and taking the prize ahead of probably better known acts, Black Circles, The Blue Horizon and emerging London based Trident Waters.

Saturday saw probably the strongest line up with opener (again) The Texas Flood. They were the rockiest band and obviously appealed with their classic three piece rock sound as exemplified by tracks like Worth The Whisky. Tom Williams (drums) Tom Bradford (guitar, vox) and Ben Govier (bass, vox) maintaining the hard rocking South Wales traditions. To gain more votes than the amazing Luke Docherty Band, superb vocalist Wily Bo Walker and the stunning Catfish took some doing. Personally Catfish with the father and son combination of Matt and Paul Long supplying Guitar, keys and vocals between them, ably backed by a rhythm section of Dusty Bones and Kevin Yates were my favourites. The new EP When B.B. Sings The Blues providing much of what was a more pure blues set.

Sunday and yet again first band on, this time The Rainbreakers, come out on top of the voting. They are a band I have supported since they first emerged on the scene. I love their exciting blend of blues, rock and soul all the way from the Shropshire Delta. The wonderful Voodoo Sheiks delivered a high energy rhythm and blues filled set as always, these boys never disappoint. In the face of such outstanding competition the Brian Rawson Band and These Wicked Rivers always had an uphill task but both delivered vibrant classy sets

proving that despite rumours to the contrary the future of UK blues is as diverse and energised as ever.

STEVE YOURGLIVCH

BLUES ON THE FARM PUMP BOTTOM FARM CHICHESTER

18TH TO 21ST JUNE 2015

Remember the wonderful summer we had last year? Well, one of the highlights for me was our yearly trip

to Blues on the Farm (a cider farm) in Chichester, on the south coast. The weather was truly beautiful over the four days of the festival and complimented the music to a tee! The atmosphere was also intoxicating right from the start.

We arrived and set up our Blues Matters road show stand by the face painting stall and we were thoroughly entertained by Heather and Georgina as they painted and brightened up

Kaz Hawkins by Christine Moore

festival goers faces. Other nearby stalls to explore over the weekend were selling everything from hats, clothes, jewellery, sweets, donuts, hog roast, curry and fish and chips, there was also a great real ale marquee.

For those seeking nearby accommodation there are camping facilities situated in the field next to the festival which provide good basic facilities and are ideal for those wishing to bring along their tent, caravan or motorhome. Just a couple of miles along the road there are even better camping sites with full facilities if you like something more than just the basics. You can also find great B&B’s as well as a Premier Inn within 1 to 5 miles from the festival, should the outdoor life not be for you.

Opening the festival on Thursday were two fantastic soul bands from the past. First up was Kokomo with Neil Hubbard on guitar and Frank Collins singing, arranging and laying down some awesome soul funk, making sure that the bands repertoire is as fresh today as it was in their 1970’s heyday. The Hamish Stuart Band also on the bill for the evening gave a wonderful performance that also stirred memories from the past. Nostalgia was the adage for the evening, ensuring a great start to the weekend.

Friday: For me this was a greatly programmed evening! Owen & The Mockingbirds who were new to me and the first band on, got the proceedings started. The Mockingbirds joined Owen in 2014 following on from his lengthy career as a solo artist. Stark were up next, a new band on the scene and fresh from gaining music degrees. Their sound is influenced with arrangements from Robert Johnson and Son House numbers as well as their own originals. Stark’s sound is a mixture of old and new blues from both the UK and USA. Their line-up consists of Jamie Francis on guitar and vocals, Josh Franklin on Bass and Evan Carson on drums, a truly refreshing change from some other trios currently on the scene. Back for the second year running, after

taking last year’s festival by storm were The Jar Family. Hailing from Hartlepool in the North East these guys are definite crowd pleasers. Their sound is described as being industrial folk with a strong blues influence throughout all of their original material. These guys are a band to see, they could raise a party in a small bar room or give a festival performance to remember! Layla Zoe described as Canada’s Janis Joplin has been someone I’ve been keen to see for many years. Luckily, I had the pleasure of catching her perform last year so I was eager to see her again and I’m pleased to say she did not disappoint. This lady has an explosive stage presence and certainly knows how to work the stage! Hugh Coltman, Jon Amor, Jesse Davey and Robin Dave, aka The Hoax played next and

still have a very loyal following and are always welcome at any gathering. Despite only coming together every couple of years or so these guys can still sell out venues, they treated their crowd here to a good old dose of the blues from some of their obvious blues favourites. Mud Morganfield (US) then rounded the day off with his enigmatic persona, this man sounds more and more like his father the great Muddy Waters every time I see him. His band are a class act on their own who start off the show with Wes Western on harp setting the stage for the grand entrance of Mud himself, star quality.

