Blues Matters 91 by bluesmatters.com

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BUTLINS PROUDLY PRESENTS

THE GREAT BRITISH ROCK & BLUES FESTIVAL 20 - 23 JANUARY 2017, BUTLIN’S SKEGNESS

THE BLUES MATTERS! STAGE AT JAKS FRIDAY NIGHT:

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SA I I CHI 2 01 6 15.07 18.07 20.08

U K

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THE FORUM

DARLINGTON (SUPPORTING TERRY SLESSER)

WATER RATS

LONDON (TERRY SLESSER)

WEYFEST

FA R N H A M , S U R R E Y

11.09 DARLINGTON R&B FESTIVAL DARLINGTON

16.09 WROTHAM ARMS B R O A D S TA I R S

20.09 ROBIN 2

BILSTON (SUPPORTING JOSH SMITH)

2 2 . 0 9 ALDRIDGE THEATRE FA R N H A M , S U R R E Y

23.09 THE BORDERLINE

LONDON (SUPPORTING KIRK FLETCHER)

24.09 ARLINGTON ARTS CENTRE NEWBURY (JOSH SMITH)

25.09 THE MUSICIAN

LEICESTER (JOSH SMITH)

27.09 THE IRON ROAD

B AN D “There is no doubt he is a virtuoso guitar p l a y e r. T h e band’s arrangements are energetic & laid back & it is easy to see why Saiichi is gaining more recognition.” BLUES IN THE SOUTH

“The performances are very good, particularly Saiichi Sugiyama and the singer Rietta Austin, who are both superb throughout” M U S I C R I O T. C O M

EVESHAM (KIRK FLETCHER)

29.09 HEREFORD BLUES CLUB HEREFORD (KIRK FLETCHER)

01.10 BLUES IN THE CITY CHELMSFORD

03.10 JOHN PEEL CENTRE S T O W M A R K E T, S U F F O R K

N E W S I N G L E • M E LT I N G AWAY F E A T U R I N G A N D Y F R A S E R O U T N O W O N C D A N D D I G I TA L D O W N L O A D S A I I C H I S U G I YA M A B A N D . C O M

WELCOME Welcome to your copy of Blues Matters! No.91……on the way to the 100 now! Changes have been taking place between issues and you will now see our new website courtesy of our new web manager Ian Case, welcome to the BM family Ian. Our thanks go to Simon Dring for his service and we hope that his new daughter will begin to allow himself and his wife some sleep soon. The new, exciting Blues Matters website launched on 22nd July, we also learned that WH Smith are doing an in store promotion on your favourite Blues magazine on this very issue . The handover of Subscription Management to Warner Subscription Management has settled down now and proving a good move. Our Steve Yourglivch has eased back to being a part of our reviewer team. His work load since he became Malaya Blue’s manager has increased and not left him the time to dedicate to his former ‘editorial’ role. He is doing a fine job for Malaya. We have new Social Media focus now with Mairi Maclennan joining our team and a growing synchronicity in that and the web areas to further build upon for our work for the Blues. On a sad footnote we see that Classic Rock’s blues title has now ceased to publish. We all do what we do for The Blues… because it matters!... and that is why we have our title! – says it all doesn’t it. About SUBSCRIPTIONS – subscription handling is now by Warner Subscription Services who have taken this role over. You will get regular follow ups on renewals, a dedicated contact number for you to speak with who will handle all matters on subscriptions, renewals, individual copy orders etc. and even be able to set up Direct Debits so you don’t forget to renew. The unique subscription number for Blues Matters is 01778 392082 where you will be dealt with in our usual friendly manner. There will be other info/changes on our web site that will transfer you to Warners but if in doubt call us at HQ... now enjoy your issue.

BLUES MATTERS! | 5

BLUES MATTERS! PO Box 18, Bridgend, CF33 6YW. UK Tel: 00-44-(0)1656-745628 Opening Hours: Mon-Fri 11am-4pm FOUNDER/PUBLISHER/EDITOR IN CHIEF Alan Pearce: alan@bluesmatters.com EDITOR/INTERVIEWS/CD/DVD/BOOKS/GIGS/ FESTIVALS/BLUE BLOOD/SOCIAL MEDIA Christine Moore christine@bluesmatters.com SOCIAL MEDIA/PR/MARKETING Mairi Maclennan marketing-PR@bluesmatters.com FEATURES Iain Patience - through Christine Moore christine@bluesmatters.com NEWS Clive Rawlings newshound@bluesmatters.com

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Website – http://www.bluesmatters.com/ Instagram – https://www.instagram.com/bluesmattersmagazine Facebook – https://www.facebook.com/bluesmattersmagazine/ Twitter – https:// www.twitter.com/bluesmattersmag Printed by Pensord Distributed by Warners CONTRIBUTING WRITERS Liz Aiken, Roy Bainton, Eric Baker (USA), 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 (SP), 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 Sari Schorr by Rob Blackham, Tommy Castro by Victoria Smith, Ben Harper by Danny Clinch © 2016 Blues Matters! Original material in this magazine is © the authors. Reproduction may only be made with prior Editor consent and provided that acknowledgement is given of source and copy sent to the editorial address. Care is taken to ensure contents of this magazine are accurate but the publishers do not accept any responsibility for errors that may occur or views expressed editorially. All rights reserved. No parts of this magazine may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying recording or otherwise without prior permission of the editor. Submissions: Readers are invited to submit articles, letters and photographs for publication. The publishers reserve the right to amend any submissions and cannot accept responsibility for loss or damage. Please note: Once submitted material becomes the intellectual property of Blues Matters and can only later be withdrawn from publication at the expediency of Blues Matters. Advertisements: Whilst responsible care is taken in accepting advertisements if in doubt readers should make their own enquiries. The publisher cannot accept any responsibility for any resulting unsatisfactory transactions, nor shall they be liable for any loss or damage to any person acting on information contained in this publication. We will however investigate complaints.

6 | BLUES MATTERS!

BLUES MATTERS! | 7

CONTENTS 32

TOMMY CASTRO (USA) ALBANY DOWN (UK) A YOUNG BAND THAT HAVE BEEN PUTTING DOWN THE BLUES VIBE FOR A FEW YEARS NOW. THEY TALK ABOUT THEIR LATEST ALBUM.

26 84 90 96

BLUE BLOOD

What’s new and nearly new on the blues circuit! J P and the Razors, Old Dog Jackson a.k.a Dr A., Nat Martin, Ethan Leinwand, Storm Warning and Auld Man's Baccie.

RED LICK TOP 20 RMR BLUES TOP 50

FEATURES

Blues DJ’s, Guitar Tech Pt4, Blues harmonica, Radiating the 88s Pt2 and The 37th Music Awards (USA).

8 | BLUES MATTERS!

CANADIAN BLUES ROCKER LOOKING LIKE A 40’S MOVIE STAR FIELDS QUESTIONS ABOUT HIS CAREER

INTERVIEWS

VARGAS BLUES BAND (SP)

BEN HARPER (USA)

JOHN ‘GRAY HOUND’ JACKSON (USA)

ROCKY ATHAS PT1. (USA)

ROBBIE HILL (SCO)

IBBA BLUES TOP 50

IN THIS ISSUE

J.W. JONES (CAN)

TALKING ABOUT HIS LATE START IN THE BUSINESS AND HANGING OUT WITH HIS HEROES, BB KING AND JOHN LEE HOOKER.

REGULARS 10 NEWSHOUND’

Read how this revered Spanish blues artist had one of his songs selected and recorded by Santana no less. Talks about reuniting with the Innocent Criminals after ten years, as well as where his roots are.

He must have something to talk about with 30,000 hits in one week on Facebook for his song Bella’s Romping. Rocky Athas guitarist extraordinaire, talks his career to date and his friendship with Stevie Ray Vaughan. Hailing from Scotland but now residing in Helsinki, Robbie talks about the change of music scene and the challenges it brings.

SARI SCHORR (USA) FORCE OF NATURE IS A GREAT TITLE FOR HER NEW ALBUM, AS IT DESCRIBES HER PERSONA TO A T. FIND OUT WHY SHE IS PREDICTED TO MAKE A BIG IMPACT ON THE BLUES/ROCK SCENE.

ALBERT CASTIGLIA (USA)

Multi-award winning US guitarist and bandleader, describes the melting pot he grew up in along with the influences which made him.

STACY JONES (CAN)

ELEANOR MCEVOY PT2 (IRL)

Stacy talks about her album Whiskey, Wine and Water, her collections of awards and all things in-between. Part two of the Irish singer-songwriter, who finishes her musical journey with us, as well as a review of her album.

REVIEWS

ALBUMS

107

SHOWTIME

We do our best to bring you the best selection of what’s on offer around the world.

FESTIVALS – Terri Thouars Blues Festival, Feel The Blues 2, Guinness Blues On The Bay Festival, Duvel Blues Festival, Frome Blues Rhythm and Rock Festival and Nevis Blues Festival. GIGS – Woody Mann, Big Boy Bloater, Peter Oxley & Nicholas Meier, Sleaze Brothers, Ruthie Foster, Ronnie Greers Blues Band, King King & Dan Patlansky, Paul Cox, Dan Patlansky, Bonnie Raitt and Lewis Hamilton Band.

BLUES MATTERS! | 9

NEWSHOUND | AUGUST/SEPTEMBER EDITION

NEWSHOUND ALL THE BLUES THAT’S FIT TO PRINT, FROM AROUND THE WORLD Verbals: Clive Rawlings KIRK FLETCHER & JOSH SMITH TOURS.

Regarded as two of the finest blues guitarists on the planet, both Kirk Fletcher & Josh Smith are heading to the UK to tour this Autumn. Although they will be touring individually, there will be two very special shows were they are on the same bill. Kirk is in his third consecutive year touring the UK. His reputation for his blistering guitar playing has meant Kirk is building up a great momentum, selling out the majority of his 2015 shows and the 2016 is already heading in the same direction. It will be a UK debut for Josh, the buzz is already incredibly with a huge worldwide fan base there has been a huge demand for Josh to play in the UK, ticket sales are testament to that with the London show at the Borderline already being close to selling out. Backing Josh & Kirk will be Wez Johnson, Roger Inniss, John Mckenzie, Dudley Ross & Daniel Deej John. www.kirkfletcherband.com www.joshsmithguitar.com

BEST SELLER BLUES

It's not often these days that a blues album tops the charts. But in Estonia, Andres Roots

10 | BLUES MATTERS!

latest release, 'Roots Music,' did just that last month. Featuring UK bluesman Dave Arcari and Steve Lury, Swedish resonatorman Bottleneck John and US-Swede Bert Deivert, the album was recorded between 2010 and 2014 before being cut at the country's first and only, recently opened vinyl pressing plant in Tartu. Available only in vinyl for now, Roots' release roared straight to the top of the country's music charts.

SAIICHI SUGIYAMA BAND UNVEILS ANDY FRASER TRACK Guitarist Saiichi Sugiyama and his band are touring the UK in September ahead of the 2017 release of his album, title of which is to be confirmed. The album will feature a track entitled Melting Away, on which Saiichi persuaded long time hero Andy Fraser to perform, not knowing it would turn out to be one of the legend's last recordings. A video for the track can be seen on www.youtube.com The inspiration for Melting Away came to Saiichi whilst on a trip to Tokyo. Forming in his mind, as he was half asleep, it felt like a requiem for Paul Kossoff. Creating a demo on his return home to the UK, the bass parts put him in mind of Andy Fraser. Having played the song a couple of times, Saiichi dropped it from his set list,

as it sounded uncannily like Free. In 2014, Saiichi and Andy met and agreed to work together, with the possibility that Andy would produce the album. Having told Andy he had a song he'd like him to play on, Andy loved it so much, he took it back to California, to 'put a different spin on it'. In October 2014, Andy sent Saiichi the track with his bass part adding vocoder and screams. Inspired by this, Saiichi added some string parts and in his desperation to find out what Andy thought of it, was sadly too late. Melting Away is a great track, given added poignancy, proving that Andy Fraser's legacy is enduring. The track is fully endorsed by the Andy Fraser Estate and will be jointly premiered by Saiichi's website and that of the estate at 3pm GMT on 15th July 2016 Details of September tour: www.saichisugiyamaband.com/ tour-date

THE MUSTANGS

The Mustangs will be releasing an 18-track Best Of compilation in August. The songs represent the many styles the band have played over the years, and all are originals chosen by the band. Lead singer Adam Norsworthy says, “After Ben's serious illness last year we had time to take

NEWSHOUND | AUGUST/SEPTEMBER EDITION

OBITUARIES CANDYE KANE NOV 13 1961 – MAY 8 2016

Candy (Candace Hogan) had a thirty year career in blues/jazz. Despite being diagnosed with pancreatic cancer in March 2008, she continued to tour and record. Through her career, she released over twenty albums and took part in the Ruf Blues Caravan Tour with Dani Wilde and Deborah Coleman in 2008. LONNIE MACK JUL 18 1941 – APRIL 21 2016

Credited with being a major influence on Stevie Ray Vaughan and a pioneer of blues/rock, Alligator Records announced the death of Lonnie Mack of natural causes near his home in Smithville, Tennessee. Born in and growing up in Harrison, Indiana, Mack fell in love with music at an early age, country at first, then moving on to R&B via late-night radio stations. His career took off in 1963 when he recorded an instrumental version of Chuck Berry's Memphis on his signature Gibson Flying V, after which he never looked back. Fast forward stock and think about our next move. This compilation neatly draws a line under the first 15 or so years, as we look forward to a new studio album in 2017 and a possible return to our blues roots". The album will be released by Trapeze Music, featuring liner notes written by the band, and also two new re-recordings of Mustangs favourites Double Headed Romeo and Can't Find A Lover. "We've got a few deep cuts in there too, not just the obvious ones you'd expect" says Adam. "We've also included some of the ballads that we love, showing the softer, more acoustic side of the band that has always been there". The Best of The Mustangs will be available from iTunes, amazon

to 1985, when Mack and Vaughan co-produced Strike Like Lightning, featuring SRV on several tracks. In1986, Alligator released Second Sight, followed by his final album, Attack Of The Killer V in 1990. Although officially retired Mack continued to tour into the 2000's. In 2001 he was inducted into the International Guitar Hall Of Fame and in 2005 into the Rockabilly Hall Of Fame. ROGER COTTON 1946 – JUNE 1 2016

The sad news of the loss of Roger Cotton has hit the music community hard. From his days with numerous 60's bands on guitar and keys through success with Johnny Johnson and the Bandwagon, 70's prog rock outfit, Life, he was a go to man. For most, though it is his work in the Blues field that really left it's mark. From joining Peter Green's Splinter Group in the late 90's and then his tenure with Texan guitar legend, Buddy Whittington and his most recent project The Proof with Paul Cox, Roger was a man in demand. Add to this numerous sessions at his studio Roundel, a Stax/Muscle and all the usual retailers.

SOUNDBITES

Joanne Shaw Taylor releases her fifth studio album on September 30th. Produced by Kevin Shirley, Wild will feature members of Joe Bonamassa's band. Speaking of whom, Black Country Communion are rumoured to be releasing a new album in the new year. Breaking news as I write this is that our competitor, Blues Magazine, has taken the decision to cease publication Manhaton Records is pleased to announce the release of the debut album A Force Of Nature from one of

Shoals in Kent, a place where so many great musicians recorded albums under Roger's watchful production and engineering eye. Rog has a CV that would take up too many column inches but more importantly it's the legacy of his music and as a man that is embedded in our hearts. On a personal note can I just say on behalf of all that knew him and worked with him, we love ya mate, God bless ya and rest in peace with your Kath. ©

PAUL COX 2016

SCOTTY MOORE DEC 27 1931 – JUNE 28 2016

As we go to press, news came through that legendary guitarist Scotty Moore died at his Nashville home after a long illness, he was 84. His early influences were jazz and country, but he is best remembered for his work with Elvis Presley from That's Alright through to Hard Headed Woman. He also had small walk on and speaking roles in four of Elvis's early films. Scotty became an influence to many notable guitarists including Bruce Springsteen, Keith Richards and Jimmy Page. the most exciting blues/rock singers Sari Schorr. Released in the UK and Europe on 6th September 2016, the album is produced by the legendary producer Mike Vernon and features guest appearances from Walter Trout, Innes Sibun and Oli Brown.

UPCOMING BIRTH DATES Robert Cray – 01/08/1953 Willie Brown – 06/08/1900 Eric Bibb – 16/08/1955 Luther Allison – 17/08/1939 John Lee Hooker – 22/08/1917 Freddie King – 03/09/1934 Deanna Bogart – 05/09/1959 BB King – 16/09/1925 Roy Buchanan – 23/09/1939 Koko Taylor – 28/09/1928

BLUES MATTERS! | 11

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FEATURES | BLUES DJ

BLUES DJ EDDY BONTE, RADIO 68 Verbals: Darren Weals Visuals: Willy Dée

“RADIO 68 PLAYS THE MUSIC THAT WAS A PROTEST MODE AND A REVOLUTION IN ITSELF”

ddy Bonte's radio show is based in Belgium, but Eddy can sometimes be found in the UK, taking in the music at places like the Eel Pie Club in Twickenham; though the profile of his station, Radio 68, is rather less traditional than the music that is often played in Twickenham and elsewhere in the UK. Eddy says, “The station’s name refers to that tumultuous year of street fighting, peace demonstrators, Yippies, Vietcong triumphs and the assassins of Kennedy and King – 1968 being the symbol par excellence of an entire decade of change, protest and revolution. Radio 68 plays the music that was a protest mode and a revolution in itself – Donovan’s protest ballads, MC5’s high energy anarchy, The Rolling Stones’ scandalous looks, The Kinks stylish poses, but also the free and creative dancing founded on that endless stream of soul and R&B tunes crossing the Atlantic. Soul and R&B: there was no innovative pop

artist of that era who wasn’t indebted to the American music catalogue - from The Beatles doing Arthur Alexander to Roger Daltrey imitating James Brown.” What should Radio 68 broadcast? Eddie found it, “Impossible - and needless - to draw a clear line and choose, so I thought I could as well do two shows: there’s the self-explanatory show name, ‘My Generation’, with a lot of R&B-soaked sixties pop and rock. Considering the impact of that legacy, I also set up a true blues show - simply called ‘Blueside’ and heavily connected to, well, ... the sixties! Mind you, Radio 68 also travels beyond that decade to feature the forerunners, the originators and those who have kept the flame burning.” “Radio 68’s mission is clear: we focus on rare, overlooked, forgotten, ignored, misjudged, banned and non-commercial tunes and artistes. New releases are judged by these standards. And we hardly ever play hits. We would like our audience

to have a good time while remembering, reminiscing and discovering. “ “We don’t do competitions, rankings, marketingresearched lists or computerdesigned averages. We’d rather serve platters of related tracks or an entire LPside. We’re a bit alternative, our slogan reading ‘Happy To Be Different’. That’s why we’re utterly non-commercial and totally independent.” “My brother Dan and I are having a great time. We don’t accept money for publicity, but we’re always happy to welcome listeners, artists, managers, record companies, venue owners and all music lovers to share our sixties dreams.” ‘My Generation - Blueside’ consists of two new and two repeated one-hour shows, lasting four hours in all. Sundays at 11am. GMT, repeated at 3pm., 7pm. and 11pm. GMT . Radio 68 is an internet station supported by a website with ample information and radio players for all types of devices: www.radio68.be

BLUES MATTERS! | 13

FEATURES | GUITAR TECHNIQUE PART 4

GUITAR TECHNIQUE PART 4

FREDDIE KING 1

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14 | BLUES MATTERS!

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his month we take a look at the style of another ‘King’. Albert, Freddie and B.B. were three giants of electric blues and although they bore no relation to one another, were often referred to as ‘The Three Kings’. Born in Texas in 1934, Freddie began playing Guitar aged six, under the guidance of his mother and uncle who were both players. He started by learning rural country blues and one of his main influences was Sam ‘Lightnin’ Hopkins, said to be the main influence behind Freddie’s unique thumb and finger picking style; he used a plastic thumb pick along with a metal index finger pick, which gave

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him an instantly recognisable sound and helped achieve that fiery attack in his tone. Going by the moniker ‘The Texas Cannonball’, Freddie’s style, both vocally and musically, was very powerful. His fiery, intensity-driven soloing style complimented his powerful pipes. Add in a generous serving of ‘Soul’ and you have a man smashing through musical walls, as his nickname suggests. King’s virtuosic soloing, slashing attack and physical presence made him an attention-grabbing guitarist on the competitive Chicago scene, where he earned a reputation for “cutting heads” (i.e., beating other guitarists

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in informal onstage battles for guitar-playing supremacy, also known as “gun-slinging”). He became identified with the more youthful, aggressive and modern blues sound of Chicago’s West Side, where he partnered and traded licks with such peers as Otis Rush, Hound Dog Taylor, Magic Sam, Robert Jr. Lockwood and Luther Allison. In 1961, King had his biggest year when he placed six singles on Billboard’s R&B chart, including four that entered the Top 10. The upbeat instrumental Hideaway was first up, hitting number five in the charts. Another one of the hits, I’m Tore Down also reached the same level. It has

FEATURES | GUITAR TECHNIQUE PART 4

since gone on to become a blues-standard of sorts, with high profile artists such as Jeff Healey and Eric Clapton both covering the track. He even had a seasonal single Christmas Tears that reached number 26. His instrumentals tended to be more upbeat, while his vocal numbers, such as Have You Ever Loved a Woman and Love Her With A Feeling, were often soulfully-voiced, slow blues. Freddie was a massively influential guitarist. Following his first overseas tour, he was amazed at just how much he had influenced some of the British Blues guitarists of the time, including Eric Clapton, John Mayall and Mick Taylor. Clapton is very open about his love for Freddie and the huge influence he had on his own style. Quoted in 1977, he stated; “He taught me just about everything I needed to know... when and when not to make a stand...when and when not to show your hand... and most important of all... how to make love to your guitar.” Early photos of King show him playing a mid-Fifties Gibson gold-top Les Paul with

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P-90 pickups, which he used along with a Gibson GA-40 amplifier. Shortly thereafter, he switched to his trademark Gibson ES-345 guitars, cranked to massive volume through Fender Quad Reverbs. His choice of string gauge was very unusual. He opted for 0.10, 0.11 and 0.12 gauge on the top strings. - very thin for the B and G strings. He used standard medium gauge for the bottom three strings. King’s heavy touring schedule had him on the road almost constantly, which took its toll on his health, and he died from a combination of conditions and ailments, including heart failure, bleeding ulcers and pancreatitis, on December 28, 1976, aged 42. Let’s take a look at a few snippets of ideas that Freddie used. In the first exercise, we have a short repetitive idea using a chromatic, triplet phrase. In the key of A, it's based around the second position of the Minor pentatonic scale. The extra note is a major third, which helps the lick sit well over typical bluesy dominant 7

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chords (i.e. A7). Ending the phrase on a slight bend adds a nice touch. To take this lick a little further, you could use it as a call and response idea: just repeat the phrase again, but with a different ending. Try changing the last couple of notes of the phrase second time around. Ex.2 is in the key of D, ideally used over a D7 chord. The lick is laced with ¼ and ½ tone bends, helping to give it a bluesy sound. The fast paced pentatonic run down at the end highlights King’s use of fast flurries to finish a phrase. This lick is similar to ideas he used in the song ‘I’m Tore Down’, played between the chords. Ex.3 is a typical intro lick, similar to that used on ‘Sweet Home Chicago’. The lick is played with triplets through-out (three notes per beat) beginning with those trademark double stops before scaling down the fret board to finish with open string licks. The phrase ends on a B note (the fifth of E). This will lead you into the root chord of E. On its own it may sound unresolved, but as soon as you hit the E chord, it will sound great.

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BLUES MATTERS! | 15

FEATURES | HARP ATTACK PART 7

RACHELLE PLAS AND THE BLUES HARP WOMEN OF THE FUTURE Verbals: Liam Ward – LearnTheHarmonica.com Visuals: Virginie Leroux

welve months ago, I did an interview for BM! with young French harmonica player Rachelle Plas, who recently she sent her latest EP ‘Cyclone’ for review. This got me thinking about the women emerging in the blues harp sphere. This article will serve as a partial review of Plas’ recent offering, but I also want to delve deeper into the issue of the instrument's male-domination. Harmonica – and the blues – have long been one-sided, but it’s great to see this balance being addressed by a number of women intent on staking their rightful place in the blues. I want to salute them here. The first thing I have to say about Plas’ new recording is that I was surprised by how ‘not blues’ it is. The opener, ‘Sweet Angel’ could be a disco anthem given its opening guitar and percussion, while the chorus sounds akin to ‘90s Britpop. Maybe this shouldn’t surprise me, since

16 | BLUES MATTERS!

Rachelle has described her influences as widely flung as Dire Straits, Queen, Pink Floyd and Michael Jackson. There’s a harmonica prelude to the song, but we have to wait quite a while for any more. When it comes, we’re treated to a guitar and harp trade-off, a signature I remember from Plas' last album, which I also reviewed. Plas’ harp playing is what I’d call “angular,' meaning lots of sixteenth notes. It’s certainly assured and able, though I did sometimes pine for a simple long note. Rachelle has told me that Jason Ricci and Charlie McCoy are in her record collection, and it’s obvious when you hear her big, full playing. That said, even though solos are busy, there's no harp overload in the tracks so there’s plenty of space for the songs themselves to develop - a rare joy for a blues-based band. It’s not all about sound, and Rachelle clearly has opinions to sing about. Perhaps there is something in the fact that a woman is writing the songs rather than a man? We need more women’s points of view in our genre, and Rachelle is clearly giving hers. In style and substance, Plas isn’t following standard conventions: “I don’t care about the rules,” she says. “If I don’t break the

rules at least ten times in each song then I’m not doing my job properly”. I think Plas’ real job is to lead from the front, a job she certainly does purposefully on this EP. It’s good to have another young player coming through; it’s great that it’s a woman; it’s even better that she wants to do what she wants to do, rather than what the bluespolice demand of her. The almost-title track ‘Cyclone’s Eye’ caught me because of its clean harp sound. Rachelle is confident enough with her sound to let it fly, not relying on distortion and gear. Plas’ voice here is more interesting than we normally get in blues. Though it needs time to develop, she's already pushing herself more than most harp players (myself included) who rely on the instrument and don’t worry too much about vocals. She lists vocal influences as Ray Charles, Freddie Mercury, Stevie and – wait for it - Phil Collins. So she obviously isn’t restricting herself to the usual safe stuff. She also isn’t afraid of falsetto (a la Freddie) and I have to say there’s a bit of Queen in the clap-clap verse in this track. There’s something quaint about a French voice singing in English, which may or may not help Rachelle, and

FEATURES | HARP ATTACK PART 7

so it was a refreshing change to hear the only French language track, Hors Piste (“off-road”). Probably the most bluesy song of the pick, it felt genuine to hear Rachelle sing in her native tongue. She can evidently do the blues thing, as she shows here where her playing is punchy and percussive. But possibly the best harp on the EP, the most melodic and subtle, is saved for the final track, ‘We Can Move Mountains’. We get those long notes, though the solo breaks into Plas’ signature machine-playing at points. The most exciting thing about this EP is that Rachelle continues to write original, catchy songs, never feeling she has to keep to blues-harp

clichés. Plas has toured extensively, and last year played at the UK’s National Harmonica League Festival in Bristol. But how many other female harmonica players can you name? And why do so few women play harmonica in the first place? Before I try to answer these questions - a disclaimer. As a man, I’m probably not the best authority on being a woman in the harmonica world, so I won’t pretend to paint an insider’s picture. However, I feel there’s a big credit due and I'm up for it here. Historically, Big Mama Thornton is the most wellknown woman of blues harmonica. (You've probably seen the famous photo of her with that brilliant grin.)

Thornton worked firstly as a dancer in Georgia before taking to blues and playing extremely confident harmonica to accompany her strong vocals. She became a star in the ‘50s, recording with the likes of James Cotton, Muddy Waters and Otis Spann. Even Big Mama, though, dressed as a man for many of her shows. Did she feel this was necessary to get a rise out of the crowd? Big Mama Thornton was rare in her time and, sadly, female harp players are still hard to find. There are some gems out there, though, if you know where to look. Let me share a few names. Unsuprisingly, the US has a sizeable offering in the blues arena. Annie Raines

BLUES MATTERS! | 17

FEATURES | HARP ATTACK PART 7

(www.paulandannie.com) is an extremely accomplished country blues player, who along with Paul Rishell has won a Blues Music Award. Over the course of a distinguished career she has become a significant authority on the instrument. Also in the States is Cheryl Arena (http://tinyurl.com/ ljvc2ys), a great singer and tasteful harp player based in Texas, where she teaches and performs regularly with a variety of acts. Another American is ‘New York Blues Queen’ Roxy Perry (www.roxyperry.com). As far as I know she’s yet to make it in the UK, but she’s big news in the States. Big and strong, her playing positively packs a punch. Outside the US, Christelle Berthon has become known through her famed YouTube performances. She has an extremely emotive style of playing and has shown her prowess over a number of years (check out an interview and some clips here: http:// tinyurl.com/p65pfhl). Sandra Vazquez (http:// tinyurl.com/nja8uss) is a new and refreshing name to me. A member of Argentinian band Mulheres Gaitistas, she has studied with Lee Oscar and is often billed as Argentina’s best harmonica player. Kat Baloun (http://tinyurl. com/op4f3zp) is a Berlinbased harmonica player who grew up in a musical family in Ohio. Look her up to see her big attitude on stage and hear some inspired harp. And it’s not just blues that women are playing. Michal Adler (http://tinyurl.com/ luh3zst), daughter of Larry, is a virtuoso harmonica soloist

18 | BLUES MATTERS!

in her own right. She leads the Adler Trio, one of Israel’s proudest exports, as well as guesting on many recordings. Finally, Yuko Yanagawa (http://tinyurl.com/mzzlxt6) is one of Asia’s most prominent classical harmonica players and has won numerous awards for her playing, including the Grand Prix award at the All Japan Harmonica Contest. Happily, each of these players is flourishing in their respective fields. But it remains a tragedy that women playing harmonica are still so rare I felt compelled to write this piece, and that these players - when discussed at all - are usually compared only with other female players (e.g. “she is one of the best female players I have heard” etc.) Now, you might say that the history and calibre of men on the instrument make it unfair to compare apples with pears,

but I've a sneaking suspicion that women out there, doing their thing on harmonica, wouldn’t like to be sidelined in this way. (The only woman I know in my area who brings a harp to jams certainly wouldn’t. If others disagree, please let me know because I’m not trying to speak for you!) So why so few? Without dragging you all down into a feminist pit of despair, I suspect part of the problem is our society at large. Just as with any other instrument (or any other arena for that matter) women are much less likely to get noticed if they don’t look the way that some media exec wants them to look, and that isn’t nearly as big a problem for men. It was great to hear from Rachelle, and I’m sure there must be more women out there who haven’t got the attention they deserve. So speak up. Let’s hear it for the girls!

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FEATURES | RADIATING THE 88s

RADIATING THE 88s PART 2: BOOGIE DOWN Verbals: Dom Pipkin

ello again everyone. Here’s part two of the world of blues piano. As usual, if you want to contribute, disagree, tell me I’m wonderful, then join the Facebook group or tweet me! And so on to the poster boy for blues piano, boogiewoogie. This is what most people think of when they think of blues piano –– the sparsely-accompanied, piano at the center, gently rocking but hard driving sound of boogie-woogie. Popularised by television heroes and colourful characters, as a blues piano sound, it’s endured from it’s inception to present day, it’s the first blues style I experimented with and taught myself as an early teenager, and it enjoys the support and attention from the social media and YouTube generation. Why is this? Well, to me there are three reasons: firstly, the left hand is fun, energized, a blanket of harmony and rhythm with a constantly rocking lilt. Stride piano styles can most certainly sound old fashioned next to it. Secondly, the right hand is crazy. It repeats, repeats, repeats, repeats - Cha, cha, cha, cha, cha, cha, cha, cha, cha, cha, cha, cha, baddle - a ba, ba. We have two cells of repeated activity that come together to produce a rhythmic whole, and then the third reason, it builds! Because

20 | BLUES MATTERS!

it’s a rolling repeated style, best suited to one evolving single soloist (there are many examples of groups and even big bands playing boogiewoogie), any single tune grows, chorus after chorus until you generally reach some kind of crescendo. For the uninitiated, a repeated sequence of 12 bars is by far the most common format for boogiewoogie, and so, as these 12 bar sequences keep coming round, the effect is of increasing excitement and layers of sound until the songs joyful end. The effect is hypnotic. Three reasons why boogiewoogie remains popular and accessible, plus an additional important fourth one – it’s fairy easy to get started as a newbie piano player. First discover - or get shown - a few starter licks and a left hand pattern, then repeat, repeat, repeat these licks with your own left hand boogie accompaniment (without the need for a band,) and practice transposing these elements around (commonly) 12 or 8 bar changes. As I mentioned in my barrelhouse piece last time, the sound of boogie-woogie had been boiling up and building pressure as far back as the 1870’s. To put this in context, Scott Joplin didn’t publish his first rag – the 'Maple Leaf' until 1897, and yet to my ears, boogiewoogie has always sounded

more modern than ragtime. Barrelhouse stomps, changes direction, strides, pounds and rolls, but boogie simply fires up the boiler and opens the throttle. You hear the sound of trains in barrelhouse, but nothing captures the essence of a steam locomotive as a pure sound poem like Meade Lux Lewis’s 'Honky Tonk Train Blues.' Known originally as "Fast Western" or "Fast Blues" (as opposed to the slow blues of New Orleans), the boogie sound is generally held to have emerged from logging and turpentine camps in the Piney Woods area of Texas, and then spread out through that state. The cultural view can be that the arrival of the railroads was sudden, and movement was at once facilitated – movement and work for the newly emancipated former slave population. The sound and thrust of this enormous upheaval was reflected in the ‘street’ sounds (in this case railroad sounds), as rap music reflected the city sounds of its birthplace. Ever wondered where the name boogie-woogie comes from? Well, according to Wikipedia, the research of musicologist and pianist Dr John Tenisson gives us “four African terms, including the Hausa word "Boog" and the Mandingo word "Booga", both of which mean "to beat" …”also the West African word "Bogi", which means "to dance" and the Bantu term "Mbuki Mvuki" (Mbuki: "to take off in flight"; Mvuki: "to dance wildly, as if to shake off one's clothes The meanings of these terms are consistent with the percussiveness,

FEATURES | RADIATING THE 88s

dancing, and uninhibited behaviors historically associated with boogiewoogie music. The African origin of these terms is also consistent with evidence that the music originated among newly emancipated AfricanAmericans.” Personally, I love the sound of “Mbuki Mvuki”. You can hear the characteristic driving left hand in the piano composition 'Weary Blues' by Artie Matthews way back in 1915, and also in the 1919 recording of the same number by Matthews’ band, the Louisiana 5. However, this isn’t the real stuff. The real stuff began emerging in Chicago during the prohibition era. The same railways that had inspired the sound of boogie, allowing the genre to develop, now fed the ‘Great Migration’ of the black community from South to North, with Chicago often being the preferred destination. Clarence ‘Pinetop’ Smith was encouraged to travel to the Windy City, and record there, by Cow Cow Davenport. Jimmy Yancey was already there, albeit a decade older. Pinetop ends up rooming the childhood buddies Albert Ammons and Meade ‘Lux’ Lewis, who were now driving cabs in the same firm. There is now a ‘scene’. The fledgling ‘real’ piano boogie sound had already been recorded – George Thomas’ 'The Rocks' went down in 1923. A few years later, in 1927, Lewis records his astonishing 'Honky Tonk Train Blues,' followed by 'Pinetop’s Boogie- Woogie' being waxed in 1928. The sound gathers pace

as Ammons moves East to New York, teaming up with Pete Johnson, and then working as a trio with Lewis yet again. Finally in 1938, John Hammonds’ immensely popular Carnegie Hall concerts light the fuse that sets off the full boogiewoogie explosion. Boogie-woogie is then officially the thing, required playing in any self respecting pianist’s set, cropping up in the repertoire of all the great jazz players of the day. The Second World War years see it presented through big band swing, watered down, before it re-emerges with the tougher sound of post-war R&B in the hands of players such as Amos Milburn and Champion Jack Dupree. Its sound is still very much in evidence in the rock and roll chops of Jerry Lee Lewis and Fats Domino through the ‘50s and ‘60s, and as any student of the blues knows, anything much beyond the ‘70s has posed questions of ‘authenticity’. The modern state of boogie has to contend with the usual issues – to faithfully reproduce the original sound, or to reinvent it but with enough emphasis on its roots to remain 'authentic.' Every style has its golden period, but thankfully boogie-woogie piano has many modern era champions – John Carter says 'The Germans.' While in the UK alone we have Carter, Ben Waters, Jools H, and now the phenomenon that is Henri Herbert. Add to this the proliferation of instructors and popularisers on the internet – such as our own Dr K – and you have a healthy scene, albeit - it should be

cautioned - one that needs to make sure webcams, set pieces or scholastic reproductions do not replace the sweat and adrenaline of real live-shows. Keep it 8 to the bar, and please keep it real, boogie- heads!

KILLER PIANO BOOGIE DOM PIPKIN, HENRI HERBERT & JOHN CARTER

1 The Rocks (1923) George Thomas – the hazy starting days. 2 Honky Tonk Train Blues (1927) Meade Lux Lewis – still so poetic and lilting. 3 Pinetop’s Boogie Woogie (1928) Clarence Pinetop Smith – the original breakdown style boogie. 4 Death Ray Boogie (1941) Pete Johnson – some great chord stabs, and angular right hand over a really swinging up-tempo left. Quite a jazzy piece, in the swing era style. 5 The Boogie Rocks (1944) Albert Ammons – Classic boogie right hand licks throughout. Driving the train in full flight. 6 Down The Road A Piece (1946) Amos Milburn – a good RnB lyric incorporated in some driving piano, and one of my favourite left hand colours with the flat 3rd/ 6th combo! Great little cascade in the last chorus. 7 Oscar’s Boogie (1947) Oscar Peterson – Oscar started out big in the boogie/ stride scene. He is such a powerhouse on this, before dropping to dripping right hand jazz and back again. 8 Nasty Boogie Woogie (1958/9) Champion Jack Dupree. 9 In The Mood (1960) Jerry Lee Lewis – boogie becomes rock and roll. 10 Steakhouse Boogie (1967) Practically a rolling blues. The laid back sound of the ‘60s, with a band including our own Peter Green.

BLUES MATTERS! | 21

FEATURES | THE 37 TH BLUES MUSIC AWARDS

James Harman & Willie J Campbell

Rick Estrin

Tas Cru

BEST OF THE BLUES THE 37 th BLUES MUSIC AWARDS Verbals & Visuals: Suzanne Swanson

Entering the hotel lobby in Memphis, joyous shouts of recognition and greetings ring out – it's the 37th Blues Music Awards.

hose personally involved in the music industry, as well as many hundreds of fans, make an annual pilgrimage to be a part of The Blues Foundation’s yearly celebration. With twentyfour designated categories, the best of the top 120 chosen blues talents from around the world gather to honour those who have excelled in the past year.

22 | BLUES MATTERS!

The festivities begin early, therefore most attendees fill the downtown-centre on Tuesday of the first week of May every year. Early Wednesday, The Blues Foundation's Blues Hall of Fame museum opens to both members and guests: this is a must-see filled with memorabilia honouring those who have performed, recorded, or documented the blues.

This year, the Center for Southern Folklore threw in a seminar by award-winning journalist, Bill Donoghue -'Sonny Boy Williamson II: Rock’s Missing Blues Legend.' In addition, the Hall of Fame also hosted a reception and ceremony inducting a number of artists including Elvin Bishop; Eddy Clearwater; Jimmy Johnson; John Mayall; and The Memphis Jug Band. Jeff Todd Titon's book 'Early

FEATURES | THE 37 TH BLUES MUSIC AWARDS

THE 37 th BMA WINNERS IN FULL ACOUSTIC ALBUM: THE ACOUSTIC BLUES & ROOTS OF DUKE ROBILLARD – DUKE ROBILLARD

ACOUSTIC ARTIST: DOUG MACLEOD

ALBUM:

BORN TO PLAY GUITAR – BUDDY GUY

BAND:

VICTOR WAINWRIGHT & THE WILD ROOTS

B.B. KING ENTERTAINER: VICTOR WAINWRIGHT

BEST NEW ARTIST ALBUM:

Wee Willie Walker Downhome Blues: A Musical and Cultural Analysis,' provided a literature entry. Behind-the-scenes involvements included Malaco Records Tommy Couch, Sr. and Wolf Stephenson, plus classic album 'Blues in the Mississippi Night' (Nixa, 1957: United Artists, 1959); singles, 'Crazy Blues' by Mamie Smith (OKeh, 1920); 'That’s All Right' from Jimmy Rogers (Chess, 1950); Billy Boy Arnold’s 'I Wish You Would' (VeeJay, 1955); Johnny Moore’s 'Three Blazers’' (Charles Brown, vocal and piano); 'Merry Christmas Baby' (Exclusive, 1947); and 'Blues Before Sunrise' by Leroy Carr and Scrapper Blackwell (Vocalion, 1934). Following the induction, Big Louis' fourth Annual Hall of Fame Tribute Jam took place at the Hard Rock Café

THE MISSISSIPPI BLUES CHILD – MR. SIPP

CONTEMPORARY BLUES ALBUM:

BORN TO PLAY GUITAR – BUDDY GUY

CONTEMPORARY BLUES FEMALE ARTIST: SHEMEKIA COPELAND

CONTEMPORARY BLUES MALE ARTIST: JOE LOUIS WALKER

HISTORICAL ALBUM: 'BUZZIN’ THE BLUES' BY SLIM HARPO ON BEAR FAMILY RECORDS

INSTRUMENTALIST-BASS:

INSTRUMENTALIST-HORN: TERRY HANCK

KOKO TAYLOR AWARD (TRADITIONAL BLUES/FEMALE): RUTHIE FOSTER

PINETOP PERKINS PIANO PLAYER: ALLEN TOUSSAINT

ROCK BLUES ALBUM OF THE YEAR:

BATTLE SCARS – WALTER TROUT

SONG: GONNA LIVE AGAIN – WRITTEN AND PERFORMED BY WALTER TROUT

SOUL BLUES ALBUM: THIS TIME FOR REAL – BILLY PRICE & OTIS CLAY

SOUL BLUES FEMALE ARTIST: BETTYE LAVETTE

SOUL BLUES MALE ARTIST: OTIS CLAY

TRADITIONAL BLUES ALBUM: DESCENDANTS OF HILL COUNTRY – CEDRIC BURNSIDE PROJECT

TRADITIONAL BLUES MALE ARTIST: JOHN PRIMER

LISA MANN

INSTRUMENTALIST-DRUMS: CEDRIC BURNSIDE

INSTRUMENTALIST-GUITAR: SONNY LANDRETH

INSTRUMENTALISTHARMONICA: KIM WILSON

OUTSTANDING ACTS INCLUDED: BEY PAULE BAND – SOUL REVIEW; GAYE ADEGBALOLA; JAMES HARMAN; DUKE ROBILLARD; WEE WILLIE WALKER; BETH HART; RICK ESTRIN AND THE NIGHTCATS (SPECIAL MENTION TO CHRISTOFFER “KID” ANDERSEN); RUTHIE FOSTER; ANTHONY GERACI & THE BOSTON BLUES ALL-STARS; AND SUGAR-RAY & THE BLUESTONES.

BLUES MATTERS! | 23

FEATURES | THE 37 TH BLUES MUSIC AWARDS

ard Terry Hanck Aw with several Hall of Fame performers taking the stage. On award-day, MusiCares and a number of volunteers provided free health screenings for blood pressure, diabetes cholesterol, and the provision of custom ear-plugs. While this was ongoing, Yellow Dog Records simultaneously held a showcase featuring both the Ragpicker String Band and Eden Brent, at B.B. King’s club site. The Recording Academy, Chicago and Memphis Chapters, then held a reception celebrating The Blues Music Awards.

Promptly at 5:30, we all gathered at The Cook Convention Center. The evening of the awards was about to begin, with over 1,200 attendees. The feeling passing through the main ballroom doors to take our seats was of being on the cusp of something magical. Blues Foundation CEO and President Barbara Newman, opened by welcoming everyone and the annual program kicked-off. The stage was an ever revolving salute to the blues world with presenters, award recipients, and over seventy performers playing the music we love so dearly. With more music yet to be heard people gathered on the following day, Friday morning, at the Hard Rock Café for the Big Walter Friday Blues Brunch Showcase, followed by French photographer Francouise Digel’s grand opening exhibition of 'Screamin’ the Blues,' images of singers and musicians at the Blues

Gaye Adegbalola

Terrie Odabi

24 | BLUES MATTERS!

Sugaray Rayford

Hall of Fame. Blues Music Award nominees performed at a fundraiser for Play-ItForward Generation Blues, a Blues Foundation programme providing tuition and resources for youth to study an instrument of choice at reputable camps, seminars and workshop programmes, aimed at ensuring blues is played live for generations to come. That evening, 'Ghost of the Blues,' a musical play, was a huge success at The Orpheum. This was followed by Earl & The Agitators featuring Scott Holt, Foghat members, Roger Earl & Bryan Bassett & Rodney O’Quinn of the Pat Travers Band, at Earnestine & Hazel’s Sundry Store presented by 2Left Feet Blues Festival. We are immensely grateful to Barbara Newman, Executive Director, Joe Whitmer, Deputy Director, Board of Directors’ chairman, Paul E. Benjamin, the Blues Foundation staff, and all the volunteers for organizing and presenting the amazing music-filled, four days.

BLUES MATTERS! | 25

BLUE BLOOD | JP AND THE RAZORS

JP AND THE RAZORS Verbals: Jonathan Browne Visuals: David Roberts

istorically the Razors have been around for more than 10 years. In the past they played a mixture of alt. country rock and blues and at one time were signed to the Manchester based indie label RIP Records. They recorded an LP in 2008 and did a 16 date tour to promote this, only to discover on their return that the label had folded. They called time a year later and it wasn't until 2015 that JP decided to reform the band... First he recruited the old

26 | BLUES MATTERS!

drummer Stuart Arthur Wright (SAW to his friends) and set about finding a decent bass player. This proved to be a problem, until he discovered his art and web designer Dave 'El Lobo' Roberts had a seriously unhealthy interest in 'the blues' and had always wanted to be in a band. There was just one problem...he'd never played a bass guitar before...so JP taught him how! They had to change their name to 'JP and the Razors' so as not to upset a bar room band in the states, and set

about taking on the world. By the Autumn they were up and running and played a few dates. Then over the Christmas period they went in the studio and recorded their CD Let The Good Times Roll! This mini LP demonstrates very well what they are about with its mix of R&B, country blues and rock n roll. JP also found time to demo some self-penned songs as well which were put out on a separate CD to be sent to labels. They include JP's self-penned material in their live set and just hope the audience don't see the join. Their influences are all slightly different, but collectively fluid...SAW is straight forward Dr Feelgood and Wilco. Robbo more diverse, Son House, Gillian Welch and Junior Kimborough. JP is more 'full on'...Hound Dog Taylor, George Thorogood, John Lee Hooker, Muddy Waters, Howlin' Wolf, Lightnin' Hopkins, BB King, Elmore James and Hank Williams! Hopefully though, all these influences sum up the band. They are picking up more and more gigs and also a couple of festivals this year. The CDs are available from them at gigs and independent record stores. They agree with Shemekia Copeland's statement that "Today's music industry is difficult because the art of music doesn't get treated like art anymore"... but also they believe music has been 'sanitised'. JP and the Razors are: - JP Slidewell: Guitar, Harmonica and Vocals. Dave 'El Lobo' Roberts: Bass S.A.W: Drums.