Saturday: This was definitely a rocking blues day starting with The Flying Tigers who have been playing Rhythm ‘n’ Blues since 1982 and they know how to do it. Then Idlewood a

Layla Zoe by by Christine Moore

four piece rock band described as alt-rock taking influences from grunge, classic blues, rock and American punk. Following this we had a change of pace with one of the most entertaining front men in the business, Ricky Cool And The In Crowd who soon had the audience jiving and gyrating with songs from the 1950’s and 60’s. Next we were treated to Sam Kelly’s Station House with some soul, jazz, calypso and reggae. Ben Poole one of the new generations of powerhouse trios showed us exactly why he has an ever increasing fan base. You can rarely go wrong though with Mat Beable on bass and Craig Bacon on drums keeping the engine running for him as they do for many other bands. Another eagerly anticipated band that I was looking forward to seeing was Kaz Hawkins & Her Band of Men from Ireland. My anticipation was rewarded with a powerful set of blues, delivered by a singer songwriter who has emerged from her underground secret song writing to blossom and take the blues scene by storm. Proving you can’t keep a good woman down. The Jive Aces closed the day with a stonking set of hot jive, full of energy and enthusiastic rock and roll fun.

Sunday: People often ask me what this festival is like and I always describe it as being very family friendly. I see lots of different people of all ages, from babes in arms to teens and older folk. Sunday is an incredibly laid back day with the music often described as being world music. The day begun with Sam Kelly running a drum workshop for anyone with an interest in drumming or wanted to listen or try it out. Music in earnest began with Malaya Blue a rising artist on the scene who has been working hard to hone her craft, making a mark in every area of the UK this year, collecting plaudits and awards along the way. No prizes for guessing the musical feast from the next band, The Cajun Roosters they gave us exactly what it says on the tin with a trip through their Cajun, Zydeco and Swamp Blues, with

Louisiana Rock ‘n’ Roll, Creole and New Orleans beats. Rodney Branigan & John Pointer then gave a lesson in virtuoso guitar playing with Rodney playing two guitars at the same time which always astounds any new fans in the audience. The tempo was then raised by the remaining acts of the weekend. Champion Doug Veitch is back after a 30 year gap and with his big band, including horn section; they were blowing a mix of Cajun, mariachi, reggae and western swing, it certainly stirred the crowd. Brilleaux next, an R&B outfit who travelled all the way from New Zealand to show us that the spirit of British R&B is very much alive in the southern hemisphere. My guess is we’ll be seeing them again. And finally, the last performance from a wonderful weekend came from the Brothers Groove, aptly named with their brother like friendship, camaraderie and superb musicianship, blending all of their influences together into great big grooves. This band has been around for a couple of years now and is quickly gaining a great reputation on the scene. The festival drew to a close with a happy but weary crowd discussing how it would be hard to improve on for following years, especially with the weather which was fantastic all weekend.

This festival is always one of my favourites, so make sure you put June 16th to 19th in your diary for 2016!

CHRISTINE MOORE

PAUL JONES & DAVE KELLY CELTIC CONNECTIONS FESTIVAL, GLASGOW

JANUARY 21, 2016

Celtic Connections is easily one of - if not The - most important roots music festivals in Europe, and maybe even the planet. With around 2000 artists, most tastes are catered for, though Americana and folk material tends to dominate these days. A few years back blues had a more prominent place but this seems to be slipping at times from the frontline thinking. Having said that, this year's event

included the usual, great-fun, roistering eclectic flourishes of Scotland's very own Dave Acari - a guy guaranteed to bring a smile to most faces while reaching for the ear-protectors as he hammers Hell out of his old resonator guitar. Another Scot, harp-man Frazer Spiers was also present and from the USA the inimitable Lucinda Williams crossed genres easily with her take on modern Americana-cum-blues offering tracks including Protection and West Memphis from her last album Down Where The Spirit Meets The Bone. Kris Kristofersson also added his Nashville-inspired weight with a throaty, croaky set including his revered standards Me And Bobby McGhee and Help Me Make It Through The Night. Robert Plant was also in the line-up, but I managed to miss him, yet again. He does nothing for me these days, I fear. Something that can't be said of the storming set produced by two of the UK's true blues veterans, Paul Jones and Dave Kelly. These guys kicked up a positive storm, with a set that highlighted their absolute conviction and confidence with the material - much of which they've been playing for the past thirty years or more. Tracks included San Francisco Bay Blues and Crossroads; together with their usual, encyclopaedic asides about life on the road and the many greats they encountered along the way. Anecdotes aside, this pair deserve knighthoods for their loyalty and command of the material they clearly love so much. Definitely one of the best gigs of the festival, they made it all look so easy. And the packed to capacity hall, roared its agreement willing them to stay on-stage way beyond their allotted time. Chatting to them just before the gig, Jones quipped to Kelly that they'd have to raise their game for the night because Blues Matters might be reviewing the set. Frankly, it would be near-impossible for these guys to manage that. They are already playing at the very top of the blues tree.

IAIN PATIENCE

LEADBELLY FESTIVAL CARNEGIE HALL NEW YORK CITY

FEB 4 2016

‘BLUES FROM THE BALCONY’

The Lead Belly fest is on the move and Carnegie Hall was the next obvious stop after a sold out Royal Albert Hall in September, Carnegie being the last venue that Lead Belly played in 1949. With more than 20 musicians on the program, this was going to be a special night of traditional, folk and blues. I headed upstairs to find my seat, but man, I sure didn’t expect to be so far

from the stage. The view from the balcony wasn’t great, but who cares, I was there to hear some blues, not to see them. Surrounded by fellow music lovers, everyone knew this was going to be a special night. The show began with a few of Lead Belly’s traditional 12-string songs performed by Nick Moss and Michael Ledbetter. Lead Belly wrote many of the early protest songs, long before Tom Dooley, and his Bourgeoise Blues was perfectly covered by Guy Davis. The real blues began when Laurence Jones stepped

on stage, looking quite sharp, sounding even better, he was a real eye-opener. Dana Fuchs closed the first half of the proceedings with an emotional rendition of Gallows Pole. Given the power of the song, Dana’s beautiful voice goes from angelic to a frantic growl as the song progresses. Dana was the highlight of the night for me. After the intermission the multi-media program found its groove, with one blues great following the next in rapid succession. Edgar Winter bringing his effervescent southern charm to the stage covering Tobacco Road, Walter Trout was unrestrained in his joyful exuberance, knowing he’s playing with house money these days. Eric Burton did a great version of In The Pines and then an easy on the vocal chords rap version of House Of The Rising Sun. Sari Schoor filled the room with her hybrid operatic bluesy voice doing a mystical version of Black Betty, “bam da lam” is meant to simulate the sound of the ax hitting wood, nothing comes close to the sound of Sari’s voice soaring up to the balcony. Kenny Wayne Sheppard was great, playing with an awesome tone that filled the hall. The evening ended with Buddy Guy, a living legend, taking over. On a night that had swung from museumtype performances to screaming guitars, Buddy was icing on the cake, we wanted the show to go on much longer, but it was over after a few songs. No Good Night Irene, it just ended, leaving us all wanting more, but 4 hours of celebration was all we were getting tonight. The next stop will be Nashville, at the Grand ‘Ol Opry.

ERIC BAKER

CONCERTS

CHRISTINE TOBIN

LICHFIELD GARRICK

13TH JANUARY 2016

In the first of a new series of live jazz gigs at the Lichfield Garrick, the Irish singer Christine Tobin held the intimate space of the Studio spellbound as she delivered a set

Buddy Guy by Arnie Goodman

that was largely taken from the back catalogue of Leonard Cohen, but which also managed to find some space for a couple of jazz standards.

With a minimalist band of guitarist Phil Robson and double bassist Dave Whitford, the quality of both Christine Tobin’s voice, and the strength of Cohen’s songs could be heard in a new light. Although sticking to some of the Canadian musician’s best known work, there was also space for some of his lesser known gems, whilst the concert was started by a fine reading of Joni Mitchell’s The Priest, with the two musicians navigating the complicated arrangement with panache, whilst the slower Dance Me To The End Of Love took on a slower, more brooding atmosphere than many performers give this song.

The main strengths of Leonard Cohen’s songs are in the story-telling, and the narrative, and although his voice is distinctive, Tobin’s more colourful, and higher voice also added a new dimension to songs, so Old Blue Raincoat and That’s No Way To Say Goodbye where delivered with more vigour than perhaps could have been the case, whilst the inventive soling of both Phil Robson and Dave Whitford added more colour, particularly in the improvised bass vamp that introduced a slightly poppier version of Tower of Song, although the most startling re-invention was saved for the concert close, Susanne, which was delivered with an almost reggae like, sun dappled feel.