BLUE BLOOD | OLD DOG JACKSON

OLD DOG JACKSON

ld Dog Jackson is the solo alter ego of Dr. A. Who for the last 40 odd years has gone from drums with the original London based Blues Consortium in the 60’s to bass guitarist with various heavy rock bands, keyboards andguitars with Tamer, Dr. A’s Blues Consortium, Dr. A’s Rhythm & Grooves and six years touring with King Rollo, 1st on drums then keyboards. Good reviews by radio stations and “Blues Matters” and he is part of Krossboarder Rekords’ Family of Artists. Son of Victoria Elliott, Principal Soprano with The Sadlers Wells Opera from mid 50s to 60s. He "studied" (very loose terminology) piano from the age of 11 until he was chucked out of a local Chapel for playing boogiewoogie 9 months later.

Verbals: Dr A Visuals: Derrick Barnes In 1965 was asked to form The Circle with Ramfis Trujillo on guitar and Kaveh Golaston on bass. Learnt to play drums damn quickly for 1st recording at Pye, under Circle Records, six months later. He went on to drum for The Austin Hippy Blues Band (Glastonbury), notable members included Harry Williamson & Rick MacPhail. Played Glastonbury (Town Hall!!!) with Champion Jack Dupree in late sixties. Around this time he started to play about on guitar and piano, more of a note here and a note next week, but the start of the path to the present day. So what do you get?! Well to quote Lincoln City Radio: “a heady mix of swing, boogie, proper R&B, a gnats of jazz, rock, reggae, funk/ fusion, dance & cajun with some Well Crafted Smut & Topical Comment”.

Currently his mission is to introduce blues and rhythm & blues to the younger generations. After all Route 66 is still Route 66 whether sung to a swing, jive or even a dance background, but it does get the kids asking questions, which is no bad thing innit?! So to commit more sacrilege songs by JJ Cale, Dylan, Stones and many other classics going back to the 1950’s work very well with synth boogie, hip hop, trip hop as well as funk, cajun, reggae and the list goes on. The Old Dog is versatile enough to change his repertoire to suit blues venues, venues where only original material is accepted, plus acoustic sessions. Guitar, Keyboard, Vocals and Red Medicine Will Travel,A Troubadour for all reasons.

BLUES MATTERS! | 27

BLUE BLOOD | NAT MARTIN

heir critically acclaimed debut album Don’t Lose Your Cool was brought to the attention of BBC Radio 2 presenter Paul Jones: ‘You get a lot of people saying, “Oh yes, we’re pushing the boundaries, we’re extending the envelope of the blues” and all that sort of thing. I would say The Nat Martin Band are definitely doing that without necessarily claiming too much of it...... The Nat Martin Band blew me away.’ The music of The Nat Martin Band addresses ideas linking the blues with human emotion, and that to experience the blues and to let it out is a release and so acts as a healer. Collectively the band are immersed in a heritage of African American music genres and these influences and the great emotional strength of Nat’s guitar playing are impossible to overlook in this music. Nat began playing guitar from an early age and quickly became interested in blues and rock and roll music, listening and copying players such as Chuck Berry and Duane Eddy that he found in his parent’s record collection. Subsequently, Nat was inspired by the great first and second generation American electric blues players such as Albert King, B.B. King, Buddy Guy, Albert Collins, Freddie King, Jimmy Hendrix, Stevie Ray Vaughan, Jimmie Vaughan, Robben Ford and Robert Cray, and closer to home spent time listening to and working out a number of ‘Cream era’ Eric Clapton solos. Blues vocabulary has always fascinated Nat; a genre featuring so many players,

28 | BLUES MATTERS!

NAT MARTIN The Nat Martin Band vibe is a unique blend of blues, funk and jazz influences featuring the highly respected guitar work of Nat Martin and the collective talents of Rose Kimberley vocals, Jez Davies keys, Marco Meniconi bass and Owen Martin drums; a strikingly experienced and musically sensitive group of players. Verbals: Esther Keen Visuals: Matthew Joseph each the captain of his or her own ship plotting a unique route in terms of musical navigation. Developing further, jazz became a real connection point for Nat musically and he began to draw parallels between jazz and blues in terms of musicality and expression; this, coupled with listening to and working with artists based in the funk and soul genres brought the influences

together to write music for The Nat Martin Band. The group’s latest EP Time Is A Healer is a live in the studio recording showcasing the band’s origins within blues music. Having recently come off a support tour for Jo Harman, the band are building up to an extensive run of live dates in the coming months

More info at www.thenatmartinband.com

BLUE BLOOD | ETHAN LEINWAND

ETHAN LEINWAND

“

Ethan reckons it is time for a blues piano revival

I had a friend played blues piano in college. I thought it was the coolest thing. Later I spent time in New Orleans, and learned about their style of blues. The tipping point came when I discovered boogiewoogie on YouTube. It was everything I was looking for. A complete expression on the piano...and fun to boot! I've always loved keeping steady rhythms in my left hand. Later, my love of history propelled me down the rabbit hole of learning about all the barrelhouse styles that boogie-woogie emerged from. My debut album The LowDown Piano features many of the different barrelhouse styles that I've come to love. The tunes are not sounda-like renditions, they're personal representations, trying to capture the feel of the originals. Represented are tunes (mostly from

Verbals: Norman Darwen Visuals: Drew Gurian the 20s and 30s) from St. Louis, Chicago, East Texas, the Deep South… Besides my solo work, I have two main projects. One is a piano/guitar duo, The Bottlesnakes. We draw our repertoire from the old piano/ guitar blues from the 20s and 30s. The other project, The St. Louis Steady Grinders, features vocalist Miss Jubilee, guitar and trombone. The majority of our repertoire is drawn from old St. Louis piano blues, which often featured female vocals. It's some of my favourite music, and the main reason I chose to move to St. Louis. The Bottlesnakes and The Steady Grinders both need records. That’ll be my focus over the next year, though, as far as recording, I tend to move very slowly. In a few years I plan to put out Volume

2 of The Low-Down Piano, which will further represent this music’s great history.” How does Ethan feel about the state of blues piano today? “Well, on the negative side, there are just way too many keyboards and not enough real pianos. Keyboards sound bad, they don’t inspire people to want to take up the instrument. I wouldn’t say there’s an abundance of blues piano happening, but it's definitely happening. On an optimistic note, just because blues piano has faded into obscurity (particularly in the US) doesn’t change how good the music is or how important it was in American music. In other words, all things being cyclical, I fully believe that the time is ripe for a revival of interest.”

www.thanleinwand.com

BLUES MATTERS! | 29

BLUE BLOOD | STORM WARNING

ince Storm Warning hit the blues scene over 10 years ago with their contemporary blues, they have consistently had excellent live and CD reviews. Blues Matters wrote whilst reviewing their debut CD Breaking out: “One of Britain’s most talented and well respected Blues bands… a distinctive blend of contemporary blues and rock that creates their trademark slick and classy sound.” This is not blues from Mississippi but blues from Buckinghamshire. Storm Warning is Son Maxwell -vocals and harp, Bob Moore - guitar, Derek White -bass, Ian Salisbury - piano/organ and Russ Chaney - drums. Their debut album in 2005 titled Breaking Out, gained attention from the Paul Jones Radio 2 blues programme leading to a session recorded at the BBC Maida Vale studios. The album contained seven original tracks and two blues covers (Keb Mo’s

Dangerous Mood and Peter Green’s Long Grey Mare) and it was well received. In 2008 Something Real was released to more critical acclaim. The nine tracks were all original apart from Lucky Peterson’s Nothing But Smoke. Classic Rock magazine wrote “Soulful gut-bucket groove that’s half hard times, half good-timeall-the-time… they delve deep into breezy jazz, fiery rock or smoky R&B, but the blues always call them back.” The third album Strategy followed in 2009 with new vocalist Steve Norchi and took on a more guitar based, rockier blues sound. Promoter and journalist Pete Feenstra writing for Get Ready To Rock website reviewed the album saying: “Strategy is every bit as classy and sophisticated as you might expect from a project involving guitarist Bob Moore. For Bob Moore is one of the great underrated players in the

STORM WARNING Verbals: Derek White Visuals: Supplied by artist

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UK whose touch, tone and feel put him above many of his contemporaries.” In the meantime, Son Maxwell became a founding member of The Mick Ralphs Blues Band and fronted the band across the UK and Europe. However, eventually Son Maxwell returned to Storm Warning and the band is now back to the format that has always worked best! Previous albums have been mostly original numbers but for their new fourth album Take Cover, they decided to have an album of blues standards. Of course these are played the Storm Warning way and consist of interesting arrangements. Songs from the more traditional bluesmen like Junior Wells and Otis Rush to the blues of Jimi Hendrix, Led Zeppelin and Bob Dylan. Storm Warning live is an aural experience of dynamic modern blues, so if you get the chance to see them, take the opportunity and you will be glad you did.

BLUE BLOOD | AULD MANS BACCIE

AULD MANS BACCIE Verbals & Visuals: Supplied by artist

ormed September 2014 after a chance meeting in a local hostelry and a discussion around the good time flavour of the old Juke Joints and how there is a distinct lack of bands or duos playing this kind of material! Auld Mans Baccie are an acoustic duo playing roots, Americana, and traditional blues music. Consisting of Davey Curtis, vocals guitar and foot percussion and Nick Phillips on slide guitar and words of wisdom. Playing an eclectic mix of Delta, Chicago, and Gospel music along with a growing number of self-penned songs. With their first Album recorded and numerous gigs under their belt they are about to start recording for their second album Church Of The Lost Souls. They are hoping to take their music further and are looking for venues all over the UK and

beyond, with appearances already booked for some UK blues festivals for 2016. Auld Man's Baccie a duo from north-east Durham. Mumford shirts and braces, shades of the pit? Right? Well, no. After years of valiant service in regional R&B bands, these boys have made a musical homecoming, back to the blues. And a very happy homecoming it is too. From their spiritual home, the Dun Cow, Seaton, they venture forth on their mission: to bravely challenge the insidious advance of musical blandness and X-Factorisation, two David’s against a chest-haired Goliath. Tampa Red, the great Elmore, Saint Muddy - these are their guardian spirits. Theirs is no 'wristslitting blues.' It's as footstomping as you like, full of joy and celebration and, thankfully, without a hint of

macho posturing. And then there's The Table - The Table makes them a trio. It sits quietly, low, check- clothed, a lamp illuminating a framed photograph of Muddy, perhaps a glass of wine and a few selected offerings. Go and see them. You won't be disappointed. Jim Bullock. A recent appearance at the Reivers Rock and Blues Festival prompted this response from Radio Lionheart’s Blues Presenter Roger Daniel “Those who weren't there missed a rare treat in Auld Man's Baccie. This was a highlight of the festival. Sure, there were great acts like Ben Poole, Mitch Laddie, Paul Lamb, Half Deaf Clatch. They played wonderful sets. For me though, my abiding memory will be of Auld Man's Baccie. We are going to be hearing a lot more of them. I guarantee it.” DJ Jolly Roger Daniels.

BLUES MATTERS! | 31

Tommy Castro

EVEN HIPPIES GOT THE BLUES US guitar star tells us about growing up in flower power California and the joys of hanging out with BB King and John Lee Hooker. Verbals: David Osler Visuals: Victoria Smith

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INTERVIEW | TOMMY CASTRO

alifornia, Summer of Love. You couldn’t move for tie-dye T-shirt-clad hippies wandering around Haight-Ashbury tripped out on lysergic acid diethylamide, while Chicago and Memphis were getting all the solid 12-bar action. Or so the legend runs.

Francisco Bay Area. There was Michael Bloomfield, Nick Gravenites, Joe Louis Walker. Elvin Bishop. The Robert Cray Band. And Bonnie Raitt, of course.” At this time, Castro was living in San Jose. But legendary San Francisco venues such as the Winterland Ballroom and the Fillmore West were easily accessible, and the fairground in his home town also hosted some big name blues acts. “I saw Freddy King, John Lee, the Butterfield Band, Elvin a bunch of times. There would be some great line ups.

succession of teenage bands, his musical tastes were already starting to mark him out from his peers. “There were only so many kids in my neighbourhood who could play and they wouldn’t let me play blues that much. We were just jamming together in the garage and getting stoned. Every time it was my turn to pick the song, I’d want a slow blues or a shuff le and they’d go, aaah man, not another blues,” he says.

But that’s only half the story, according to American guitarist Tommy Castro, who caught up with Blues Matters in the dressing room before a recent gig at London’s 100 Club. Even though Castro can remember the sixties, Come the 1970s, the blues he really was there, at scene in California - like least as a young teenager. just about everywhere else “It all went together” - started to fade he reminisces. “If away. For some I REALISED AFTER A WHILE you went to see Mike years, few clubs Bloomfield, he’d hosted any blues THAT ALL THE BANDS I be on the bill with at all. But by the LIKED WERE BLUES-BASED Jefferson Airplane. middle 1980s, with All the hippies went the popularity of to see the blues, maybe Albert King would come on a Stevie Ray Vaughan, the that’s the difference. If you regular basis, all the touring genre came just about saw the blues in Chicago, it blues bands would play there.” as close as it ever gets was a different crowd. Then to being fashionable. when you got to California, Additionally, he was “There were all these blues when you went to see the listening to FM radio, players lying dormant, like blues shows, it was the same which played a pretty good my friend Chris Cain, who people who went to see the percentage of blues, and came from San Jose. I started Grateful Dead.” Moreover, helped him discover British watching his band playing the Golden State half a bands of the period, such as all over town. There’s a century ago was no blues Ten Years After and Cream. harmonica player back home backwater, he points out. “My ears only perked up named Gary Smith, and he After all, California boasts when I heard the blues stuff. had a band that just played an impressive indigenous I didn’t know what it was, great traditional blues. Jump tradition of R&B, blues and I don’t know why. I didn’t blues, boogie woogie, Chicago soul in its own right. “There even think of it as blues. But style, not rock blues at all. was a bunch of greasy blues I knew I didn’t really care A little club started up, one guys from Oakland, right for the Doors, didn’t really night a week, and before long across the bridge, like care for Jefferson Airplane it was seven nights a week. Lowell Fulson and Sonny or Grateful Dead so much. Then they opened another Rhodes. Who am I forgetting? I realised after a while club and they were both Jimmy McCracklin, there that all the bands I liked going seven nights a week.” you go! John Lee Hooker were blues-based bands.” lived in the Bay Area. By this stage, Castro was Charlie Musselwhite moved By the time he started still holding down day jobs to California, the San playing in the inevitable while playing clubs and

“

”

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INTERVIEW | TOMMY CASTRO

festivals on the weekend. But realising that only making music really made him happy, he moved to Mean Old Frisco and took a shot at turning pro. While the money wasn’t great, the work was plentiful. Only as he was knocking on the door of middle age did the chance arrive to cut his first album, in the shape of 1994’s No Foolin’. “I was nearly 40, I was a late bloomer,” he notes. “This was not in my plans when I was young, I couldn’t believe anyone would pay me to do what I loved to do most.” Meanwhile, the Tommy Castro Band - as it then was - was recruited as house band for network TV show Comedy Showcase. The

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programme aired straight after Saturday Night Live, with the band playing the gaps between the funnymen and the leads into and back from the commercial breaks, sometimes for just a few seconds. But it was great promo for an outfit with its first album just released, and provided a way in for many fans. This was definitely nice work if you could get it. Another standout aspect of Castro’s blues life, was getting to open for BB King on the latter’s 2001 and 2002 summer tours, with a nightly opportunity to play a couple of closing numbers with probably the numero uno blues guitarist of all time. “That was something I thought would never happen

to me, because BB King was my favourite. I never expected I would one day be on tour with BB King and sitting down jamming with him on shows, having some conversations with him and having some laughs. I realised at that time, this is as good as it gets. Anything after that is not such a deal!” In the next breath, he goes on to talk about hanging out with John Lee Hooker, which must at least be something of a deal, surely. Bowen Brown, drummer in Castro’s current band the Painkillers, worked with the Boogie Man for seven years, Castro proudly points out. Hooker and Castro shared the same booking agency, so

INTERVIEW | TOMMY CASTRO

would run into each other a lot. Indeed, Guilty of Love, the title track of Tommy’s 2002 album, was the last thing Hooker ever recorded. “I went to his house. He wore a suit all the time, he always had a blues hat, suit jacket, suit pants, thick and thins [American brand of silk socks - DO] and sharp shoes. He was sitting on the couch, watching the ball game and drinking a beer. “We just came in, I said, don’t move man., sit right there and relax and we’ll bring the mic to you. We recorded a song called Guilty of Love. “We’d hang out backstage once in a while and I got such a kick being around him, because I was a huge fan. I loved John Lee’s guitar playing, his style, his songs. I mostly loved the sound of his voice. It just killed me.” Let’s come up to date and talk about the new album, 2015’s Method To My Madness, which is markedly different to much of his earlier work. In particular, I have to ask, why did he ditch the horns? “I didn’t really ditch ‘em. I played with a horn section for many years and I was just looking to change. I kinda make a different kind of record each time. Even when I had the horns, I tried to make each album a little different from the last one. “I was starting to get really bored, I guess that’s the best word I could come up with. I felt like I was in a bit of a rut and needed to make a serious shift to make it a bit more interesting for

me and my bandmates, and for my audience.” Actually, the horn section was parted with on 2014 effort The Devil You Know, a clearly rock-edged big production number, featuring tonnes of hot guitar, shedloads of effects, and guest slots from Joe Bonamassa, Samantha Fish, Tab Benoit and Magic Dick. “After that, I decided we were going to get stripped down, play live in the studio, as real as real can be. That was the theme for Method To My Madness. People like this one better - the response I’ve been getting is quite a bit better. Who knows what we’ll do next, but I’m enjoying the fact that these tunes feel good to us to play live.”

really work that way. But it’s my main guitar now. My friends at [boutique guitar maker] Delaney Guitars are making me one just like it, but better quality. I still carry my Firebird around and use it for slide, but on this trip I didn’t bring it.”

Actually, he has got some idea of what he wants to do next, and has already been lining up potential guests, including such luminaries as Charlie Musselwhite, David Hidalgo of Los Lobos, and Robert Cray’s former harp sideman Curtis Salgado. Sounds good to me already. Finally, for the benefit of the guitar geek fraternity, I wanted details of the pretty unusual axe Castro has been sporting these days. Looks like some sort of bastardised Fender, but what actually is it? “It’s a little bit of everything.” he notes. “Jazzmaster body, Strat neck, Telecaster switching. It’s got three different pick-ups on it, a humbucker, a single coil and a P90. I ordered the parts and I had somebody build it. “My idea was not to have to change guitars, but it doesn’t

DISCOGRAPHY

The 100 Club show after the interview was everything you’d expect from a bluesman of this calibre. No more UK dates were booked at that time, although the band is hoping to get here more regularly in future. You’d be a fool to miss the chance to see them.

For more info visit: www.tommycastro.com/

METHOD TO MY MADNESS – 2015 THE DEVIL YOU KNOW – 2014 TOMMY CASTRO PRESENTS: LEGENDARY RHYTHM & BLUES REVUE—LIVE! – 2011 HARD BELIEVER – 2009 LEGENDARY RHYTHM & BLUES REVUE: COMMAND PERFORMANCE – 2008 PAINKILLER – 2007 SOUL SHAKER – 2005 TRIPLE TROUBLE – 2003 GRATITUDE – 2003 THE ESSENTIAL TOMMY CASTRO – 2001 GUILTY OF LOVE – 2001 LIVE AT THE FILLMORE – 2000 RIGHT AS RAIN – 1999 CAN’T KEEP A GOOD MAN DOWN – 1997 EXCEPTION TO THE RULE – 1995 NO FOOLIN’ (LIVE) – 1994

BLUES MATTERS! | 35

Vargas Blues Band

HARD TIME BLUES Blues Matters! talk with the band about their early blues influences and discuss their latest album track by track. Verbals: The Bishop Visuals: David Arnoldi and Juan Carlos Perez

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INTERVIEW | VARGAS BLUES BAND

avier Vargas is the best known and most revered blues musician in Spain, having founded the Vargas Blues Band a quarter of a century ago. When Santana recorded and started performing Javier’s Blues Latino in the mid-90s, the profile of the Vargas Band was raised considerably. However, despite extensive touring across Europe, Vargas has not yet achieved the international recognition his immense talent deserves. This is all set to change with the release of his best album to date, Hard Time Blues followed by a world tour including Europe and South America. Blues Matters! caught up with Javier on the Costa del Sol to discuss the blues, life on the road and future projects.

Describe your early life in Argentina? My grandmother was born in Argentina and my grandparents lived in the northern city of Mendoza. When I was small my parents decided to settle there. In ‘67 we moved to Mar del Plata, a city on the coast of Buenos Aires province which filled up with local tourists in summer. Here my connection with rock and blues began. At weekends I used to meet up with school friends to listen to records; Beatles, Hendrix, John Mayall, Cream, Frank Zappa, Grand Funk. There was also a local blues scene as Buenos Aires is the capital of Spanishspeaking blues. My father bought me an electric guitar and a small amp, so I put together a band with some classmates. For a year we would gather every evening in a garage to play. We were occasionally hired to play at weekend parties. We played the music we liked. In the year 1970 the film Woodstock premiered and I think it changed all our lives to see Santana, Ten Years After and Hendrix play there. Later I came across Led Zeppelin II which led me to listen to Otis Rush, and thanks to Clapton I found the music of Freddie King. Besides B.B. King, in those years in Argentina

there were many English influences in our music and we liked everything that came from the UK. What was your first experience of the blues? I encountered the blues through Clapton, Peter Green and Jimmy Page; later I discovered the three Kings, also Otis Rush and Muddy Waters. From the outset I wanted to play blues. I dreamed of having a Les Paul but many years later I became addicted to Strats. Can you remember the first blues record you ever bought yourself? Yes, it was B.B. King’s Live at the Regal. What was it like being part of the Nashville scene in the 70s? It was mainly a country and western scene, but in the area of Vanderbilt University were many southern rock clubs where guys played a lot of slide guitar and very old Gibson Goldtops. There were very good bands that inspired me to take my guitar and not stop playing. After getting settled in Nashville I dedicated myself to go out every night to find live music. I had an old Gibson SG, went to jam sessions

and made myself known. I needed to earn some money to keep going, so I accompanied a few country singers but really wanted to play blues and rock. Night after night in the clubs I got to know musicians who asked me to play on demos for productions. I met Waylon Jennings and came to the recording sessions of Wanted! The Outlaws with Jessi Colter. The singer who took me was a friend of theirs and played with them, but at the time I did not know, it was all new to me. I also met the great Roy Buchanan when he played in Nashville in a club named 'Exit/In'. One day with my roommate I met Alvin Lee at a club I often frequented called Fanny's and I even had a jam with Alvin, playing a Telecaster which I had my eyes on before he bought it from the shop. Nashville was an experience that marked me deeply. I even worked as an extra in the Robert Altman film of this name. Who have been your greatest guitar influences and what did you learn from them? Duane Allman and Rory Gallagher for slide guitar playing. Hendrix and Jimmy Page for production and the magic guitar sound. How has living in Spain shaped your sound? I listen to a lot of Flamenco; my favourite was Paco de Lucia, a guitar genius. To me the flamenco and blues have much in common, it is impossible not to be influenced by the sound and feeling!

BLUES MATTERS! | 37

INTERVIEW | VARGAS BLUES BAND

What are the essential differences between traditional, mainstream blues and Latin blues? Music is an accent; my accent is Latin, but my heart is in the blues. Latinos are very sentimental. Latin Blues has its roots in the ‘Bolero’ but with a blues touch. What have been the lowest and highest points in your career as a band leader? Getting to record my first album and finding a label to put it out was very difficult. It was around '89 I recorded it in a home studio with eight tracks in the apartment of a German technician in Madrid and released with an independent company. It was called All Around Blues and gave me a lot of success. The following year I was discovered by Warner and recorded with them my next album. I also sent one of the instrumental songs - All Around Blues - off to Carlos Santana on a cassette. To my surprise his brother Jorge contacted us and asked permission to include Blues Latino on the album Santana Brothers. The song then was nominated for best instrumental at the Grammys and Santana played it at Woodstock 2. It was hard to get to realise my dreams and I’m still a big unknown despite over 20 albums and more than 4000 gigs on my back, a ‘pick and shovel’ Latin bluesman… Who are the best musicians you have shared a stage with and why? I shared the stage with many extraordinary musicians so it is difficult to decide,

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but the one that impacted me most was Prince, as he was an absolute genius.

are Paul Shortino, Tim Mitchell, Bobby Alexander, David Allen and Gaz Pearson.