BEN MACNAIR

HARPIN' BY THE SEA BRIGHTON 2016

On Saturday February 6, in a very windy Brighton, at The Brunswick Arms, I attended my first Harpin' by the Sea event. This was the sixth year running for the one day harmonica fest. Previous years have seen such distinguished luminaries as Joe Filisko and Steve Baker. 2016 was dubbed the 'future of the harmonica' with workshops on

harmonica looping. I went along, wondering whether the future looks bright for the world of harmonica.

The workshops leaders were Dave Ferguson, flown especially in from South Africa. Dave used to live in London where he met another of the workshop leaders, Canadian Benjamin Darvill (aka Son of Dave), who started Dave Ferguson on the path to harmonica looping (I don't think they're related!) The final workshop leader was Mat Bezants, who delivered a more traditional blues harmonica style.

The event was split into two parts, daytime saw three workshops for the three streamed levels of ability: beginner, intermediate and advanced. One of the scheduled workshop leaders took ill, so Dave Ferguson ably stepped into the breach to cover. I attended both of Dave's workshops. In the first of which he shared his extensive technical knowledge of microphones and amplifiers, before showing us the guts of the harmonica with some embossing and reed gaping. Dave's second workshop focused on his approach to looping and the use of his various pedals to create some out-of-this-world effects. He demonstrated how he builds up layers of sound using the harmonica and some vocal effects, including beat-boxing drum patterns.

The final workshop of the day brought all of the many attendees together to witness Son of Dave provide a masterclass on his looping style. By his own admission, Son of Dave delivers some caustic sarcasm, all part of his enigmatic and satirical stage presence. We were all left wondering quite what he would provide to us in the evening concert. Mat Bezants provided the intermediate workshops on some fundamental harmonica playing techniques, from which I heard good reports from my friend Harry.

So on to the evening concert. Which certainly didn't disappoint. Dave Ferguson opened proceedings with a rousing set and some supersonic

sounds. Mat Bezants brought us back to earth, playing some excellent traditional blues harmonica with his musical accomplice Adam Franklin. These guys played a storming set, showing there is still a place for oldstyle harmonica against all this hightech competition. Son of Dave topped the bill. What a show! He knows how to entertain and how to draw the audience into his idiosyncratic universe. The amount of energy and drive he delivered in a one man show was quite astonishing. During his workshop earlier he said he doesn't practise the harmonica. He did himself an injustice. The harmonica is central to his show and he uses it to great effect. The audience was spellbound throughout.

So what did the Harpin' by the Sea event bring me? It certainly opened my eyes to the possibilities of looping and effects pedals. A lot of harmonica players, myself included, tend to shy away from such modern interference, favouring a more traditional approach to the beloved tin sandwich. I don't currently see myself going down the path of solo looping performing, but the use of pedals and other such technical wizardry are becoming an essential part of many musicians armoury in the twenty first century. Now, just on to eBay to buy more gear...

Plaudits must go to organisers Stuart McKay and Richard Taylor (see http://www.harpsurgery.com). A tremendous job, with some quality MC-ing during the concert by Richard.

Stuart and Richard promised some surprises for next year’s Harpin' by the Sea event. On this year’s evidence the only problem I can is how they will fit everyone into the packed venue The Brunswick Arms.

Harpin' by the Sea is the first of numerous harmonica events run by NHL members in the UK in 2016. Next up is the well-established Chromatic Weekend in Birmingham at the June 25-26. Blue Saturday in Bucks on July 9. The Edinburgh Harmonica Workshops, including tutor Adam Gussow, July 22-24.

Culminating with Harmonica 2016 in Bristol on October 28-30. See http:// www.harmonica.co.uk/diary.htm for full details and even more events.

NEIL WARREN

LAURENCE JONES COOLHAM LIVE MUSIC CLUB

9 JANUARY 2016

Coolham Live Music Club started 2016 with a bang. Supported by Dave Migden and Joe Gibson, Laurence Jones took to the stage for his first gig of 2016 and one of only 3 UK gigs before he sets off for Europe and America. The club was packed full of

Coolham diehards and Laurence Jones fans we were all treated to 90 minutes of superb blues rock and with both fast riffs and melodic solo’s. With Roger Inness on bass and Miri Miettinen on drums, Laurence started as he meant to go on with an upbeat and rocky Touch Your Moonlight. The audience were immediately pumped up, giving him a traditional Coolham welcome. Moving on to, Don’t Need No Reason and Thunder In The Sky, It wasn’t long before the audience were whooping and hollerin’ in appreciation. A highlight was an 11 minute jam based on All Along the Watchtower which included excerpts from Stairway to

Heaven and some blistering solo’s showing his mastery of the guitar. Soul Swamp River is a great number with a delicate finger picking solo, written by Laurence whilst recording in Louisiana with Mike Zito. Returning to the high energy blues we love him for Laurence had the audience singing along to one of his classics Fall From The Sky which ended the set to a standing ovation and lots of banging on the tables for an encore. We weren’t disappointed when the band returned to the stage with Wind Me Up, ending with Every Day I Have The Blues. Laurence is a superb performer, a master of the guitar and a great vocalist so if you haven’t seen him you really must.