To what extent did Blues Latino and Santana’s decision to cover it change anything for you career-wise? It was a dream come true to meet Carlos; to perform with him and play something that had come out of my heart. I felt blessed and recorded an album in ‘94 called Blues Latino with another version of that song. It was a very sweet time in my life; I was doing what I had always wanted to do - even got a write-up on the cover of Billboard.

Tell us about your forthcoming touring schedule We are going to tour France, Germany, the Czech Republic, Poland and Latin America in the autumn; the exact dates are on the website with more still being added. Later this year I am looking forward to playing in the UK so that people get to know me better there. I’m planning to make a live recording in a London studio in November.

You are an excellent songwriter. Can you talk us through the process of writing a song? The best songs come instinctively; that's my creative process, an impulse that comes from deep inside. Sometimes walking down the street, I think of a melody. Blues Latino was born from a dream. I woke up with that melody at night and jumped out of bed to record it on a four-track. A few months later I discovered the tape and developed the song to as it’s now. Who is your current vocalist and what does he add to the band? At the moment it is Luis Mayol, my bass player. We have known each other for 35 years and have a great connection musically and personally. On some songs in the live set Peter Kunst the drummer sings. Also contributing vocals, depending on the occasion,

What do you think about the current blues scene in Britain? There are many excellent musicians but my favourite is Jeff Beck. I also like Ian Siegal, Alan Nimmo and Aynsley Lister. What are your musical ambitions? To have people all around the world know that a Latino named Javier Vargas feels the blues and expresses it differently.

DISCOGRAPHY HARD TIME BLUES – 2016 FROM THE DARK – 2015 HEAVY CITY BLUES – 2013 VARGAS BLUES BAND AND COMPANY – 2012 VARGAS, BOGERT & APPICE – 2011 MOJO PROTECTION REVISITED – 2010 VARGAS BLUES BAND, COMES ALIVE WITH FRIENDS – 2009

INTERVIEW | VARGAS BLUES BAND

HARD TIME BLUES: TRACK BY TRACK

ard Time Blues was recorded in Las Vegas and at Cube studios Madrid, where Alberto Seara was responsible for mixing and mastering, with guest artists Paul Shortino, Gaz Pearson, Devon Allman and Tim Mitchell. It features 14 songs including one cover, combining Latin rhythms, blues and rock. I have created this new project with the solid rhythm section of Luis Mayo, bass and vocals, and drummer Peter Kunst, also on vocals.

WELCOME TO THE WORLD The vocalist is Gaz Pearson along with Luis, Peter, and David Lads Sanchez on keyboards. It’s the album’s opening track and I think has a subject that transmits positive energy.

KING LATIN BLUES This song with vocals by Peter Kunst has a very blues Latin groove; it acknowledges my early influences.

IBIZA MOON This track has Paul Shortino on lead vocals and Gaz Pearson on backing vocals. The lyrics refer to a paradise I know very well and that is Ibiza. It sounds very rockabilly and simultaneously very surf-rock.

FULTON IN THE HOUSE This has a certain Tamla Motown feel, with an amazing vocal interpretation by Paul.

The lyrics are dedicated to a friend of Robert Johnson's who features on Crossroads, the relatively unknown Blind Dog Fulton (aka Willy Brown).

ROAD TO FREEDOM This is blues-rock with a hypnotic riff also sung by Shortino. The piece is inspired by refugees waiting for a train that would take them to a better place. It is played live by Luis Mayol on bass, Peter on drums and me with my old Stratocaster '61.

BURNING SHUFFLE I have dedicated this to guitarist Mike Bloomfield from Chicago, one of my favourites; he played with Dylan and recorded ‘Super Session’ with Al Kooper. I wanted to have an instrumental blues on the album with this very sound; it was also recorded in one take.

BLUES MATTERS! | 39

No oNe shOuld face cAncer aloNe No mums. No dads. No brothers or sisters. Not your next-door neighbour or the lady from the corner shop. No grandmas. No grandpas. Not the chap from the chip shop or the noisy lads at the back of the bus. Not your best mate. Not a single stranger. No one whatsoever. No one should face cancer alone. Text TOGETHER to 70550 and donate £5 so we can be there for everyone who needs us.

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Texts cost £5 plus your network charge. We receive 94p of every £1 donated in this way. Obtain bill payer’s permission first. Macmillan Cancer Support, registered charity in England and Wales (261017), Scotland (SC039907) and the Isle of Man (604). MAC14175

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Tickets: 01282 661234

INTERVIEW | VARGAS BLUES BAND

VARGAS BLUES BAND HARD TIME BLUES SANTO GRIAL RECORDS

The king of the Latino blues is set to expand his substantial fan base in Spain to the UK with the release of his best album to date followed by an extensive autumn tour. Whilst 13 tracks are original, a real bonus is the band’s unique version of Tobacco Road, the innovative rhythm patterns laid down by guest Devon Allman. Tim Mitchell’s vocals on this and the equally memorable title track are magnificent; on the latter he rages in anguish about the ‘hard time blues’ on the heartless city streets, ‘gang wars raging, it’s a living hell.’ In the 1970s Javier Vargas honed his guitar chops in Nashville jamming in small venues with the likes of Alvin Lee who had a positive influence on his development. This is evident in the slow, incendiary Burning Shuffle instrumental and the hard rocking, Playing At The Crossroads. On Bottleneck Blues, Vargas shares

BOTTLENECK BLUES I could not fail to include a good rock and roll with Paul again delivering tremendous feeling; it also has a very strong rhythmic base. Again, I used my '61 Strat.

DOWN BY THE RIVER This track is in essence, very much Hendrix with a classic rock melody, again with Paul making mischief and built on a rather groovy rhythm.

PLAYING AT THE CROSSROADS This song could have been on the album Texas Tango. It has a very bluesy riff with a rock bridge, perfect for playing live and

his blues with a bottle of Jack as he tries to drown his sorrows. The main vocalist, Paul Shortino is at his most convincing on Down By The River, backed by Javier’s screaming guitar, expressing the story of love and deceit. The deep, balladic Spanish Roads reflects the loneliness of life on the road whilst the upbeat, rockabilly/ surf-rock of Ibiza Moon portrays life in paradise. The enigmatic Fulton In The House refers to the virtually unknown Blind Dog Fulton, a friend of Robert Johnson. Shortino tells the story brilliantly and brings to life a character who, ‘had them back doors squeaking, angry husbands on his tail.’ This highly recommended CD establishes Vargas as a much more varied, cosmopolitan and dynamic performer than his famous, Santana-covered Blues Latino suggests. THE BISHOP

is again featuring Paul, who also wrote the lyrics.

Argentine keyboardist Pehuen Innocenti.

SPANISH ROADS A blues in minor keys which tells of all those years on the road. It’s a typical song where you get carried away by that feeling, with a deeply felt interpretation by Paul.

SPACE JAM Another instrumental which, for some unknown reason, has Blackmore and Joe Satriani influences; it just turned out that way when I thought of the melody.

AVENIDA DE MAYO A blues instrumental I did with the great

HARD TIME BLUES This was first recorded in Madrid-Memphis in '92, but is a very current issue. The words portray this time. Tim Mitchell is on keyboards and vocals; the arrangement is quite different from the first version, a little psychedelic.

TOBACCO ROAD I’ve always been a fan of Tobacco Road in the versions by Edgar Winter and Eric Burdon… It is a fantastic song for playing live. Tim Mitchell is on vocals again with Devon Allman playing rhythm guitar.

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Sari Schorr

FROM NOBODY TO SOMEBODY – PART ONE People say Sari is an overnight success, but the reality is it's been a long road to this point in her life.

Verbals: Christine Moore Visuals: John Bull and Rob Blackham

BLUES MATTERS! | 43

INTERVIEW | SARI SCHORR

ari is a real Force Of Nature which just happens to be the title of her album. Seeing her perform with her band The Engine Room and meeting with her is a really powerful and emotional experience. During her performances, her vocal range and delivery are a compelling combination that just holds your attention right from the start, casting a spell over the audience that is truly incredible to witness.

Is this the first time you have been in the UK? I have always loved the UK; I once missed my college graduation to get on a plane here with a backpack. Yes, this is my first visit performing. To see what in particular? I wanted to see English people, to learn how to finally speak proper English. They don't teach us that in America. Not to see castles? I did! But I did overdose on castles; I never thought I would get to a point where I would be running in the opposite direction of castles. So this is your first UK tour? You were telling me earlier that this came about because you met producer Mike Vernon in Memphis? It was just an absolute coincidence, it was just meant to be. I wasn't even supposed to be in Memphis, but I decided to go against the advice of everyone I worked with, they said you're nobody, and until you are somebody, you don't go there. It was so hurtful; this is about the blues community, about sharing your love for blues music with like minded people. My manager said you're unmanageable so that was the end of that relationship. A then friend told me about the awards that they were giving

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to people who were behind the scenes, not the artists but the industry people. I thought how wonderful to support them because without the work of the labels, producers and agents the artist would really struggle to get their music heard. I just got on a plane and I was there. The ticket, unfortunately, was very expensive but I thought you know what I am going to find the money; I am going to do this because it's so important to support the people who make it all happen. As I am sitting there listening to people accept their awards they had record producer of the year; record label of the year and festival promoter of the year, I was thinking all of these people could really help me. I was struggling at the time they were very hard times for me and I was on the verge of just giving up as it was becoming too difficult. Mike Vernon got up to accept producer of the year and he said he'd retired and was living in Spain, and I thought that's the person I want to meet. It's not selfserving, I could actually go up to him and say I love your work, thank you for all the great records and thank you for being such an influence in my life and helping me develop as an artist. I can tell him all these things and there is nothing he can do for me he is retired! He lives in Spain and I live in New York.

So I went up and there were so many people that wanted to speak to him, so I made it very quick. I just told him all those things and I scooted out of there within two seconds flat. That night I was asked to sing at the Daisy Theatre it was just one of those shows where everything was perfect it was a great sound system, great stage, great band and I had so much fun and I was so grateful to be there in Memphis with all these likeminded people feeling part of the community, feeling like I have this beautiful extended family and I was on the verge of tears. People were talking about it the next day and Mike Vernon found out about it so he started to become very curious about my work. He called me when I was back in New York and said "I really want to make a record with you and I want to come out of retirement to do it, when can you come to Spain". and that was it, and his birthday is one day before mine. So how did you start out in the beginning singing have you always been singing? Always, my Mother loved to tell everybody that I was singing before I could walk, I was singing right from 3 years old and by 5 years old I was already performing, using a wooden spoon as a microphone. I wanted long hair, so I would use my nightgown and just put it over my head and pretend it was this long flowing beautiful blonde hair. We used to turn the couch around and use it as a stage. I used to charge my mother's friends and neighbours to come see me they were so kind. We

INTERVIEW | SARI SCHORR

had to move eventually, but I now realise why my parents found it so embarrassing. We needed new blood so we found new neighbours. What was the first band you were in or did you do solo performances? It was named after the street we lived in - Cedrus Ave band. What sort of music was that? Just bad original rock ‘n' roll and really loud. When you're young it just has to be loud to be real.

Until you lose your hearing. I'm sorry, What? Have you always performed blues/rock? I started with blues/rock, and then I wanted to get into jazz because I like to challenge myself artistically. Living in New York there's a big jazz scene, not such a big blues scene and I received opportunities to perform in different jazz venues. The problem was I would get the first booking but never a second. I would overpower the room, overpower the

band and I was constantly asked to tone it down. I would try, I really did but it just wasn't who I was. I loved Ella Fitzgerald, Sarah Vaughan, Nat King Cole and Billie Holliday but as much as I tried to emulate these singers it just wasn't who I was. Finally, I reached a point in my life where I needed to accept the things that make me who I am. Working with Mike Vernon was really a tremendous therapy session, because once he showed me how much confidence he had in me, I started to believe it

BLUES MATTERS! | 45

INTERVIEW | SARI SCHORR

revolving door. I have had other record deals before, 7 or 8 of them but I've never had a record come out. It's been one catastrophe after another, I was signed to Universal and three months later it shut down, Yeah I brought the whole label down. This was when I was living in Paris and was signed to Mercury Records; you just can't make this stuff up. I am so proud to make this record with Alan, he has some great bands, King King who I absolutely love, these are my label mates, and they are so rocky. I just met Wayne Proctor for the first time today he is fabulous the whole band is fabulous. Have you seen them perform live yet? Only on video's, so this will be my first time tonight seeing them live, I can't wait. I am going to buy all their CD's and a t-Shirt. Or a kilt? Yes! I would love to! That means I'd have to shave, so maybe not. Alan can carry it off.

and I started to be myself and not hold back. When someone as legendary as Mike says what you're doing is so good, it energises you and gives you the confidence to go further. Have you made any other albums? This is my first proper album, nothing I have ever

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done compares with this, it's being released on Manhattan Records and I am overjoyed. I love this label as I have tremendous respect for the owner Alan Robinson, I love the way he works with artists. With bands he takes the long-term approach, he is very committed to those he works with; it's not a

So what are you hoping for in the future? I hope to continue with Mike Vernon and Manhattan Records. I want to do them justice by being able to deliver the kind of record we can all be proud of. I want to do everything I can so the band can continue, to get as much work as possible, and to keep them out of trouble. Will the band be going back over to the states with you to promote the album? We have tour dates booked here in the UK until October,

INTERVIEW | SARI SCHORR

then after that, I'll bring the band over to the states. Then we will be back here as we have tour dates into next year now, it's great. You work your whole life to make your first record and then you've got six months to make the second. So we are starting to work on the next album. Have you written all of the songs on the album? No not all of them, but we have Walter Trout on the album as a guest. We met at the Leadbelly Festival at Carnegie Hall in New York and he was just so gracious he said he loved what I was doing and would love to be on the album. He also said I hear you're working with Mike Vernon I have always wanted to work with him so that just started the dialogue. So I said let's honour Walter and do one of his songs. Then we have a Leadbelly song on the record. How did you meet your band and are they all English? They are, I first met Innes years ago when we were on a Rory Gallagher tribute in Manhattan in the Iridium and I was so impressed by them. Innes is such a great guitarist and has a very gentle nature, he is so fierce when he is playing the guitar and then off stage, he is just this lovely warm hearted beautiful soul, a very old soul. I was a little intimidated to talk to him after the show so really didn't get to know him immediately and when Mike Vernon and I decided to make this record I had a very short list of guitar players that I wanted on the record and he was at the top of that list. Mike had done a

record with Innes so we were all connected. The Engine Room, Sari's band are Innes Sibun (Guitar) – Robert Plant; Anders Olinder (keys) – Glenn Hughes, PP Arnold, Peter Gabriel (sessions); Kevin O'Rouke (drums); Kevin Jefferies (bass) – Roger Taylor (with Jeff Beck), Mike Oldfield and Steve Harley. Don't you think life is about meeting people at the right time in the right circumstances, and things just gel, it just happens? It just does, that's why I would never recommend this life to anyone there is so much

SARI SCHORR A FORCE OF NATURE MANHATON RECORDS

This album has been produced by Mike Vernon and is testament of his ability to produce great music and spot amazing talent. Mike offered to come out of semi-retirement to work with Sari, who has written all but three of the songs for this album which was produced in Spain. This album is hard-driving blues rock and features influences from the late 60’s British blues scene. Covers consist of Mike Vernon’s very bluesy version of Stop In The Name Of Love, Leadbelly’s Black Betty and Walter Trout’s Work No More which features him on lead guitar. The opening song Ain’t Got No Money has a great guitar solo from Innes Sibun who provides a match made in blues heaven accompaniment to Sari’s powerful vocals. Aunt Hazel, (urban slang for heroin) describes how heroin enjoys a villainous satisfaction when its victims suffer. You feel it in the line: “Aunt Hazel’s laughing as my words

luck involved, you work so hard your whole life you struggle and then when you least expect it something happens. But that is no way to live and build your life, hoping forever in your life. I gave up career, money, having children and family, I gave up everything. It's funny everyone is talking about my overnight success and it's not. This is a long journey. Hear more from Sari in issue 92 as this lady has a lot to talk about.

For more info visit: www.sarischorr.com get slurred.” Damn The Reason is about a woman in an abusive relationship, it has a powerful delivery and message. Black Betty with her own arrangement is next up and one of the best renditions of this song you’re likely to hear, the passion Sari puts into this is tangible, for her this song is about a slave, a rape and the cracking of a whip. Demolition Man has a great beat along with Oklahoma both sure to set the dancers going. Not only can Sari belt out blues rock but she also performs a mean ballad as shown in Letting Go and Ordinary Life which has a great keyboard opening and accompaniment by Jesús Lavillas. Sari has lived a life and has written songs about the human journey she has experienced and encountered on the way which we can all relate to. Along with a great band and production there is no doubt this album will be one I regularly play and is fast becoming one of my favourites. Great songs, Great singer, Great band and Great production, what more could you want from an album. CHRISTINE MOORE

BLUES MATTERS! | 47

Ben Harper

CALLING IT WHAT IT IS THREE-TIME GRAMMY WINNER TALKS ABOUT HIS ROOTS, INFLUENCES AND RECORDING AGAIN WITH THE INNOCENT CRIMINALS Verbals: Iain Patience Visuals: Danny Clinch

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INTERVIEW | BEN HARPER

alking with Ben Harper, you get the immediate feeling this is a guy with opinions, a relaxed take on life and a self-belief that shines at every turn. Asked why it's taken the better part of ten years for him to get back together with the Innocent Criminals, he sort of shrugs, laughs and says, “We've never been apart. We were always in touch with each other but the time and space gave us the freedom to breathe and develop as individual musicians. Every one of us musically has been off doing different things, making musical inroads. Maybe it was necessary after our previous time together, but after seven years or so, we got back together to play and record and it just worked perfectly again. It was like a rediscovery and the music came out as good as ever - maybe even better - in a way I never felt before.” Harper possibly understates the truth with this modest appraisal. The band's new album Call It What It Is rips and roars along with sure-footed strength and solid musicianship that screams 'quality'. The recording process for this reinvented outfit was far from the usual old, run of the mill days of hard-graft in the studio, as Harper explains: “We recorded the album with four five-day studio sessions spread across the year. Stax Records were great about it all. Stax records is a real good fit, I feel. In reality, I don't think they fully realized what and how we were doing it. They were real loose and we were able to put it together easily, spreading it out and

taking time to capture the sound we wanted while also having time to tune-in and reflect on what we'd done following each session.” The result is an eleventrack release that is inevitably bound to generate enormous interest worldwide, and push Harper and the Innocent Criminals back into the searching musical spotlight. Harper adds his thoughts on the reunification with the band and what the latest material and album mean to him: “I thought we would be more energized and revitalized by thinking outside the box and starting with new material in the studio before we dug into the old stuff. It was meant to be a signpost that we're here to forge new ground musically and personally. Because of that, the older material started to sound brand-new too.” The Innocent Criminals line-up remains rooted with percussionist Leon Mobley, bassist Jaun Nelson, drummer Oliver Charles, Jason Yates on keys and Michael Ward on guitar. Before reuniting, Harper had the album pretty well written and in the bag, though guitarist Ward added his writing nous to the project as it rolled itself out. Looking back, Harper is satisfied with his awardwinning highly acclaimed back catalogue. Since his 1994 debut 'Welcome To The Cruel World', he has released eight studio albums - many featuring his Innocent Criminal buddies - and has established himself as a singularly powerful singer, song-writer and performer,

with a cross-genre talent that allows him to blend blues with soul, rock and a driving force that incorporates lyrics which echo with personal and political themes. Accolades have, of course, poured in over the years. Rolling Stone Magazine in the USA describes his music as"…..jewels of unique and exquisitely tender rock & roll", while others have spoken of his "casual profundity” and the "power and beauty of simplicity." Together with the Innocent Criminals, he has headlined major events around the globe, with massive international sell-out tours, television appearances, gold and platinum album sales and astonishing success. Little or none of which he genuinely appears to have expected. “I really didn't plan it that way. It just sort of took its course, with a life of its own. Now I love it. My grandparents and parents ran a music store in California, so I worked there at first, learning the difference between different types of Eastern instruments, for example.” Among the regular customers to visit the store, and inspire the young Harper, were both veteran acoustic bluesman Taj Mahal and slide-guitar master, Ry Cooder. At the same time, however, Harper was also picking up experience as a player himself and he recalls the Stones album 'Sticky Fingers' as lighting a spark, and knowing it was one of those moments that really did it for him personally when he was a young aspirant, learning the trade. “When I was around 19 or

BLUES MATTERS! | 49

INTERVIEW | BEN HARPER

20 years old, I'd go out and do 'open-mics'. Then I had about ten stock blues songs I did, just me and a guitar. It was a real learning curve. I played a gig at an old church and the guy running it came to me a few days later and gave me $200. I thought "Wow," and asked him what it was for. When he told me it was my share of the door money, I initially thought he meant he'd sold the church door and I was a bit shocked, thinking "why, you didn't have to sell the old church door to pay me!" But it sure made me think about the possibilities. About one year later I was called up and asked to go out on the road on tour with Taj Mahal.” Harper is now well-known and widely lauded for his mastery of lap-steel guitar, and confirms being both impressed and influenced by two other greats of the instrument, both monumental musical forces with differing styles and approaches that he admires enormously. Blind Willie Johnston and

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Ry Cooder both retain the potential to bring him to his musical knees at times. Alongside those bluesbased greats he also acknowledges the importance of others, some perhaps surprising in many ways. “I love Edith Piaff,” he says, before adding “and Led Zeppelin were fantastic. And then there's always the late, great Pete Seeger, with his particular importance in the world of music and civil rights in the USA, and Mavis Staples. I also love English folk players Martin Carthy, Norma Waterson and Richard Thompson.” A positively eclectic bunch of musicians and international influences if ever there was one. He describes all of these people as giving him insight and as producing “good music.” His own personal philosophy embraces many sources and subtleties when required: “Music doesn't have to be always loud but it should always be authentic, worth exploring. It's important to see just how deep it can

go and how it can become a fuse with different colours of sound. These guys all do it for me. The music must have room to breathe. I've been lucky in that I've never been, or had to be, mainstream. If anything, mainstream has in fact shifted to meet and fit me.” And in a way, there's a glorious squaring of the musical circle with his thoughts on that very point. He agrees that he now has a freedom to pursue his own interests, and the power and freedom to incorporate political references that more than hint at his own personal beliefs and values, into his writing and musical releases. Take the title track to the latest offering, 'Call It What It Is', as a case in point. This is a song that has a decidedly traditional bluesy undercurrent but screams its politicized importance in the here and now with lyrics that Harper agrees cut to the quick: ''There's good cops and bad cops. White cops and black cops. Got to call it what it is. Murder……" he sings, before invoking the names of recently passed youths and notorious and tragic events in the USA with …"Trayvon Martin, Ezell Ford and Michael Brown." Harper also acknowledges, that lyrics as potentially explosive as these, would never normally make it to mainstream, widespread outlets musically, but notes that his spreading fame and fortune has resulted in him being in a position to add political references, and to bring civil rights issues into the wider, often closed, US musical context. Again, he thanks Stax

INTERVIEW | BEN HARPER

Records for the opportunities here, describing it as always being a label with a grounding in the black civil rights movement camp and its importance and aims in the USA. “It's important to make your point,” he says simply. “I know I've been successful, though I never expected any of it, but it does mean I can record my material, like 'Call It What It Is' as a song that might be heard in a much bigger, wider musical world, with much greater exposure than many others.” After over twenty years at the top, Harper confirms he still loves the musician's life, and genuinely enjoys being out on the road on tour with live performance at its core: “I probably do about sixty or seventy shows a year and no venue is too big or too small. Bring it all on, I say” he laughs. Never one to sit still for long, or rest on his substantial laurels, Harper is always looking ahead, with new projects thundering around in his head. “I'd love to do another record with Charlie Musselwhite” he says, before assuring me that this will indeed happen in the near future. “I love Charlie and his music. He's such a lovely guy.” He knows he will be taking to the road with the Innocent Criminals to promote the new album, 'Call It What It Is', and relishes the prospect of travelling widely in Europe, the US and Australia later in the year. “It's always good to get the music out there and it can be fun on the road” he quips. With Harper's usual goodhumour much in evidence,

I ask if he has any regrets, anything he would rather forget perhaps, in his career to date. To my surprise, he roars with laughter and discloses that he once wrote a song especially planned for the band he was then working with, The Blind Boys of Alabama. “In retrospect, it - the lyrics was terrible. I thought, here we go and ran it past them. There was no response at all. Silence. It was the most embarrassing moment of my life.” He elected to keep to himself the title of that song and as to whether he'd ever recorded it himself in the years since. However, his time with the band remains firmly lodged in his memory and he recalls with evident pleasure and pride that they all wore similar stage outfits. “I remember around this same time, I turned up to meet and sing with them and the guys had a 'team jacket' specially made for me to wear. It was a real proud moment. I felt that they'd accepted me as one of them. We had some great times together.” Harper is fully aware of the capricious nature of the record-buying public and of his own place in the musical firmament. He already has plans for his retirement, though thankfully that appears to be a long way off from now. “I started out working in my grand-parents' music shop in Claremont, California, a real honest family business. I can tell the difference between, and identify the difference between an Oud, a Saz and a Bouzouki. I can also tell who probably made it. I learned a lot there and it introduced me

to music generally. I intend to return there and run the store again as a family business” he explains, illustrating the simple truth that his own, personal musical circle will remain unbroken. But that's for an unspecified time ahead, well in the future, it seems. For now, Harper is again riding high, happy to be back with his old buddies, The Innocent Criminals, recording, touring, meeting the public and generally having fun out on the road, albeit travelling a careworn musical highway that can be tiring at times. Again riding a wave of popular acclaim and deserved musical success, Harper is clear in his self-belief in the importance of this latest album, 'Call It What It Is', and his work with the Innocent Criminals in general on this particular recording: “The time we took with this record has let me look it straight in the eyes and say that I gave everything I could to it and that's exactly the way we intended it to be. To be able to say that we've left no stone unturned just feels great.”