GRAHAM HUTTON

THE HEADCUTTERS –MUDDY WATERS TRIBUTE THE

CUMBERLAND

29 JANUARY 2016

ARMS

It was a night of celebration, and a project that worked. Two of the best North East blues bands amalgamated for a special night to honour the memory of a blues titan. All the members of Struggle Buggy - Lee Bates guitar/vocals, Billy Newton harp/ vocals, Paul Summerson - bass, & Keith Smith drums, joined King Bees musicians, Michael Littlefield - guitar/ vocals., Scott Taylor harp/vocals., and Dominic Hornsby - piano.

First we were treated to Jim Murray and Rob Mason, the support act, but rather a contradiction in terms as they are so talented. They supplied their stamp on early blues, certainly eclectic favourites of theirs, via guitar and harp, both sharing the vocals.

The Headcutters are a generational meld, a veteran band and young band fusion, The King Bees being the Young Turks. They reeled out cover after cover, hits and lesser known tunes associated with Muddy, all performed with enthusiasm, obvious joy and musicianship. The individual soloing, along with several vocal duties, greatly added to the variation we enjoyed. The place was

Laurence Jones Band by Graham Hutton

packed, and there was a rapturously appreciative audience on a cold & windy ebbing January night. I am sure Mr. Morganfield was looking down with that cute grin on his face sipping a glass of champagne. Hell yeah, the blues is alive, the blues is alright!

BILLY HUTCHINSON

RICHARD TOWNEND & THE MIGHTY BOSSCATS 24TH GREAT BRITISH ROCK & BLUES FESTIVAL WEEKEND BUTLINS SKEGNESS

JANUARY 2016

The final Sunday evening at the Butlin’s, Skegness, Great British Rock and Blues Festival is a smorgasbord of choice for the weekend's music revellers - and potentially a big worry for all the competing acts.

This could have proved to be the case on Sunday 24th January when Richard Townend and The Mighty BossCats took to the stage on the Blues Matters Stage in Jaks Bar at 10.15pm. Faced with some pretty tough competition from music heavyweights Dr Feelgood on the

filled to capacity Centre Stage and Martin Turner’s Wishbone Ash on the Reds Rock Stage. But despite being in competition with what must be argued as two of the finest proponents of blues tinged Rock - they held their own keeping a tight-knit crowd of enthusiastic blues fans captivated and entertained for an hour and a half.

Richard and the Mighty BossCats (which is Richard Townend on Guitar and Vocals; Phil Pawsey on Keys, Harp & backing vocals; Phil Wilson on Bass & backing vocals and Glen Buck on Drums) have been enjoying a great deal of well earned respect recently following the release of their widely acclaimed album Bossman which was number one in the IBBA charts at Christmas.

The band really hit the stage with a bang with an aptly titled number The Devil Inside before pushing on with Fault Line and Elvis Coming Home. The *title track from the current album BOSSMAN was a delight to watch and listen to - showcasing the amassed talent that the band bring to the stage.

Blistering guitar work is something

that Richard is well known for - but that evening he seemed to find a new level completely. Adding to his Knopfler esque phrasing, there were nods to the blues greats Stevie Ray Vaughan, BB King and Eric Clapton - particularly during Candy Man which starts off with drummer Glen Buck laying down some John Bonham, Led Zeppelin style flavours whilst the driving rhythm is delivered by Phil Wilson’s bass and Phil Pawsey’s harp and keys combination.

There was a tangible ‘feel-good’ factor that evening (not Dr Feelgood they were on a different stage) - the audience responded by taking to the floor and show-off some of their own moves dancing the night-away, proof of a band getting it just right.

The Mighty BossCats put on a show to be proud of - not fazed by the competition on the other stages, they gave the audience a show to remember. It was a performance that they should be proud of and was a great way to end the festivities of the 2016 Great British Rock and Blues Festival - long may it continue.

KEITH BLUNDY

Willy Newton by Billy Hutchinson

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