DISCOGRAPHY CALL IT WHAT IT IS – 2016 CHILDHOOD HOME – 2014 GET UP – 2013 GIVE TILL IT’S GONE – 2011 AS I CALL YOU DOWN – 2010 WHITE LIES FOR DARK TIMES – 2009 LIFELINE – 2007 BOTH SIDES OF THE GUN – 2006

BLUES MATTERS! | 51

John “Gray Hound” Maxwell

MAY THE BLUES TRANSPORT YOU Verbals: Billy Hutchinson Visuals: Roger Jones

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INTERVIEW | JOHN “GRAY HOUND” MAXWELL

ingerstyle/bottleneck acoustic guitarist/singer, John "Gray Hound" Maxwell, retired at sixty from the Golden Gate Transport Authority to begin concentrating on his music. Teaching bus drivers has given way to opening up for some pretty big names on the Blues and Americana circuit. Blues Matters caught up with the San Rafael, California, guitarist, who plays clean and accurately with a sense of sweet melody. John, being a Son of an Episcopal priest, and your mother a High School librarian, was it a strict upbringing? No, the Episcopalians are the American equivalent of the Anglicans. My Dad was musical himself, and everybody in the family that way, too. I spent most of my childhood in Chicago. That is where I had tutelage from John(ny) Long (he has a new CD out on Delta Groove). I met him when I was about 17 in Chicago. He was teaching at The Old Town School Folk Music there. That, I believe, is the oldest folk music school in America. He was teaching bottleneck guitar, and I took lessons from him in a classroom situation for about eight weeks or so. It's funny looking back, because at the time I looked up to him as the elder of the Blues, and it turns out he was probably about 23 years old at the time. Back then and today, I consider him one of the more authentic players of blues anywhere. This is only his second official recording out, but he had a couple of earlier ones out in the nineties that were on cassette, which are probably impossible to find these days. I read you studied at Webster University - what were you studying? I was searching there. I was studying music, but they had primarily a classical music

department. I found I couldn't really apply what I was learning to what I wanted to do. So, I was there for two years until I left to play music. I met a lot of amazing people there that I am in contact with, mostly musicians. When I was in St. Louis, I met up with Henry Townsend. That was one of the joys of my life right there. I was playing at a club in St. Louis, and one of my friends came up to me and said, "You know there's this guy upstairs called Henry Townsend. He's an old blues player, if you want to meet him?" I'd heard of him, of course. I said, 'Absolutely'. I got to meet him. He was so great, so gracious. He said, "We should get together and play sometime". I said, 'I'm ready anytime'. He said, "I'm not kidding". I said, “I'm not either!” (laughs). That very night he took me back to his house in St. Louis. We listened to stacks of old 78's that he had recorded, starting about 1929. He did a lot of sessions with people that he never got credit for. We played quite a bit, and I ended up sleeping on his couch that night. His wife, in the morning, made breakfast for us. That was one of the joys of my life right there, meeting him, and getting to play with him. I also met Tommy Bankhead, who was up on the North Side of St. Louis - I believe he was a cousin of Elmore James. He

had a great band there, with one of my favourite drummers of all time sitting in the back behind the pool table, just the most solid groove I think I've ever heard. That was my first voyage into an all-black neighbourhood and an all-black club. It kinda felt like the Blues Brothers movie when they walk in, and everybody stops talking, and stares at you. I got to get up on stage and play a few songs with him. That was just great! How much music did you play in the time you were a bus driver? It was difficult, because the bus driving job was 12-14 hours a day, for five days a week, for almost twenty years, which took its toll. I always tried to keep it going, and keep working on that. I officially retired from my job as of March 1st, which is really great. I can devote myself to playing full time. Previously my performances were very sporadic. Having to get up sometimes at 3.30 am sometimes made it very difficult to book gigs, but over the years I got to open up for Roy Rogers, and Susan Tedeschi on her first tour here in San Francisco. I kind of hate to look back at all the time I put in outside of music, but I was like biding my time to get my pension set so I could do what I wanted to do. Bruce Iglauer sent me a really nice letter after hearing my CD, and I was really heartened by that. I have been really trying to be more precise, as I never do things twice exactly the same way. I kind of like the flying by the seat of my pants approach, where it is always

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INTERVIEW | JOHN “GRAY HOUND” MAXWELL

a little bit different. I have started on my second CD - I have all my songs picked out now, which will be originals to covers. I really like doing some of the obscure classic blues things, mixed in with some my own original stuff. I like that combination. I've started to get into the process of it, I am hoping by the end of the year to have that finished. Tell us about Bella's Romp Bella's Romp is actually about my pitbull, Bella. She had two leg surgeries which incapacitated her for over a year. The song was envisioning her completely recovered, and running through the fields - or romping. That's her on the

54 | BLUES MATTERS!

cover. It is an original by me, I put it up on Facebook first, and it blew my mind that it got 30,000 hits in the first week. Completely blew my mind! Unfortunately, it wasn't until a couple of days after that I put it on YouTube, but I didn't get as many hits as I did originally on Facebook. The response has been really great on that. I have been really happy and excited about that. The guy who shot my video on that is my friend Roger Jones, who went to Webster with me. He is an excellent photographer and videographer. He just set it up in his backyard, maybe in a half hour. I am really honoured and grateful to know him. He did a great job. He did the St. James Infirmary video for me, too. I like to mess with arrangements like that to make them my own. Blues For Evangeline actually came from a dream, where I realised that four songs on the CD had New Orleans connections. One of those was dropped, but the remaining three were, St. James Infirmary, Delia and Dry Side Of Town. Blues For Evangeline made it to the top five at the 2016 Memphis Blues Challenge for best self-produced CD. I am about to open up for Ramblin' Jack Elliot soon, and later, in June, I am opening up for Ruthie Foster. That has kind of been the kind of gig I have been searching for rather than playing coffee houses and things like that. Going back to what I have done, I have done a lot of electric work over years, but the last five years I decided that acoustic is really where my heart is. I

have played in a lot of bands, from a punk band in the late 70's in San Francisco, to jazz bands in college, and a bit of blues and rock 'n' roll stuff. I enjoyed all of that, but the acoustic is really where my heart is. Part of that is the preservation of my ears. Playing in the punk bands really took its toll on my hearing. Blues has always been my foundation of stuff, but about five years ago I went up to the Port Townsend Acoustic Blues Festival, up in Washington State. That is when it came to my attention that this is what I should be doing, because this is what makes me really happy. It's spectacular, and it's the best week of the year. Some people think I am crazy, because, when I explain it to them I say, “You are basically playing guitar for 16 hours a day and you're sleeping for about maybe four hours a night, six nights in a row. You are totally running on adrenalin. By the end of the week you are totally exhausted. You don't want to go to sleep, and you don't want to take naps because you know you're going to miss something that is really special”. Oh yeah, and a friend came up with "Gray Hound" after the American bus, so I just changed the E to an A.

For more info visit: www.slowlyiturnmusic.com

DISCOGRAPHY BLUES FOR EVANGELINE – 2014

PRODUCED BY TOM HAMBRIDGE

Executive Producer Gina Hughes

hurricaneruth.com

BLUES MATTERS! | 55

Rocky Athas

ALWAYS ROCKS WITH THE BEST Rocky Athas is a very difficult man to get hold of, but I am delighted to say he took time out from his hectic schedule with John Mayall's Bluesbreakers, to give me a thorough interview incorporating his varied career. Verbals: Clive Rawlings Visuals: Bjorn Olsson and Arnie Goodman

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INTERVIEW | ROCKY ATHAS

hanks so much for taking time out of your busy schedule to talk to us, Rocky. Perhaps we can start by going back to your school days in Dallas, Texas, when a fellow pupil was a certain Stevie Ray Vaughan. Did you guys ever get to play together? Absolutely! Steve's birthday is twelve days before mine and our families lived close to each other in the Oak Cliff neighbourhood of Dallas Texas. We met at a talent show at our elementary school. In the audience, sitting on the first row, was Stevie Ray. We didn't call him that back then...he was just Steve. After I performed, Steve came up to me and said "Hey, I saw you playing guitar and I play guitar, too." From that day on, we became fast friends who talked endlessly about guitars, Jimi Hendrix, Eric Clapton and The Beatles and his brother, Jimmie.

by Cactus. That's how it was between us. We shared our knowledge and enjoyed the discovery. If I figured out a Hendrix lick before him, I would show him and vice versa. We were so young in fact, that I had to borrow my brother's car to pick up Steve at his house and go to jam sessions around town. Jam sessions were the best place to learn how to really play guitar and play with others at the same time. We had a lot of fun. By our 20’s, Steve was in Austin doing his own thing and I was in Dallas doing mine. We remained good friends playing in different circles. At one of the very first Texas Guitar Shows, Steve and I sat together in Charley's Guitar booth and played Little Wing by Hendrix together. We never lost touch or respect for each other and it took me years to come to terms with his tragic death. I wrote To My Friend to express my loss.

What sort of a friendship did you have with SRV? We were so young our friendship was based on our love of guitar and learning everything we could from each other. We shared a true love for guitar and music. We were 'guitar geeks' before being a guitar geek was cool... talking about guitars, amps, and players...always curious about the newest player on the scene and trying to figure out how to play their licks. It was Steve who turned me on to Nazz. He said he didn't like the band, but he thought the guitar player was awesome. That turned out to be Todd Rundgren! I remember showing him Jim McCarty's version of Parchment Farm

By age 23, you were already winning awards and you were a leading light in the Texas nightclub scene? Yes, my band was called Lightning and played all original music. We opened for national acts that came through Texas including The Kinks, Peter Frampton, Mountain, Rick Derringer, Pat Travers, and Ritchie Blackmore, etc. I was very young and ambitious and it was my personal goal to blow every headliner off the stage. We were a super tight band that had a reputation for putting on an entertaining show. Our drummer even did back flips off the drum riser at the end of show! We went all out. At the time, it was an

honour to be included with Billy Gibbons, Johnny Winter, Jimmie Vaughan, and Eric Johnson as Buddy Magazine's 'Texas Tornados'. It will be fun playing on the Rock Legends Cruise in January with many of the same artists that I opened up for back then! Many great guitarists have come out of Texas, who has impressed you most? Since there have been so many great guitarists from Texas, that question is difficult to answer. If I have to pick only one, then Freddie King hands down is the best in my book, because he played with feeling and melody. He wrote songs that were full of groove, and he cared about sharing his love of music with his audience. Freddie always had a smile on his face and that was infectious. He wasn't just a good guitarist, he was a great songwriter. He was the total package musician with a larger than life presence in person that you couldn't help but like. Freddie totally deserved his place in the Rock and Roll Hall of Fame. Correct me if I'm wrong, but you joined Black Oak Arkansas in 1996, staying until 2001. By my maths you would have been in your forties by then, where were you hiding up to that point? You could never accuse me of hiding! Lol! I have always been a working musician with my main focus on my solo career and song writing, we just didn't have the amazing accessibility of the internet that we enjoy now! I joined Black Oak in '81 to '83 and again in '88 and '89, then I returned for a third stint

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INTERVIEW | ROCKY ATHAS

in 1996. It was pretty cool that two of my songs were included on the Black Oak Arkansas Greatest Hits album. During BOA, I met drummer, Johnnie Bolin - Tommy Bolin's brother. Johnnie was a terrific rock drummer and a very funny guy and we became very close. During that same time period, I developed a friendship with Glenn Hughes after jamming with him one night, and we toured together for the Tommy Bolin Tribute Foundation. What an amazing bass player and singer! I have been very fortunate to meet and work with excellent musicians. You made an album with Buddy Miles Blues Berries in 2002 and some session work with Double Trouble - you certainly got the good gigs. Thank you. I've been blessed with many good opportunities. The band was called the Blues Berries with Chris Layton and Tommy Shannon as the rhythm section. Jim Gaines was the producer and he really inspired me and captured absolute magic in the studio. It was a great experience playing with Double Trouble and Buddy and The Blues Berries is an outstanding album. Compassion For The Blues was the very first track we recorded and I think we recorded one of my very best blues guitar leads ever on the first take with no overdubs! After The Blues Berries release, Ruf Records asked us to record The Wind Cries Mary for the Jimi Hendrix tribute album Blue Haze, and we toured for a very

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short time until Buddy's health problems prevented him from travelling. Fast forward to 2003, when Jim Gaines took you under his wing to record Miracle and 2005's Voodoo Moon, which I strongly recommend incidentally. They both feature the wonderful gravelly blues voice of the late Larry Samford. Where did you find him and what about the rest of the band? Another Oak Cliff native, Larry Samford was just hanging out during a band audition when I was a teenager. Someone was auditioning and not quite cutting it and Larry spoke up and said "I can sing that!" - and he did! That attitude is at the heart of Oak Cliff musicians. He had a unique soulful tone and when I started Lightning, he was my first choice. Like most of the Oak Cliff circle of musicians that I grew up with, we always stayed in touch and remained friends whether we played in the same band or not. When it was time to record Miracle, I knew Larry's voice was the best choice for the music I wanted to do, and he became an excellent song writing partner. The Texas music scene is loaded with experienced, brilliant players and I hand-picked each one of them. Not all of them are native Texans, but as we say here in Texas "they got here as fast as they could"! I notice you dropped the word Band from the 2007 release Lightning Strikes Twice, was that a solo project? Lightning was the very

first band that I started and became a very popular regional band that performed original music. We signed a record deal with Capricorn and when Phil Walden showed up in the studio to produce it with the guys from Three Dog Night, we thought we had made it! Sadly, Capricorn's bankruptcy troubles surfaced before the album could be released, so it never saw the light of day. As an artist, I always want to be evolving and moving forward, so when I started receiving requests from Lightning fans to produce a commemorative album, I resisted the idea of it at first. I wanted to please the fans, but I did not want to feel like going in reverse musically. Since many of the Lightning personnel had left the music scene, I got together with the longest and most memorable Lightning drummer and singer, Walter Watson. Even though I had moved on musically, revisiting my earliest songs and having the opportunity to record them was fun. I gather John Mayall spotted you performing at a Texas club, took your number for future reference, ending up in you getting the call to join his band for his own upcoming Tough cd in 2009? Not exactly. He played in Texas in October, 2002 right before my album, Miracle, was officially released. The promoter called and asked me to play the show. I remember vividly how John stood in the wings intensely watching my entire set. We didn't speak to each other more than a passing "hello". It was just

INTERVIEW | ROCKY ATHAS

another gig for him and for me. Years later, out of the blue, my website received a message claiming to be John Mayall requesting my phone number. I thought it was a joke. When my phone rang and an English voice announced "Hello, Rocky. This is John Mayall", I laughed out loud and assumed it was one of my best friends, Brian, just playing a prank on me because he had done fake English accents over the phone with me in the past when I was working with Glenn Hughes. It took a few seconds to realize that this call was no joke. John convinced me that he was the real John Mayall when he asked me to come to Los Angeles and record with him. I will never forget that phone call! Were there any nerves following such an elite list of Mayall guitarists, especially taking over from fellow Texan, Buddy Whittington? What was the atmosphere like in the studio, because, as I recall, you were all new recruits? At first I was a little bit nervous because I didn't know if John wanted me to sound like Eric, Mick, or Peter. Luckily before we hit one note John came to me and said, "Listen, I want you to just be you. I hired you because of your sound and the way that you play. I want you to put your signature on the music." From that point on I was very comfortable and just did my thing. You remain a Bluesbreaker to this day, how are you enjoying the ride, are you

your own person, or just John Mayall's guitarist? (I refer to Buddy's Second Banana track!) I enjoy playing with John very much, because John lets me be myself and that is the most important thing to me. It is a real joy to play with John. I did not choose a career as a sideman. John called and I answered and my solo career has taken a beautiful detour. He said he wanted to pursue something new. John never treats me like a sideman and I never perform like one. Since I was an established solo artist when John contacted me for Tough, he encouraged me to continue my solo activities and to sell my solo albums next to him at the shows. He is so supportive of my solo career that he recorded three tracks with me for my catalogue. One was released on Let My Guitar Do The Talking and the other two will be released in the future. John is very kind and generous when it comes to making music together. He craves the camaraderie, the creative process and

performing a different show live every night. To make a living playing guitar, touring the world with a blues legend AND recording my own music...What's not to enjoy? Check out Rocky playing on many albums including John Mayall’s as well as checking out YouTube.

DISCOGRAPHY THE ESSENTIAL ROCKY ATHAS VOL. II – 2015 THE ESSENTIAL ROCKY ATHAS VOL I – 2015 ROCKY ATHAS WITH JOHN MAYALL AND SMOKIN' JOE KUBEK – LET MY GUITAR DO THE TALKING – 2014 ROCKY ATHAS' LIGHTNING – LIGHTNING STRIKES TWICE – 2007 THE ROCKY ATHAS GROUP FEAT. LARRY SAMFORD – VOODOO MOON – 2005 THE ROCKY ATHAS GROUP FEAT. LARRY SAMFORD – MIRACLE – 2003

BLUES MATTERS! | 59

Robbie Hill

BLUES IN A COLD CLIMATE BM!'s Colin caught up with lead singer of Robbie Hill & The Blue 62’s who now resides in Helsinki Finland. Robbie is currently cutting a new album and is busy with many projects. This and other subjects were discussed in a very informal chat. Verbals: Colin Campbell Visuals: Stuart Stott

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INTERVIEW | ROBBIE HILL

i Robbie, thanks for taking time out from your busy schedule for a chat. How are things going? Currently extremely busy. Four months ago we recorded six tracks for the new album at the same studio where we recorded The Price To Pay album. Busy with the band touring, putting on jamming sessions and setting up a rehearsal recording room with the band, so we can do the whole process ourselves. Have a music club on Tuesdays which seem popular as well. Also playing in Ina Forsman’s band regularly - she is a great talent. My girlfriend Emilia Sisco has joined Helge Tallqvist's band and I’m playing guitar. We’re playing in Denmark soon and looking forward to this. What kind of music are you playing on the new release and how do you go about the song writing and putting this altogether? The songs are all bluesy, but not straight 1/4/5 blues structured songs, mostly because of my influences and guitar style. There’s only one way to play the blues - and that’s to play the blues! The band is a lot tighter. We have more time and freedom to do it. When Masa Vallius - a badass bass player - joined the band, everything clicked and it made me play better. Doing jams, there is a blues family where everybody knows each other. Jammed with Masa before and loved coming in with ideas for songs, then the band joins in and arranges the sound to suit. Getting the new studio sorted has delayed putting down new songs

- about ten in total. I enjoy bouncing ideas with the rest of the band then recording. Money Hungry Woman is my favourite so far - funky ballsy song with some attitude. What made you move from Fife in Scotland to Helsinki in Finland and how long have you been in Finland? Just wanted a change from the music scene there and needed a new challenge. It was Otis Grand who suggested moving to Finland. Just saved enough money to go over and got a list of clubs to check out and begged them to give me a chance. Nice people over here - very accepting. I do keep in touch with pals. They come to gigs in Scotland, say, when we played The Edinburgh Blues Club, which has a good vibe. Playing there in September and looking forward to that. Feel quite settled in Finland though - I have been here four years. Know some of the language to get by, but too busy with music to study this further. What’s the music scene like? Are there any differences in audiences at festivals and other gigs compared to the UK scene? What is your favourite festival? Seems to be more festivals locally in summertime. People embrace stuff and get lost in the music. Festivals I have played include Puisto Blues (same bill as Robert Randolph, Curtis Salgado), Ylläs Jazz & Blues, Roots 'n' River festival in Rovaniemi with Otis Grand, Rauma Blues with Finnish Blues Awards Allstars on same bill as Mr Sipp and Ana Popovic.

An interesting one also was playing in Lapland. Otis Grand played in my band that time and he had also arranged the festival. I like playing any place that will allow me to play music, not just a festival. For example, at the club on Tuesdays there is a blues dancing club. Blues is marginal music - as long as people enjoy it, then I’m happy. Can we get a wee taste of how you got into blues music and influences? My old man gave me the passion for the blues. This music was played all around the house. My parents would test me on who was playing on the records and that’s how it started. I felt this was normal and that everybody played this type of music. When I was eight years old, I asked for a guitar and copied the records played, always listening to BB King and Freddie King amongst others, also early John Mayall stuff. Basically I'm doing the same nowadays. So you appear to be selftaught. Quite a thing to do? Yeah, but I went to Music School for a couple of years when I was nineteen. But the reason I went was to meet musicians and get a band. Formed one at Perth Rock School. Gigged for four years and was getting more into the blues and explored more. Do you prefer playing with the full band or solo? Definitely the band but enjoy solo. I want to try this out more at other gigs - usually playing Delta Blues with more slide guitar. Trying also to

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INTERVIEW | ROBBIE HILL

play. I love doing music very passionate about it. I am obsessive about this. I'm interested in amplifiers, especially the Supernova. I'm a solid player, but like putting people at their ease. Not elitist, I try to bring out the best in people, especially when I run the Jam Club.

look at ways of exploring Jimmy Reed material. But still, the more I work with others, the better I am getting. There are a lot of dynamics to the band - we try and mix things up. What bands are you listening to that impress you nowadays when you get the chance to relax? There are lots of good musicians in Finland. Like Konstantin Kovalev from Moscow who leads a band called The Firebugs. We jam a lot together. Ronnie Earl still excites me. Main one I listen to just now is early Buddy Guy. The Stratocaster players are more interesting - twangy sound and get more out of it. Gus Munro and Alan Brown from the Scottish blues scene I admire a lot. How would you describe yourself? A tough one - I just like to

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How would you measure success - have you a philosophy? As long as you are happy with the music you are making, that’s the main point. If you enjoy it, the audience will enjoy it as well. I trust if you have a good product, which will shine through. Success will come if you have the integrity to do what you want. I do everything myself, booking gigs and stuff. I'm in this for the long haul - it's the only thing I know and want to do. I enjoy this way of life, it’s all I can do. It’s good to have small goals and live in the moment - more that way especially with this band. Maybe a bit of a punk attitude, a little bit perfectionist - but rough and ready blues in there. Play the way you want to play sometimes. Where would you most like to play a gig and who with? Priority is to play in United States - Chicago and Austin, Texas and the likes. Would like to meet and jam with Ronnie Earl. So many good players to choose from and learn from, but playing with my band feels best. Playing with Alan Brown though, I would be honoured to do. How do you try and get youngsters to like the blues?

Blues is the new cool. It’s coming back in fashion. People want something different - tired of listening to churned-out music on radio. Ina Forsman is a new young talent and seems to be able to get her message through to younger listeners. Played three gigs with her. As I say, she is a very good talent and I enjoy playing in her band and get new ideas from this experience. Mixed crowd all loved it. Good response. Who would you say is your favourite guitarist? Me! Too many players. BB King and Buddy Guy obviously, but too many to name. When not too busy gigging, what do you do to relax? Travelling, meeting folk, appreciate nature, and cycling around Helsinki and area. Being outdoors in the open and getting away from the studio for a while at present. Cannot be bored in Finland, it’s a great place to live. Another reason for coming over is I heard Finland has the highest suicide rate, so playing the blues fits in! Well on that note, good to catch up with you. Cheers. See you when we come over to Scotland in September.

Checkout www.robbiehill.net

DISCOGRAPHY PRICE TO PAY – 2013

BIG BLUES FESTIVAL @ THE ATKINSON THEATRE SOUTHPORT 8th October

ACOUSTIC STAGE featuring Benjamin Bassford Charley Hicks David Broad George Shovlin & George Lamb FREE in the foyer 12 to 5:30 and in the bar 6 to 11pm Book for the full festival @ theatkinson.co.uk (01704) 533 333 (Booking fees apply) BLUES MATTERS! | 63

Albany Down

REACHING FOR A DIFFERENT AUDIENCE On the eve of releasing their third album, we got a chance to talk with lead guitarist Paul Turley who, with Paul Muir on vocals, Billy Dedman on bass guitar and Donna Peters on drums, make up the powerhouse sound of Albany Down. We talked about the new album, The Outer Reach, the band’s influences and other topics. Verbals: Colin Campbell Visuals: Supplied by artist

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INTERVIEW | ALBANY DOWN

hanks for taking time from your busy schedule for a wee chat. Seems like things are going really well for you? Thanks, yes the new album seems to be getting some good reviews. Things are going fine. Tell me about the new album, The Outer Reach. Why this title, how did it come about and what do you hope to achieve with this? What are your favourite tracks and why? The title is to do with a theme going through the album. Once we wrote a song this became clearer. Things being out of your reach in terms of trying to achieve something, or something out of reach, for example in the lyrics to Supersonic Girl. We all liked the title when it was discussed. The band are very pleased at how it has turned out. It was recorded over two sessions and fits well together. There is though no explicit theme going through the album, it's not a concept album. My favourites are probably Revolution and the last track on album, Sing Me To Sleep - more mellow but I really like it. You play a mean guitar. What is your favourite to play, electric or acoustic and how did you learn to play the guitar? Definitely electric - mainly a Stratocaster. The track Home is played on acoustic but after the first verse the song went into full band mode. Definitely thinking of putting an acoustic track on the next album. Learned from books when I was 14 when I first

began playing guitar. Never had formal lessons, just being around other people helped me progress - also playing along to records. On stage you seem to be enjoying yourself and gel the band together with your guitar playing and enthusiasm. Is that your persona off the stage? I think I’m different – I'm not naturally an outgoing person but I switch on stage. Always do what comes naturally on stage or it becomes stagnant. So would you think of doing an unplugged session or gig at anytime? Yes, last year we did two or three acoustic gigs in Netherlands and would do more in the future. It’s an interesting challenge seeing what songs work right in an acoustic setting and it’s not just the ones we thought would work. Some that are more heavy on record work well acoustically, whereas the more ballad numbers did not. We enjoyed the challenge. It’s a different avenue to explore. What do you want to achieve with the album? Looking to keep expanding and reaching a wider audience with more people listening and playing our music. Want to play bigger gigs in bigger venues and keep the band growing. Would you class your music as classic rock or blues rock? Classic, especially the way the new album has moved on. The earlier albums have had a bluesier touch to an extent. I wouldn’t say we

were a blues band more blues influenced. Think the roots for my playing started with guitarists like Jimi Hendrix. I bought The Beano album by John Mayall. The rest of the band is not that influenced by this. How would you measure success and what does that mean to you as a band? When we are a headline act and there is a full house, which is a measure of how successful we want to be and is one of the most important things for the band. But we want to play the music we want to play, not what others want us to play. What type of audience do you want it to appeal to and what one do you think you have got? What's the feedback from the audience and fans? Anyone who enjoys it really! We’ve done some blues festivals and it would be nice to keep that fan base but gain more fans from specifically rock genre as well. Do you prefer playing small venues or a big stage festival? Difficult one to answer. It's good playing in front of a big crowd, but I personally prefer it when we can extend the shows and solos - timescales can be too regimented. I like intimate gigs as long as there are a few people there. What would be your favourite venue to play in Europe? We did a gig recently in Amsterdam, one with Southside Johnny at The Paradiso. A brilliant gig

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INTERVIEW | ALBANY DOWN

one of the best. Southside Johnny's horn section played with us on Supersonic Girl really good fun to do that. A couple of years ago, we played Shepherds Bush Empire. Big venues but not huge - we all felt the presence of the crowd around you. Recently played the 100 Club in London. Very long and narrow stage, pretty close to playing at the back wall, crowd right at your feet, always a good atmosphere.

young people to enjoy your types of songs? It’s a matter of getting young folk to listen to more radio play and coming to gigs.

Where does the band get its influences from? Broad range: Led Zep - Midge Young, me and Billy the bass player. Me, I like Jimi Hendrix, Jeff Beck and The Beatles as well. Paul likes bands like Thunder and Aerosmith. Newer bands like Rival Sons, Joe Bonamassa and White Denim are doing a lot of good stuff.

Tell me about the making of the new exclusive video. Is this a medium that you enjoy? Andrew Merlino directed it close to my home town. He came up with the idea after listening to it, then we got on with videoing near a farm where I live.

How do you get other

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Where is your band based now and do you enjoy touring? We’re all around London central, so easy to practice together. We mainly meet at Staines. It's good fun meeting different folk - very good.

Looks brilliant. Worth it and we really enjoyed it.

What are your opinions about social media and do you see any other way of promoting yourselves as a group? Essential in promotion - Billy and Donna deal with that side of things. Have you a leader of the band and how do you go about putting songs together? Not really. We all have different things to bring to the sound of the band. Maybe it starts with my riff or doing a jam Paul puts the lyrics in. Always the music comes first. Then we tweak the music with riffs and chords. Some songs I do I have in my head, we then share ideas and progress from there. For example, I like the song I started to write, Like A Bullet, then Paul finished it off. If we need faster and stronger

INTERVIEW | ALBANY DOWN

songs or ballads, it just has to be discussed along that line. What music do you listen to when not touring or just relaxing to? Quite a range. Recently White Denim and Rival Sons, also guitar players like Eric Johnson and Robben Ford. I listen to anything really. I'm influenced by these players, but put my own interpretation on them.

especially strings. Greg is the main driver as to which songs end up on an album. Do you find it easy to write songs? Sometimes the words come quickly, then other times there are songs we think are good but don’t end up on an album. Narrowing down ideas takes a long time. No major fall outs in the band so far!! As a band we get on very well.

Who would you most like to play music with if you got the chance of a jamming session or concert? Probably Jeff Beck. He’s unique and distinctive - my favourite.

What do you do to relax, any hobbies or interests? Band takes most of my free time. I enjoy being with my wife in the countryside. Good being home to get on with normal lifestyle.

Is there a joker in the band who relieves tension in band or do you all get along well with each other? That would be Billy. Bit of a clown but he entertains and relieves pressure in group.

Any plans to do a live album and what are your plans for the future? Always something we’ve wanted to do - it's a possibility in the next year or two. Onwards and upwards, just trying to get the music to new people and more gigs. We’re in it for the long haul. No real plans to do anything solo or go into producing, although I think Paul does in the future. I want to progress more with the band.

The new album is a big production number. Who are the other musicians on the album and why were they chosen, especially the horn section? How did you audition for the new drummer? All the extra musicians were contacted by Greg, our producer, who knows a lot of musicians. Feeding The Flame is more of a hard rock track backed by the Balkan String Quartet, who worked with The Manic Street Preachers. In terms of the production, strings are on both sessions, horns just on the first session of production. It’s generally Greg’s choice whether we use other musicians,

Well I wish you well for the future, thanks for chatting. Thanks a lot, it’s been fun.

For more information visit www.albanydown.com

DISCOGRAPHY THE OUTER REACH – 2016 SOUTH OF THE CITY – 2011 NOT OVER YET – 2008

ALBANY DOWN THE OUTER REACH AD RECORDINGS LTD

This is the band’s third release and is very diverse in musical styles it is a heady mix of brash and loud anthemic rocky songs. The band’s persona and sound are a bit of a conundrum though. Is it a point they want to be a classic rock group or blues rock band and what audience do they want to attract they keep their options open and this can be seen as a way to go. Their take on tunes are dissecting them and reinterpreting the old greats like Led Zeppelin influences on first song and very commercial Feeding The Flame with underpinning orchestral tones very catchy chorus and a consummate guitar solo by Paul Turley. Do You Want Me Now has a good narrative and suits lead singer John Muir’s rocky vocals. Supersonic Girl has a great horn section a surprise from their norm and more funky approach but again catchy chorus heavy production by Greg Haver. Mr Hangman has a Southern rock style with good guitar and growling powerful vocals. Like A Bullet is a typical rock number. Finishing off with Sing Me To Sleep typical rock ballad but with a tender approach to lyrics and a real crowd pleaser. Home shows the band upping the beat and sounds very anthemic. Revolution is fiery but unassuming. The Drop is a real highlight though exhibiting the band’s full repertoire of high octane fuelled sound. It finishes off with the quiet and melodic tones of Sing Me To Sleep. If you like your music loud and raucous turn the volume up and enjoy. COLIN CAMPBELL

BLUES MATTERS! | 67

Albert Castiglia

A HARD WORKING BLUES HOUND With a Cuban mother and an Italian father, Albert is an example of the melting pot of culture relating to his Miami roots. He learned to play guitar at the age of 12 and soon realised that the passions in his heart were expressed best by his music. Multi-award winning guitarist and consummate band leader, I caught up with him during his recent extensive tour, to discuss his new album and musical influences amongst other topics.

Verbals: Colin Campbell Visuals: Austin Britt

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INTERVIEW | ALBERT CASTIGLIA

had a chance to listen What is laid down first guys for a long time as well. to your new album - songs or lyrics - in We really grooved during some great tracks. Is producing an album? the session. I would love to there a message in this, It can go either way. With work with them again. such as in the wonderful most of the songs that I ballad "Somehow", and wrote or co-wrote for this Who are your influences in what's the story around the project, the lyrics came first your musical career why did origins of "Get Your Ass In and the lyrics dictated how you choose the blues genre? The Van" and the general the music would be. In the When I was a kid, my uncle theme behind this release? case of "Let's Make Love In turned me on to classic rock I co-wrote "Somehow" with The Morning", the music artists like Jimi Hendrix, Cyril Neville. The song is was first and then the lyrics The Who, The Beatles and about the poor, homeless and came after. With me, there's The Stones etc. Eric Clapton displaced and how we as a no absolute approach to was my first guitar hero. society treat them. In He was the one America, politicians that got me into "GET YOUR ASS IN THE VAN" talk about how they the blues. His "Just want to help lift One Night" album HAPPENED OUT OF BEING FED people out of poverty. and John Mayall's UP WITH MUSICIANS THAT As soon as they get "Beano" album were WANT FAME AND FORTUNE elected, the poor are the gateway records RIGHT AWAY WITHOUT pretty much scorned to Chicago blues for and forgotten. me. I discovered Otis DOING THE HARD WORK. Cyril is a brilliant Rush, Freddie King, lyricist. When he Bobby Bland, Junior song writing. It can happen Wells, B.B King, Buddy Guy sent me the words, it didn't in so many different ways. and many more because take me long to come up of him. Then came Muddy with the music for it. Talk about the band - how Waters. I bought his "Hard "Get Your Ass In The you all met and especially Again" album in 1986 and I Van" happened out of being the choice of Mike Zito as was hooked. I'd never heard fed up with musicians that producer on the new album. anything like it. The raw want fame and fortune Mike and I go back about 7 sound, emotion and energy right away without doing years. He's a good friend. He was infectious. The second I the hard work. You read a was very much responsible heard that album, I wanted lot of Facebook posts like for me getting the deal with to be a blues man. I've been that and I got one too many Ruf Records. He lobbied for influenced by other artists one day last December. I me to Ruf for many years. since then like Johnny Winter had a great conversation Thomas Ruf finally gave in and Luther Allison, but the about the subject with Chris and signed me. I was very guys mentioned earlier were Peet, the drummer for JP grateful for that. After that the ones that jump-started Soars & The Red Hots. happened, I promised Mike my love for the blues. That conversation inspired that I would give him the me to write the song. production job on the next Who taught you how My release "Big Dog" record. I really liked what he to play the guitar? was recorded in Maurice, My uncle taught me three Louisiana in January. My old did on Samantha Fish's (who is also a great friend and chords and I learned the boss, Junior Wells, recorded advocate of mine) first couple rest myself. Self-taught, 3 albums there back in the of recordings and that was basically. I played to records 90's so I knew right away and cassettes and watched something special was going also a factor in me wanting people play. That's how it to be created. We recorded 11 to work with him. Mike felt that his band, The Wheel, was back then. Nowadays tracks in a week and it was would be a great fit for me in the amount of avenues to one of the greatest musical the studio. I've known those learn from are amazing. experiences in my life.

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INTERVIEW | ALBERT CASTIGLIA

What's the blues scene like in America just now and how important it is to you in your life? The scene in America is like anywhere else. There are some areas of the country where the blues thrives and other areas where it doesn't. I've been very fortunate to be able to make a living and support my family by playing music. I have a modest but loyal fan base that's kept me alive for years. I'm blessed. Do you prefer writing songs yourself or with other folk? The feeling of writing a good song is pretty nice, whether I did it myself or with a partner. However, I've found writing songs with other people to be particularly more enjoyable lately. I like bouncing ideas off other people. I think it makes the song writing process easier.

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Writing songs on my own is tougher for me but it feels good when people like what I wrote. Every now and then, I can write a good one. LOL Who are your favourite guitarists and why? There are so many. I'll mention a few. Like I said earlier, Clapton is my first guitar hero. His playing is beautiful. People say his period from The Yardbirds through Derek & The Dominoes were his best years, but there isn't a period of his career that I don't like. Buddy Guy is another one I idolise. He is my favourite blues player ever. He plays what he feels like playing. If he feels like playing a flurry of notes, he does it. If he feels like laying back, he does. But he does it whenever he feels like it. I'm absolutely crazy about his playing. He rips the

hell out of that guitar. Total reckless abandon. Luther Allison played the same way. I love him. Johnny Winter is another one. He was a madman! Hendrix, goes without saying. All these guys played with feeling and attitude, consequences be damned! Those are the kind of players I like. How important is music in your life? What do you see as successes you have had and what failures? Music is everything to me. It's the reason I have this great life. I have a career that takes me all over the world. I have a great wife, a great band and cool friends. My lifelong pursuit of music brought these things into my life. My life is a success, as far as I'm concerned. Maybe not always a financial success, but money's not everything.

INTERVIEW | ALBERT CASTIGLIA

As far as failures go, I never had any. I've had negative experiences and setbacks but I've learned from them. I've made mistakes in my life but because I've learned from them, I can't really call them failures. It's all good! What would be your advice for young people starting out in the music business and how can blues music interest the young? My advice for young people embarking on a musical career would be the three words Luther Allison told me in 1996, "Keep on pickin'!". If you love what you do, keep at it and good things will come. The blues is a wide tent. There's something for everyone, young or old. Jump Blues, Chicago Blues, Delta Blues, Contemporary Blues, Blues Rock. All I can do is continue to create, continue to tour and hope that young people will get hip to it. There's lots of us out there, touring, spreading the gospel of the blues so I think we'll succeed. What do you do as hobbies and interests? Are you self-trained or have you had lessons outside of doing tours and laying down music? I'm a big sports fan. I enjoy watching basketball, baseball, American football and ice hockey. I have two dogs that are a handful and keep me busy. I enjoy practising the guitar when I'm not on the road. The guitar has endless possibilities so I like to try and learn as much as I can from it. It's funny - the older I get, the more thirsty I've become for knowledge. It's a beautiful thing!

What's your favourite guitar to play and why? I started out playing Strats because my heroes like Hendrix, Clapton and Buddy Guy played them. They're solid, road worthy, affordable axes. In the last 7 or 8 years though, I've been playing Gibson Les Pauls. They have incredible tone and they're beautiful. I have also been playing Delaney Guitars. Mike Delaney is a luthier from Austin,Texas and he makes great guitars. I have two signature Jagata models made by Delaney. Those are works of art. What's the most important lesson you’ve learned from being in the music business? I've learned you have to work hard, be persistent and develop thick skin because this business is tough. Only the strong survive. Is your stage persona different from being off it? I would say so. When I'm on stage, I feel ten feet tall and bulletproof. I put everything out there when I'm on stage. I'm a wild man. When I get home from the gig, I have a cup of chamomile tea and chill out like my grandma. LOL What lies in the future for you - more albums or would you be interested in producing? I definitely plan on recording more. It's what musicians do. As far as producing goes, I'm all for it. I actually co-produced a record with Thomas Ruf for Eliana Cargnelutti 2 years ago. I've been lucky enough to have worked with some really

special producers like Ben Elliott, Dave Gross and Mike Zito. I learned a lot from them. Their influence has rubbed off on me a little bit so I think I can be an asset to an artist. I would really love to produce a Chicago blues album. That would be awesome! What's your favourite song you have written and what's your overall favourite blues song or three? Hmm... Favourite song I've written, "Bad Year Blues". Overall three favourite blues songs: 1) Hoodoo Man Blues by Junior Wells; 2) Woman Don't Lie by Luther "Snakeboy" Johnson; 3) Mannish Boy by Muddy Waters (This list is subject to change on a daily basis. LOL). Guitar or vocals which means the most important to you? Most of my life, I've always felt that the guitar was more important but I've come to realise in recent years that the vocals are just as important. I feel they both need to be in top form in order to be a complete artist. I continue to work at both.

for more info visit www.albertcastiglia.net

DISCOGRAPHY BIG DOG – 2016 SOLID GROUND – 2014 BLUES CARAVAN – 2014 LIVING THE DREAM – 2013 KEEPIN’ ON – 2010 THESE ARE THE DAYS – 2008 A STONE’S THROW – 2006 BURN – 2002

BLUES MATTERS! | 71

Stacy Jones

LIQUID SPIRIT With her new album out and entitled Whiskey Wine & Water, our man sought a chat with the U.S. musician and songstress about the collection, awards and everything else. At the second attempt, the line to Seattle was clear enough to press record. Verbals: Pete Sargeant Visuals: Lead supplied by artist / Inset by Pamela Eton Ford

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INTERVIEW | STACY JONES

i Stacy, it’s morning for you there and it’s just getting cold and dark here. Gosh you’re so English. Is there a Seattle accent? (Laughs) Well, I think there’s a lack of accent really - by the time it gets all the way up here, it’s all gone and people are culturally pushed together maybe? I’ve been listening to your latest album, and maybe we should concentrate on Whiskey Wine & Water kicks off with Can’t Do Nothin’ Right with the great acoustic guitar then the electric sound bursts in. Your slide player, he sounds a bit similar to the late Jesse Ed Davis from Taj Mahal’s band. The song’s about drinking - you know once you get to that certain stage with certain people, it’s easy to fall out and little niggles can become a big deal. The record overall strikes me as having a happy vibe, quite upbeat, with more things going right than going wrong. (Rueful laugh) Well at the time yes, but just a few weeks before the CD release I broke up with a boyfriend, so maybe right now I’m more concerned with handling things if they go wrong! There’s the track Keep On Keeping On on there of course, which is pretty reflective of things for me right now. You and Me Tonight, it’s a very romantic upbeat skipping tempo – reminded me of early Bonnie Raitt,

but the notes mention The Band and Atlantic City. It’s strange, I had been listening to that song every day and weirdly that’s the song of my own that ended up coming out of it. The music’s not similar, it’s more in the lyric. Everyone I know and play with, loves The Band but I don’t get it. They sound like they just left one funeral to go to the next. Who’s playing the fiddle on that? John Parry, he lives here in the Washington area now, we’re just lucky to have him play with us This song Dreams is a nice one, your dad wrote the tune? Yeah! Many many years ago that is, and much later I came up with the lyrics you hear. It was kinda funny, I woke up and the words were just there in my head, so now after forty years that tune has lyrics and that’s great! Nothing you could ever plan out, Pete, but… And with that Americana arrangement it sounds very fresh to me. I’m really happy with that one, it just came together so well for us. Hole In My Soul has a very insistent vocal, and every now and then there is a hint of Janis Joplin in your singing. This is like J.J. Cale at high speed. I wrote that one a few years ago and I’d been thinking about it and yes, it does have some inspiration from him there. I was sitting writing a song all by myself and drinking alone and that

came through. J.J. Cale IS very inspiring to me. The guitar solo is cool, this sort of number is great to introduce your group over, end of a set. Hmm, I’ve been doing that middle of set, but come to think of it the end might be a good place to list it, yeah that could be fun! I have to give this some thought now. The title track...it seems you have a family full of characters? That is very, very true - and the words are true to my family members it must be said. The family are also very close together, still. My brother is a great graphic designer, so works on the album jackets, plus he takes care of the website for us. We’re a happy family that likes to drink sometimes, that’s all. This cut shows the rhythm section off best, to my way of thinking. The high register harp is you? Yeah, I am playing the harp and I also use a guitar opentuned to E here and there. Four Days More, very contemplative song, almost like a narrative and I like the descending chords in the bridge. I had kind of been messing around with the chords, it was a sound check thing with the band, really. It is about things going bad and then meeting someone new after that, but it centres on the guitar solo as main feature, I’d say. The words are more a complementary thing, here.

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INTERVIEW | STACY JONES

Yeah, I came up with that in Hawaii and wrote it playing the ukulele! Then added more words a while later, so yes it took a few years to get finished. San Antonio – now this is about moving part of the family South? That’s right, moving a brother down to San Antonio, so based on a true story.

To Be Loved has the piano intro, very gentle. Don’t be offended, but almost a Norah Jones moment? (Brightly) Yeah! It has the sweetness thing and there’s nothing too complicated over the top of everything, everybody played sort of simply. It just came out with that naked feel you are picking up on. Now Mother has a fine dirty slide sound, does your mother ever come along to your shows? Oh yes! and I play that one for her, you bet. I think this is where I got my voice from - my Mom and Dad just love music and it was always playing. Keep On, great harp on that and steady tempo – is it a live favourite? It is indeed a popular number in the set with people and the message of that one does hit home, I have to say. It’s a straight-up good ol’ rockin’ tune for performing. Lost Lovers Waltz…the fiddle’s back and is it an assemblage of bits of songs as seems to be hinted?

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Sometimes you remind me of Roseanne Cash, a truthteller if ever there was. I do hear a lot of people talking about her writing on that level, the real-life thing she captures. Waiting is the closing track and you’re using a softer voice here… our late singer here Dusty Springfield could work this sort of tempo so very well. Nicely handled. Thank you. I am very pleased with the way that one came out. I almost scrapped it, but the more I listened to it, the more I liked what it puts over. So, clever lass – what’s my favourite song on your record? Hmm you play harmonica too, so Keep On Keepin' On. Incorrect. It’s Four Days More. I think that is one helluva song and if I had a hat I would tip it to you. It’s the redemptive tinge to the lyric. Thank you. With the guitar part, I just said “Keep it!” and all it just came together. Do you find your closest friends are male rather than female?

(Ponders) Well…musically definitely male. Socially, probably a mix. I have some very close female friends with whom you can just talk freely about life and ups and downs. They don’t play instruments, though they might come to a show, so that takes me somewhere different. But from playing you make a lot of friends, you know how it is? From footage, you’re comfortable being one of the band, but you don’t seem arrogant or attentionseeking. You’re up for some Awards in your area? Yeah! and what I guess I’m hoping for there is songwriter-related, to be honest. But the bands up for Best Band, and obviously that would be so good for everyone. We have been working so hard this year that any recognition would mean a lot. The new album is a bunch of songs played to the best of your ability rather than going for instrumental peaks, I venture? That’s exactly it, Pete. I had three different guitar players on it, with songs fitting what they can do and it’s all to produce a set of songs with different moods.

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BLUES MATTERS! | 75

Eleanor McEvoy

NAKED MUSIC Part two of our interview with Irish musician Eleanor McEvoy who continues her talk on her latest album, Naked Music, her inspirations and plans for the future. Verbals: Mairi Maclennan Visuals: Shane McCarthy

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INTERVIEW | ELEANOR McEVOY

001 saw the release beautiful French vocals I absolutely love your most of your 4th album, from you on Milord. I recent, completely stripped Yola. This is where believe this album was a back album Naked Music Dreaming Of Leaving from fan requested one, could and the fabulous art work your current album Naked you tell us a bit more that has been created on Music, makes its first about this and the reasons the album cover. Could appearance and was written behind your song choices? you tell us a bit more with Lloyd Cole. There are Well, they really weren’t about your vision for this similarities between Yola my song choices at all! We album and what it meant and Naked Music both have literally said we’d do an album to you to find Chris Gollan that stripped back, one where I’d do the songs from to collaborate with? instrument, one voice feel. my repertoire that people Thanks for your kind words. This album also marked a were asking for again and It all started when I fell change in direction for you again. The initial idea was in love with one of Chris's and a return to working that it would be for hard paintings (Champagne independently. It received core fans only and wouldn’t Sheila) in a London gallery. I much critical acclaim and be for release. The idea was bought it and hung it on my the Irish press described just to sell it at gigs. But it bedroom wall. I was later on it as ‘a brave rejection of then proved really popular tour in Norwich in February the predictable’ would you and started getting a lot of 2015 and Chris's exhibition agree with this? ‘Mary, Incarnation Yes! I was terrified and Women from THE BLUES TELL THE TRUTH releasing it, because the Bible’ was on in it was so different Norwich cathedral. AND THAT’S SOMETHING to anything I’d ever I went to the THAT I ASPIRE TO done before. Having exhibition and got mostly played electric talking to Chris for years, I’d broken my hand who happened to be there. airplay (particularly Please at the end of the recording We had lunch, and he came Heart, You’re Killing Me & session for Snapshots. To to my show that night. We Don’t Blame The Tune) help the healing process were both fascinated by the I started playing acoustic way that one art form could Our readers are guitar again. In those months predominantly blues fans, influence another. I was, at I realised how much I missed the time, in the middle of how do you think your that acoustic sound. Because ‘studio-performing’ songs, music can relate to them? I was unable to play piano the way I might play them My music is massively on the Snapshots tour (the at my solo shows. I asked influenced by the blues. The hand was still healing) I’d Chris to do a painting for blues tell the truth and that’s hooked up with the wonderful something that I aspire to the cover. Chris was really Belfast based pianist Brian taken with the songs, and do in my song-writing. Connor. The sound of he completed four paintings. acoustic piano and acoustic From there the idea for You have worked with guitar thrilled me and so the project grew, the title loads of people over the we set about making Yola. suggested itself Naked years on many projects Music. He actually kept and collaborated with You went on to release painting until he had 24 some of the finest many albums during the paintings. We were asked musicians, are there noughties which all did to put on an exhibition by any standout moments pretty well. Then you Gallery Different in Fitzrovia that you can recall? released album number I really enjoyed duetting with in London. It was fantastic, 11, STUFF, in 2014, which Gilbert O’Sullivan earlier this it ran for three weeks. I has some grand tracks on played two nights in the year at some of his concerts. it, including a tribute to gallery. I love this idea of one I’ve been a long-time fan. Edith Piaf and with some art form influencing another. He’s a terrific songwriter!

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INTERVIEW | ELEANOR McEVOY

The 12th track on your Naked Music album called Isn’t It A Little Late, has a late night summons, booty call feel to it. Hah! It's saying “Don’t you DARE even THINK about it!” Lubbock Woman is a very country song for you to cover. I personally love

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Terry Allen’s affectionate and humorous lyrics on this and I love your description of him. Your press release says of the Texan song-writer ‘he writes extraordinary true songs about people who are neither stereotypes nor clichés but you might recognise them’. What

was your reason for choosing this song of his to cover? BTW I think this is also my favourite Chris Gollan painting in the Naked Music series. I chose the song because I’m in love with the character in the song. Yes, she wears too much make up, yes, her dress is probably too

INTERVIEW | ELEANOR McEVOY

tight and too short, yes, you weep when you meet the latest guy she’s dating, but in your heart of hearts you know that she has a heart of gold. She’s just searching for love trying to get to the end of the day, like us all. Oft The Stilly Night is a tribute to early nineteenth century Irish songwriter Thomas Moore who you’ve admitted to being slightly obsessed with. Could you tell us where this obsession came from and why you’re particularly interested in him? I love the way he marries the lyrics to the melodies. He also writes about interesting subjects and I share his philosophies on life. I also feel that he’s forgotten about, and I’m not sure why that is. Byron worshipped him. Do you think this album is more personal than your previous ones? I think all my albums are personal, but sometimes different aspects are catapulted to the fore on certain albums more than others. What are you future ideas on music? What do you see yourself doing next? I wrote some music for theatre last year and really enjoyed it. I’d like to do some more of that, and I’d love to write for film at some stage. I’ve heard your live shows are very intimate, could you tell our readers a little about what to expect at one? I walk in a pool of light, the stage is set with my electric,

my acoustic, my violin and piano... no two shows are the same. I believe that music is a mood altering substance. By the end of the night the audience is uplifted. Thank you again Eleanor, we normally throw in a tech question at some point but with only your voice and guitar there’s isn’t much to ask apart from what is your guitar of choice? My acoustic is a Taylor. The

ELEANOR MCEVOY NAKED MUSIC MOSCODISC

Eleanor McEvoy’s 12th and latest studio release, Naked Music was recorded live at The Grange Studio in Suffolk. It was recorded there by engineer Dave Williams, mixed by Ciaran Byrne and produced by partner Mick O’Gorman. Naked Music is a new stripped back album from McEvoy with her simply playing guitar or keyboard. On this album she is either playing something beautiful and subtle to enhance her wonderful melodic vocals or she is tapping out a beat, either way this one woman, one instrument formula is definitely a winner for McEvoy. The tracks on this album have previously been recorded but with full band accompaniment, you might therefore think how could she improve on them? Well, she does so with ease! There are also a

particular instrument I play is the 814C, the auditorium model. I have two electrics, my Fender Telecaster (which I typically play through a Fender Blues Junior amp) and the guitar I’m using most at the moment which is the Yamaha AES1500. Very much enjoying using the THR10 with that at the minute, it sounds amazing, and you can get a huge variety of sounds with a limited amount of gear!

few collaborations here, track two Dreaming Of Leaving was written with Lloyd Cole, Land In The Water with David Rotheray and Please Heart Your Killing Me with Rodney Crowell. The latter being recorded during a boozy song-writing week and is about someone who just won’t go away, written from the angle of the separated other half. Track 8, The DJ is dedicated to all the late night DJ’s out there who take us on an unexpected journey with their song choices, this is sung acapella and demonstrates the purity of McEvoy’s voice. Next up is a favourite of mine and is a cover of a song written by Texan songwriter Terry Alan, the lyrics are fun and are about a lady trying a little too hard to get her man, “Cause she’s 40 an lonely an raunchy an has a good heart” all accompanied by a cheerful melody. Look Like Me is a song about individuality, about wanting to be an individual and not looking like everyone else. Track 12, Isn’t It A Little Late, has typical blues style lyrics with a story about someone trying a little too late to make something work. If you enjoy lyrics then you will love Eleanor McEvoy, she writes from the heart and about everyday life. MAIRI MACLENNAN

BLUES MATTERS! | 79

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JW Jones

EXPERIENCE THE CANADIAN ROCKERS Don’t let your blues travels omit a show by the ferocious and entertaining trio led by J W Jones. Pete and Glenn Sargeant saw them twice on their recent tour here and other BM personnel will testify to their power and range. Looking like a cousin of Alan Cummings and Pee Wee Herman, Jones dresses like a 40s matinee movie star but wields a mean Les Paul. Here he fields a set of questions from BM…. Verbals: Pete Sargeant Visuals: Supplied by artist

BLUES MATTERS! | 81

INTERVIEW | JW JONES

ell us about your latest album please – seems as though you wish to emphasise your songwriting as well as ensemble playing? Belmont Boulevard is my 8th studio release, recorded in Nashville with Grammy Award winning producer, Tom Hambridge. Tom and I co-wrote a bunch of the songs together, and he really helped me get out of my comfort zone and try new things, as well as dig deeper into more personal topics for the lyrics. I am thrilled with how it turned out, and it really brought us to another level with being nominated for JUNO and Maple Blues Awards, and hitting the Billboard Top 10 Blues charts in the USA.

Which song – any artist, any title – would have made a fine single release? IF it had been a SINGLE! - why do you think this? The Fabulous Thunderbirds, Wait On Time.

You receive two free tickets to a festival - where would you prefer this to be? What three acts would you like to see? It would be in Switzerland, Pete - by the water somewhere - and the bands would be Jimmie Vaughan, Keith Urban and Robert Cray.

Whose strings? What tunings? Maybe you dropped the bottom E one time? D’Addario strings and I just switched from .011’s to .010’s. I didn’t lose any tone at all, and it sure is easier on the hands! I use drop-D tuning (E string only) for the song Watch Your Step.

The radio is playing… what song would you cross the room to turn UP and what song would you cross the room to turn OFF? There aren’t a lot of blues songs on the radio these days, but if there was, I’d say since I am on a Little Walter kick these days, I’d make a move to turn that up. If it was to turn it off, it would be when country music artists try to rap. It’s apparently called “hick-hop”, and it’s one of the worst musical things I’ve ever heard.

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What draws you to the Les Paul for stage use? Is yours customised in any way? It’s been my main guitar for about seven years now. The first time I realized there was such thing as a chambered (lighter) Les Paul with a smaller neck (60’s instead of 50s style), I fell in love. The only customisation is that I have a push/pull tone pot that allows my pickups to be in-phase or out-ofphase with each other for that weird throaty tone.

Boz Scaggs and Bonnie Raitt record a duet and you lead the band – what song do you choose for them to sing? Who do you bring in to play on the session? You’ve Got What It Takes is a great duet. I’d have Larry Taylor on bass, Richard Innes on drums (RIP), my favourite rhythm section of all time. An acoustic gem? What song/tune and who by? What’s the appeal? Anything by Lightning Hopkins. What I love about

him is that he changes the chords when he feels the change, and it’s rarely in any kind of specific pattern. That’s living/playing in the moment at its finest. There seems to be chunk of Freddie King in your exuberant style – do you have a favourite album of his? I find many players are finding their way to the Shelter label stuff… You’ve got me here! Let’s Hide Away and Dance Away with Freddy King has a ton of my favourite instrumentals. I think my favourite is The Stumble. Though he is a huge influence, it’s rare that people notice it enough to comment. After opening a bunch of shows for Johnny Winter, HE told me he liked my Freddie King style of playing. That was so sweet to hear from such a deep player that studied it all. Name an actor or actress who made a listenable song recording – and what’s the appeal? We’ve had some actors join us on stage before, my pal Dan Aykroyd, and Jeremy Renner sang with me once in Edmonton. I think Hugh Laurie is a real deal blues guy, and also a great actor. How overall was your rocking trio received in the UK? I saw two shows and they were markedly different from each other! I felt like the overall buzz on the tour was our best yet. As we went along, more and more fans who had just discovered us, were making trips to come see us multiple times. Social media was

INTERVIEW | JW JONES

blowing up, and we had Joe Bonamassa’s publicist, Peter Noble, commenting and bringing a lot of attention to the band on Facebook. I really noticed how reserved the UK people are during the shows, but afterwards, they all wanted CDs and photographs, so it was an interesting look into the culture over there. Which artist did you go to see perform with low expectations but ended up impressed? Where and when was this? I didn’t have low expectations by any means, but a band that blew me away last summer was seeing the Rolling Stones for the first time. I just couldn’t believe how tight they were, the playing, stage presence, musicianship, the whole deal was amazing. I assumed since they were getting on in years that it would be a lot less rocking, but man it was unbelievable. Anyone that says “they should pack it in” or that they are past their prime is dead wrong. They are IN their prime and delivering, big time. J W - has a radio DJ anywhere (and any era) ever impressed you and if so why? We have an amazing DJ over here in Canada named Holger Petersen. He is an encyclopaedia of blues and roots knowledge. He impresses me every time I hear him or have the opportunity to chat with him. 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? B.B. King - Blues is King. I am so used to saying that Live at the Regal is my favourite record of all time, but I honestly think Blues is King is taking over. I’ve heard them both a million times, but there is something a little deeper and more soulful about BB’s singing and playing on Blues is King. Plus the organ really makes it feel different from the piano on Regal. Which are your favourite three venues in Canada at this time? Any reasons for each? Blues on Whyte in Edmonton We play six nights in a row, so we really stretch out and try new things each night. This is often where we debut or try new songs or arrangements. Rainbow Bistro in Ottawa - Our home-town venue, and we always pack the place so the energy is fantastic in there. I love the way the room

sounds, and hey, it’s home! For the third venue, I am just going to say anywhere in Quebec. French audiences are just different. They clap after solos, they soak it all up, and they support the arts more than anywhere else in the country. Did you enjoy school? Pete, I couldn’t wait to get out of school!! Same here, I hated it… so which song reminds you of schooldays? (Sighs) The only enjoyable thing to me was leaving at the end of the day. Back home to the guitar and music! I remember listening to Led Zeppelin’s Kashmir every day before school for weeks on end. So if there is one song that reminds me of school, it’s that one.

For more information visit www.jw-jones.com/

BLUES MATTERS! | 83

RED LICK TOP 20 | JUNE 2016

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ADAM NORSWORTHY

RAINBIRD TRAPEZE MUSIC

Rainbird is the sophomore release from Adam Norsworthy, singer/ guitarist with British blues stalwarts the Mustangs. Despite the band’s intense touring schedule he has found the time to lead a parallel career as singersongwriter, taking a path that mixes radio-friendly rock with folk-rooted ballads. Norsworthy has written and arranged every song on the album, whilst members of King King add some of the instrumentation, and their producer Wayne Proctor give the whole album the production it deserves. He is in possession of an amazing vocal strength that punches it way through a broad range of material, from pop Leave A Light On, No Point Talking, down-home Faces-style rock Something To Say, She Didn't Want To Know, stadium-friendly anthemic numbers Shores Of Heaven, Ready For Me, or piano balladry Just A

Weary Soldier. Nothing on Rainbird carries an ounce of fat, everything hits home…Norsworthy is an amazing lyricist and has a knack of writing material that sounds like it's already famous... completely original and yet strangelyfamiliar. High points on Rainbird is the achingly beautiful A Night In The Bolney, a folk-style ballad sung in character from an innkeeper and telling a tale of sanctuary amongst the 'flintlocks and cudgels', accompanied by mandolin and strings. In recent years we've seen the likes of Sheeran, Ezra and co. enjoy huge commercial success, hopefully Adam Norsworthy will swell those ranks and reap the rewards of a major talent. MARTIN COOK

B. B. KING BLUE SHADOWS AND GOING HOME SOUL JAM RECORDS

Two albums from the truly golden years of B. B. King, both remastered and both renamed but spanning the period 1958 – 1962 they both show a man whose music was utterly original and who stood head and shoulders above the majority of jobbing bluesmen of the time. Blue Shadows

covers the period 1958 – 1962 when he was signed to Kent Records and his playing is strong and sweet but his vocals are almost more impressive. He seems to be able to power through songs without ever straining or bellowing and when he is

louder than the band as he is on numbers such as The Worst Thing In My Life he still sounds as though there is plenty in reserve. When he sings more softly on I Stay In The Mood he still has the richness but develops a more soulful edge. The

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one of the best I’ve heard in years. There is more than a hint of John Martyn about this album but they are unique and truly an outstanding band. I would have to say that anyone looking for a highlight might be disappointed because the highlight is the entire album from opening track Get Back Home with a wistful violin and nylon strung guitar leading into keening and pleading vocals from Istock and sumptuous harmonies all the way through 10 beautiful tracks and into the album closer CrippledUp Blues. I would almost say they had saved the best to last except that every track works brilliantly as it leads you toward the reward of a rough and ready Americana Blues. I don’t really recognize the genre of American Desert Music but if there is more like this in the Utah deserts I have got to hear it.

DARK DESERT NIGHT OKHEDOKEE

Rare music, beautifully played and dripping with emotion. This is one of the most impressive albums I’ve heard this year, so simply played and yet so deep and complex. I would compare it to the finest wine or smokiest scotch and every sip takes you deeper into the soul of the band. The cover suggests they are a bluegrass trio magically transplanted to the desert but musically they are much closer to Folk than bluegrass and in Hal Cannon and Greg Istock’s vocals they transport you to a smoky crofters hut but in the Eli Wrankle’s violin and Cannon’s guitar and banjo there is something that is purely American. I am a sucker for acoustic double bass and Greg Istock is

ANDY SNIPPER

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ANDY FRASCO & THE U.N. HAPPY BASTARDS RUF RECORDS

Here’s an outfit from California, and the title is apt; there’s a lot of sunshine here, and as the charismatic front man, Andy Frasco says; "We want people to be happy, to smile at their faults, love life for what it is, and follow the beat of your own drum. Not all blues need to be sad and lonesome. I love acts like Wilson Pickett, Marvin Gaye, Buddy Guy, The Band, acts that really made the blues their own style". Is it blues? Well, band on this album is outstanding with a horn section comprised of Johnny Board, Lawrence Burdine, Barney Hubert, Kenny Sands and Pluma Davis as well as Milliard Lee on piano, Marshall York on bass and Sonny Freeman on drums. You get 25 tracks of quintessential Blues Boy and there isn’t a moment that is wasted. The second album Goin’ Home was originally released as B.B. King in 1963 on the Crown label but in many ways it sounds earlier than the Blue Shadows set. It is more of a delta blues album, less sparkling

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of a kind. Does it make you smile? Yes; mission accomplished, and you’ll be leaping around the room to track 5, Mature as F**k. Here’s to Letting You Down is a reggae-flavoured pop song which further demonstrates Frasco’s lyrical inventiveness and DJ warning - track 10 is a naughty rocker entitled Blame It On The Pussy. No further explanation required. Some good guitar work here, too. The final track, My Recovery, is Frasco’s confessional - he’s had quite an uninhibited life, apparently. I didn’t reach the end of this CD thinking ‘blues’. It’s got a jolly, uplifting Baptist Hall feel to it, the band are on great form and as American music goes, it’s damned fine, just the thing for a party. Forget your troubles and join the U.N. ROY BAINTON

and with more strident vocals. Once again he has a superb band with him. In this case the sax of Maxwell Davis is matched by William Green and Jewell Grant on altos and Floyd Turnham on baritone but the biggest difference is Maxwell Davis’ keyboards which bring a whole new tenor to the sound. As you might expect, even after some excellent remastering, the sound isn’t perfect but both albums show the quality of playing and the sheer mastery of the King Of The Blues. Essential for a blues fan. ANDY SNIPPER

JOHN D’AMATO BORN BLUE – THE SUN SESSIONS TRU BLU RECORDS

Memphis based bluesrocker John D’Amato was born with a rare medical condition which meant that due to lack of oxygen his body would literally turn blue. At this time D’Amato discovered his sister’s guitar and constant practice actually made him feel better. He determined that he would be a bluesman and went on to play with B B King, Joe Louis Walker, Eric Gales and more and now with his second album recorded in Memphis he has a collection of 14 diverse songs mostly self-penned. Opening track Two Dollar Dress is fun, muscular and energetic and has already been voted Best Blues/ Rock song by AKADEMIA website. Soldier Of Love features a funky insistent bassline and some speedy fretwork and soulful vocals from D’Amato. The biographical Blues Man is a walking pace number telling the tale of D’Amato’s journey and his goal to be a truly great guitar slinger and features a sparkling guitar solo. Helicopter Blues is a down home rocker featuring D’Amato exclaiming “I’m gonna buy me a chopper with long and shiny blades”. Sounds

like fun! The lengthy slow blues Lovin’ You is a heartbreaker which features an organ solo from Lauren D’Amato and an extended guitar solo as the song builds in intensity. Chicken Blues lightens the mood with humorous lyrics and frantic guitar work. Born Blue is another biographical number telling of D’Amato’s early medical troubles and My Only Friend tells of how D’Amato found comfort in Jesus. The steady rollin’ True To The Blues has a light jazzy feel with restrained picking and muted organ fills. Walk My Way has a funky backbeat and nice rolling piano from Lauren and swift country picking from John. Closing track Hearts On Fire cranks up the revs with heavy guitar riffing and gruff vocals. There is also a bonus track featuring D’Amato playing Helicopter Blues solo on cigar box guitar. Every blues fan should find something to their taste on this collection. DAVE DRURY

BENJAMIN BASSFORD SONGS FROM THE BLUE DOOR EP INDEPENDENT RELEASE

My exposure to British acoustic blues was through a 1968 compilation album called Me & The Devil, which included Dave Kelly, Tony McPhee, Simon & Steve and Andy Fernbach, on hearing the first track on this CD I was immediately taken back to this album, almost fifty years later Benjamin has

REVIEWS | ALBUMS

captured those sounds on this extended EP, which generously contains seven tracks. Good British acoustic blues is a rare commodity but Benjamin has certainly put himself up there with the best, these tracks are spell binding, especially on the tracks where he is accompanied by harmonica player Ian Woodhead, they play well together and definitely a partnership worth pursuing. On the basis of these tracks a debut album cannot be far behind, here is a young artist aged just twenty one who has encapsulated a traditional acoustic blues style and developed it as his own, he writes with maturity and performs his material with confidence, his vocals and guitar playing are exemplary. One to watch. ADRIAN BLACKLEE

VAN WILKS 21ST CENTURY BLUES TEXAS 51 RECORDS

They say everything’s bigger in Texas, and if Van Wilks and his band are anything to go by, that’s certainly true. He’s been voted Best Guitarist both electric and acoustic and Best Blues Rock Band by the Austin Chronicle four years running. Surprisingly, this is his first studio album in ten years, so one supposes that his big, live audience are ready for this. When this band gets old of a riff, it rides it like a Texas bronco, and you can certainly hear echoes of Stevie Ray on tracks such as Golddigger. Yet

there’s huge contrast, light and shade. Just Walk Away, with its gentle, smooth descending velvety opening chords is a fine blues ballad, with moving, sad lyrics. There’s A Sin In There Somewhere is a stand-out, thrilling track with an extended slide guitar break and infectious riff which will force you to your feet. As blues rock goes, this is top drawer material, and the CD is nicely packaged, too, with its own lyrics booklet. So, people of Austin, Texas, consider yourselves lucky. The Lone Star State has a blues star of its own. ROY BAINTON

BLUES FOR BIG WALTER BLUES FOR BIG WALTER ELLER SOUL RECORDS

There will be no surprises from the title of this compilation when I say this album is packed full of superb harmonica playing, this is a dedication to Big Walter Horton and over the sixteen tracks there is a mixture of recently recorded items and a couple of tracks from the 1990’s. The project co-ordinator is L’il Ronnie Owens who besides his band members has pulled artists from across both the USA and Europe, some of the named harmonic players included here are; Mark Hummel, Steve Guyger, Kim Wilson and Mark Wenner, the centre piece of the album is an eighteen minute track called Sugar Ray Medley which incorporates at least five classic blues songs including Fat’s Blueberry

Hill, there is so much going on during the songs that it never gets monotonous and whether you are a harmonic fan or not there is so much more to enjoy, in fact guitarist Mike Welch and pianist Anthony Geraci are not to far behind Sugar Ray Norcia in the leading musician stakes. All the tracks include full band support and while most artists only cover one or two songs the album does knit together well, the harmonica styles may be different but the enthusiasm isn’t, each artists certainly gives there all, the album is non-profit making with the proceeds going to the Blues Foundation and Hart fund, no excuse not to purchase and in doing so you are supporting blues musicians in need. ADRIAN BLACKLEE

COWBOY HAT AND THAT FUZZBOX VOODOO EXPERIMENTS IN POPULAR MUSIC, WHIMSY AND THE BLUES INDEPENDENT

Formed in London in 2012 and marking a quite remarkable musical comeback, Cowboy Hat And That Fuzzbox Voodoo is ostensibly a three piece outfit consisting of Nigel Barker, Kemal Gurler and Marco Biagini. As indicated by the title of this CD, the band’s third, they are

an eclectic bunch. Their sound may be based on a country flavoured Americana approach, with pedal steel guitar and the works, with the deep vocals sometimes seeming to refer to outlaw country, but the full title of this album is certainly important. The experiments might include the use of electronica or even the idea of bringing all these disparate elements together on one album, popular music depends on what you view as popular, I guess, though When I Die might fall into this category, and the lyrics of some of these songs certainly fall into the “whimsy” category (try the rock and funk amalgam The Alphabet Song), though they are always clever and interesting. And the blues? Yes, that is here too. Lend an ear to the solid, heavy pop-blues groove of The Day I Won The Lottery (and there are those whimsical lyrics with a point again, delivered in a slightly deadpan voice), or for a slab of slow-ish, intense blues-rock with some wailing guitar work, Around The Bend And Back Again. If your tastes are wide, and you’re intrigued by what you’ve read, do check this CD out. NORMAN DARWEN

CURTIS SALGADO THE BEAUTIFUL LOWDOWN ALLIGATOR RECORDS

Curtis Salgado is one of the great vocalists on the contemporary scene and this album showcases

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his vocals in a range of styles - soul, blues and R n’B. Following up Soul Shot, his BMA winning debut for Alligator, Curtis wrote all bar one of the songs here and it’s a very strong album. Amongst a large cast of musicians we find Mike Finnigan keys, Johnny Lee Schell guitar, Larry Fulcher bass and Tony Braunagel drums – all former members of The Phantom Blues Band – plus guitarist Vyasa Dodson who, with Dave Duncan, are the main co-writers with Curtis. Horns appear on five tracks to give a really full sound, notably on Hard To Feel The Same About Love which opens proceedings on a soulful note complete with barnstorming baritone sax solo and Ring Telephone Ring which you will find yourself humming all day long after a few listens. The standout track is probably Walk A Mile In My Blues which has a clever lyric, a fine horn arrangement and superb keys and guitar from the Phantoms but the deep soul ballad Is There Something I Should Know a duet with Danielle Schnebelen gives it a real run for its money. Nothing In Particular takes us into Philly soul territory while Healing Love is a gentle ballad with shimmering acoustic guitars which allows us to appreciate what a superb vocalist Curtis is – a man who could literally sing the phone book and still enthral! There are several funkier R n’B numbers:

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Low Down Dirty Shame has a catchy riff and lots of great vocal support from the ‘choir’, My Girlfriend is almost rap-like in vocal style at the start before developing into classic funk and Johnny ‘Guitar’ Watson’s Hook Me Up closes the album with a rare appearance of Curtis’ harp skills. The other tracks with harp are the reggaetinged Simple Enough and the country blues of I Know A Good Thing, both of which add variety to the album. Watch out for this one making the lists for soul and blues awards at the end of the year – highly recommended! JOHN MITCHELL

SWAMPGRASS ONE EYE OPEN INDEPENDENT

Young Glastonbury based 5 piece band of blues/ rockers with their debut album of ten original songs penned by powerhouse singer Sharon Honeywell and guitarist Brad Lister. Opener Roadside Soul is a mid-paced rocker featuring forceful vocals and a duel between Lister’s insistent guitar riffing and Al Cosnett’s tasty harmonica fills. Title track One Eye Open has a heavy driving beat featuring Sharon’s brassy vocals and Lister’s furious riffing plus an excellent slide guitar solo. British R’n’B is the order of the day here and pleasingly the band plough their own furrow without resorting to covering hoary old crowd pleasers. Hell No is probably Sharon’s best vocal performance on the

album and features plenty of Cosnett’s harp riffs plus a little help from student friends on backing vocals. Grandad Frank is a slinky and humorous tale of a local character featuring accordion from guest Billy Shinbone. Six Feet Deep is a frantic rocker propelled by the excellent rhythm section of Andy Barnet on bass and Dru Franks on drums with Sharon belting out her emotive vocals like a British Janis Joplin. Got Me Goin’ is another rocker but My Own Fool is a jaunty number with nice interplay between Sharon’s vocals and Cosnett’s harp. Providence struts along pleasingly with a scorching harp solo and fiery guitar break from Lister. Closer Little Things is a piano led slow burning ballad featuring soulful vocals and a smoky sax break from guest George Engelen. A promising debut album with all the ingredients in place that would benefit from more light and shade and a little help on the mixing and production duties. In the meantime put you’re dancing shoes on and catch them gigging in South West England. DAVE DRURY

Has Danny Thompson ever been on a poor record? I don’t think so. Last time I ran into him was at the Norwegian Embassy at a showcase for a singer-songwriter and her band spoke in hushed tones about his playing. He shrugged it off and spoke to me at length about Charles Mingus! The mellow Eric Bibb was bound to get along with Thompson. He is the blues man who never yells and plays with subtle feel. This project involved a trek to The Grange, near Norwich and the inclusion of North Country Far conglomerate who play various drums, dobro’s, pedal steels and mandola’s. What results is described a ‘tasty gumbo of new bluesy-country songs’. The splendid accompanying booklet has tons of detail and gives a picture of the artists assembled and looking for all the world like the sort of coves who’s turn up at an auction of auto parts. The music is sophisticated and warm. Titles include I’ll Farm For You, Creole Café, Born To Be Your Man, On The Porch and (ahem) You Really Got Me. Not one note on this record couldn’t have been played fifty years ago or more. That’s no reason for you not to enjoy it, if you’re in that frame of mind and the piece in our last issue by Iain Patience will give you much more info.

ERIC BIBB & NORTH PETE SARGEANT COUNTRY FAR WITH DANNY THOMPSON JOHNNY WINTER THE HAPPIEST MAN HEY WHERE’S IN THE WORLD YOUR BROTHER DIXIEFROG

TALKING ELEPHANT RECORDS

REVIEWS | ALBUMS

This album was first released in 1992 and is referenced to catcalls from the audience who would call out ‘Hey Where’s Your Brother?’ when either Edgar or Johnny weren’t present. This collection, on reflection, could have been called ‘Things To Come’. The album opens with Johny Guitar Watson’s classic Johny Guitar, which is a very apt starter. The slide on his own White Line Blues is energetic, dirty and has a great Delta feel to it. Please Come Home For Christmas, which was originally heard on the First Winter album, shows another side of Johnny’s talent. It also has his brother Edgar on sax, and is worth the price of the album alone. His rendition of Fred James’ Check Out Her Mama has Winter’s machismo-style with lyrics that are a warning to all prospective husbands. Another side of Winter’s talent is his virtuosity when playing in an acoustic style and Blues This Bad, has it in spades, with a feel of Rolling and Tumbling, it is quite sublime. Can Johnny Winter boogie? Well, just listen to She Likes To Boogie Real Low. For anyone who wishes to discover and appreciate Mr. Winter’s prowess as a guitarist of great vision this is one to treasure. Rest in Peace Johnny Winter, your memory will live on. BOB BONSEY

GOEFF CARNE AND THE HATZ GET CLOSE AA VISION UK

This album hits you in the face with a no-holdsbarred barrage of blues played with passion. You have Geoff Carne on vocals, Mick Hatz on percussion along with Paul Mex on bass and electric piano. What you have on this collection is nine original songs by Mr Carne, which are all energetic and empowering. The opening cut Out In The Country has a powerful hypnotic riff, which is followed by the track Lost In You, again with a driving rhythm backdrop. Another Piece Of Me is a heartfelt blues ballad. Giving Me The Blues illustrates the driving vocal eloquence of Carne’s phrasing. Throughout the whole album, this lyrical excellence is evident with a vocal style is reminiscent of Free’s Paul Rodgers. Together with the Paul Mex’s bass-line and Mick Hatz’s drumming, this trio comes across as a force to be reckoned with. All this said, this album tended to me to be quite repetitive, lacking in light and shade, but still it is a brilliant showcase for Carne and the Hatz and wouldn’t stop me going to see them live. BOB BONSEY

BLACK RIVER DELTA DEVIL ON THE LOOSE POPUP RECORDS

Here’s a group from the north who moved to the Deep South. That’s Deep South, Sweden, because these three bearded Norsemen locked themselves in one of Sweden’s many cosy wooden cabins

ELIZA NEALS BREAKING AND ENTERING INDEPENDENT

Out of Detroit Eliza Neals delivers blues that is hot and soulful. Eliza combines her instantly recognizable vocals with the skillful manipulation of words as a songwriter. This is no singer/songwriter album it is rocking good up-tempo blues. Eliza grasps the lyrics and squeezes every emotive juice out of them. This is power blues with gritty attitude from Eliza up front and demanding to be heard. The band surrounding the voice changes across the tracks, with one of the highlights, You, featuring guest guitarist Kenny Olson, his electrifying lead breaks have the same raw energy as Eliza. There are two helpings of the title track early in the album and closing out with a radio edit both of which are wholly justified and deliciously tasty to the ears. The title track has howling vocals as she spits and growls out the vocals this is stylish the and, inspired by everyone from Robert Johnson to Black Rebel Motorcycle Club, didn’t step outside until they’d made a blues album. And here it is. This must have scared the hell out of the snowbound wildlife. Follow You Down is a monumental wall of guitar with a ponderous,

radio edit trimmed down still packs a punch and should be heard loud and often from the radio airwaves. Three tracks in and her vocals rasp and curl around guitar and vocals as Dr Jekyll meets the Hound of The Baskervilles. To the dual talents of songwriting and delivering vocals that you have to listen to add adroit finger dancing over the ivories on a number of tracks on Piano and B3 Organ. You will be listening wide eyed with delight with Goo Goo Glass. The saxophone from Tyrone Grogan on Sugar Daddy, is sublime with the tempo easing off the throttle and Eliza’s vocals gently caressing the lyrics. The mix is different reflecting a different set of musicians showing the versatility of Eliza Neals as she manipulates the blues into a shape she wants you to hear. Breaking And Entering should get Eliza noticed for all the right reasons a blues-woman with power and determined rocking rhythms combined with skillful lyrics contemporary and exciting. File under blues rock and listen often. LIZ AIKEN

insistent drum beat. There’s no let up with Wind Collides, which features some stirring slide playing and that trademark mesmerizing backbeat. The title track, Devil On The Loose, calms things down a little. However, one criticism is that with most of these songs, the vocals

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BLUES TOP 50 | JUNE 2016

BLUES TOP 50 TITLE

LABEL

STATE

ALBERT CASTIGLIA

BIG DOG

RUF

COUNTRY USA

CURTIS SALGADO

THE BEAUTIFUL LOWDOWN

ALLIGATOR

USA

3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

TEDESCHI TRUCKS BAND JANIVA MAGNESS JOE BONAMASSA THE RECORD COMPANY MORELAND & ARBUCKLE ERIC LINDELL TORONZO CANNON ROYAL SOUTHERN BROTHERHOOD MAVIS STAPLES ALEXIS P. SUTER BAND GUY KING ERIC CLAPTON PAUL REDDICK TINSLEY ELLIS THE MIKE ELDRED TRIO WILLIAM BELL BIG HARP GEORGE SHAUN MURPHY BUDDY GUY SHEMEKIA COPELAND RB STONE KENNY "BLUES BOSS" WAYNE TOMMY CASTRO THE RIDES TWEED FUNK LISA MANN BIG JON ATKINSON & BOB CORRITORE

LET ME GET BY SWAMP FAMILY LOVE WINS AGAIN BLUE ELAN BLUES OF DESPERATION J&R ADVENTURES GIVE IT BACK TO YOU CONCORD PROMISED LAND OR BUST ALLIGATOR MATTERS OF THE HEART RED PARLOR THE CHICAGO WAY ALLIGATOR THE ROYAL GOSPEL RUF LIVIN' ON A HIGH NOTE ANTI ALL FOR LOVING YOU AMERICAN SHOWPLACE TRUTH DELMARK I STILL DO BUSHRANCH RIDE THE ONE STONY PLAIN RED CLAY SOUL HEARTFIXER MUSIC BAPTIST TOWN GREAT WESTERN THIS IS WHERE I LIVE STAX WASH MY HORSE IN CHAMPAGNE BLUES MOUNTAIN IT WON'T STOP RAINING VISION WALL BORN TO PLAY GUITAR RCA OUTSKIRTS OF LOVE ALLIGATOR SOME CALL IT FREEDOM [SOME CALL IT THE BLUES] MIDDLE MOUNTAIN JUMPIN' & BOPPIN' STONY PLAIN METHOD TO MY MADNESS ALLIGATOR PIERCED ARROW 429 RECORDS COME TOGETHER TWEED TONE HARD TIMES, BAD DECISIONS JAYRAY HOUSE PARTY AT BIG JON'S DELTA GROOVE

FL MI NY CA KS IN IL LA IL NY IL ON GA AZ TN CA NE LA NY TN ON PA CA WI OR AZ

USA USA USA USA USA USA USA USA USA USA USA GBR CAN USA USA USA USA USA USA USA USA CAN USA USA USA USA USA

SUGAR BLUE

VOYAGE

M.C.

USA

31 32 33 34 35

C.W. STONEKING ERIC BIBB NICK MOSS BAND TONY JOE WHITE DENNIS JONES

GON' BOOGALOO THE HAPPIEST MAN IN THE WORLD FROM THE ROOT TO THE FRUIT RAIN CROW BOTH SIDES OF THE TRACK

SELF-RELEASE STONY PLAIN BLUE BELLA YEP ROC BLUE ROCK

VIC NY IL LA CA

AUS USA USA USA USA

36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

BRIDGET KELLY BAND MATTY T. WALL STEVE DAWSON THE SOUL OF JOHN BLACK -R JOHN MAYALL JOE LOUIS WALKER JOHNNY RAWLS CHARLES BRADLEY REVEREND FREAKCHILD MIKE WHEELER COREY DENNISON LITTLE BOYS BLUE MARKEY BLUE TOMMY Z SAMMY EUBANKS

OUTTA THE BLUES BLUE SKIES SOLID STATES AND LOOSE ENDS EARLY IN THE MOANIN' FIND A WAY TO CARE EVERYBODY WANTS A PIECE TIGER IN A CAGE CHANGES ILLOGICAL OPTIMISM TURN UP!! COREY DENNISON BAND TENNISSIPPI THE BLUES ARE KNOCKIN' BLIZZARD OF BLUES SUGAR ME

ALPHA SUN HIPSTERDUMPSTER BLACK HEN SELF-RELEASE FORTY BELOW PROVOGUE CATFOOD DAPTONE TREATED AND RELEASED DELMARK DELMARK VIZZTONE DELTA GROOVE SOUTH BLOSSOM UNDERWORLD

FL WA MA IL CA CA MS NY NY IL IL TN TN NY ID

USA AUS USA USA USA USA USA USA USA USA USA USA USA USA USA

POS ARTIST

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are a little too far back in the mix with reverb, which makes it difficult to hear the message. However, Broken For Years is easier, and overall it’s plain to see that making music in a log cabin isn’t a bad idea at all; and this is one helluva contrast to Abba. ROY BAINTON

THE JORDAN PATTERSON BAND

THE BACK ON TRACK RECORDING PROJECT FLAMINGCHEESE RECORDS

Only two things stop this CD qualifying as a classic slice of 1970s British blues rock; it ain’t British, and it wasn’t recorded until sessions in 2014 and 2015. But other than that, it’s perfect. This is reportedly the first album from Canadian vocalist and harp slinger Jordan Patterson since his debut release 20 years ago, and it’s an outand-out anachronism, but in the best possible way. The chord progressions, the guitar solos, the thudding bass lines and hit ‘em like you hate ‘em drum patterns all evoke the era when real men wore cheesecloth shirts and dug Deep Purple. If You’d Help Me Please is a heavy slow blues that has deliberately been recorded to sound like something straight off the first Zep album, complete with over bending licks as patented by J Page Esq, while Do You Believe is full-on Faces, except without Rod. Only some obvious nods to Lenny Kravitz, most notably the funk-inflected Living Without Your Love,

give away the fact that this recording has not been recovered from a time capsule. Patterson and his band - including guitarists Bobby Thompson and Darryl Romphf, who featured on this recording, and a rhythm section that didn’t - are coming to the UK later this year, and will be at Colne for the blues festival over the August bank holiday weekend. If this sort of stuff is anywhere near bag, you’ll love this one. DAVID OSLER

MILLPOND MOON TIME TO TURN THE TIDE TIKOPIA RECORDS

A duo that is full of sweetness, straddling the genres, blues, folk and country and fits the catch-all that has become Americana. The songwriting duo Kjersti Misje and Rune Hauge share the vocals and guitar duties. Opening with Forever Young the Norwegians have taken a safe and familiar road they add an air of mystery in the orchestration with the tempo more dance than folk. The fiddling is sharp and the interchange of verses between the voices turn the number into a musical conversation. The album has throughout a laid back bluegrass,

country blues feel and the music flows from track to track. The title track has the curl of bluegrass with precise vocals but lacks emotion and sails on to Wind Of Plenty on a pleasant stream of melody. As we hit half way point the album needs in interjection of passion and energy and All La Glory fails to deliver if anything the lullaby slows the mood down further. There is no anger, hurt or venom; the album from Millpond Moon is so laid back it could slip out of the CD player. The playing is beautiful the singing is lovely but it lacks oomph, a sense of purpose and direction. Kitty Cat should be a fun amusing track the fiddling and again the working of Kjersti and Rune vocals works but where is the edginess the fighting amusement that this track should have more - one life than nine. This monochrome texture continues as the album closes with Wayfarer Stranger a traditional number that needed more anguish. Closing with My Father Used To Say one of their own numbers the music fades rather than leaving you with an urge to listen all over again. Time To Turn The Tide is a still as a millpond that has lost the energy to turn the waterwheel, a shame as the songs are well composed and the whole album is produced to be nice rather than exciting and even a little challenging. LIZ AIKEN

TOMMY Z BLIZZARD OF BLUES BLIND RACCOON

It’s surprising that Tommy Z is described as Western New York’s ‘best kept secret’, because unlike a lot of bluesmen, he certainly gets around. From Afghanistan to Korea and a dozen countries in between, Tommy takes his blues out to US troops, and if this smartly packaged, well produced CD is anything to go by, their morale must be duly raised. There are so many facets to this man’s musical career. He’s played with, among others, the Fabulous Thunderbirds and Joe Bonamassa. The two owning tracks, Lovergirl and Going To A Party thump you straight between the shoulder blades and you know this is the blues. On slower, the moody, Memory Of Love Tommy’s fat, insistent Fender sound is graced with Kevin Orso’s velvet, room filling organ, and half way through this song there’s an unexpected choral vocal bridge which takes you by surprise on a blues album. The title track, Blizzard of Blues, lives up to its title, with guitar and organ steering things along at a furious pace. This is big, bold, inyour-face 21st century rock

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blues, fast, resourceful and brimming with and ideas. A blizzard of talent. It’ll leave you breathless. ROY BAINTON

THE NAT MARTIN BAND TIME IS A HEALER INDEPENDENT

Nat Martin is a young London player with an already fine pedigree. His debut album was widely admired and received airplay while he has also been notable on the scene as supporting

PAUL FILIPOWICZ ROUGH NECK BLUES LIVE! BIG JAKE RECORDS

Latest offering from Chicago Blues Hall of Fame guitarist Paul Filipowicz together with his 4 piece band, playing a live set at the Knuckle Down Saloon in Madison. Eleven self-penned tracks and the album opens as it tends to go on with some searing guitar work that sets the scene for the rest of the set. Although it is a live recording, you

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guitarist to Jo Harman. Here with a new five-track EP release, Time Is A Healer, he again shows just why he is so popular. All tracks are self-penned and were recorded live in studio featuring some top quality fiery fretwork that drives along from funky outbursts to furious Claptonesque-cum-Cray touches of subtlety and speed. In addition to the five tracks featured there is also a bonus track, an instrumental that seems to ease the whole project back down in a more laid-back sort of vibe. Vocals are strong and soaring from Rose Kimberley, a lady with fire in her belly and a light jazzy undercurrent which is matched by Martin's

don't get much in the way of audience response or feedback, but you do get the sense of atmosphere that somehow only comes across when everything is being played together, rather than cut and paste afterwards, there really is no substitute for live music. Track three was one of my favourites a bluesy track called Black Spider that could have been a Stones number. Two of the tacks (Santa Fe Windows & Where the blues come from) come in at over 8 minutes each, but I didn't get bored as can often be the case with some self-indulgent playing, not the case here. If you like your music live, this would be a good choice. DAVE STONE

playing and influences. Some nicely pitched keyswork from Jez Davies and bass from Martin's great buddy Marco Meniconi together with drums from Owen Martin, all pull the whole thing together and lead to a rare bit of original quality with tinges of jazz, funk, soul and pure blues rippling under the surface. IAIN PATIENCE

SUGAR BLUE VOYAGE MC

Singer and harmonica ace James “Sugar Blue” Whiting is not really the stereotypical bluesman. British music paper Melody Maker reported that he was “discovered” busking in the subway in Paris, and he recorded with The Rolling Stones very early in his career. He played with Louisiana Red at The 100 Club in April 1978, with the results (Red Funk And Blue) released as the first album on the Black Panther label; it soon changed its name to JSP Records. You can hear Sugar describe his early days on the track New York City, a folk-blues homage to his home town where he sings about working for Victoria Spivey and others when he was starting out. Surprisingly though, this is Sugar’s first album for five years. A good one it is too – there is plenty of Sugar’s (literally) breath-taking harp playing, lightning fast runs or cool, jazz inflected licks. The tracks are similarly varied, from the tough, Chicago styled Mercedes Blues (with a Pink Panther

intro, and the legendary Chicago saxman Eddie Shaw making a fine contribution) and the album’s sole borrowing, a fine r & b version of Ray Charles’ Mary Ann (check out Sugar’s excellent vocal on this too) to the gospel flavoured 12 Steps, obliquely referencing the standard 12 Gates To The City and Life ON The Run, a soul styled duet with impassioned vocals by Maya Azucena and socially conscious lyrics. This excellent album closes out with the powerhouse rocking boogie of Time, confirming that Sugar Blue is back and better than ever. NORMAN DARWEN

INA FORSMAN INA FORSMAN WOLF RECORDS

Much like that popular brand of Cheddar cheese, the debut album from Finland’s Ina Forsman fully deserves the designation Seriously Strong. Indeed, only one thing stopped me reaching for the thesaurus to find a whole bunch of superlatives to string together. The snag is, this girl obviously listens to Amy Winehouse. A lot. On at least some tracks, her vocal stylings are sufficiently close to those of the Southgate songbird to prevent the set landing

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the very highest marks. That said, she’s a genuine talent, and great stuff can surely be expected when she gains the confidence to be herself. The ten original songs - all with substantial input from Forsman herself - cover a wide range of genres, and without exception, deftly so. The Austin, Texas, session guys who make up the band have unquestionably got their chops down, too. Opener Hangin’ Loose has an attractive Nawlins groove, centred on an earworm piano riff mightily reminiscent of Allen Toussaint, while the minor key harp on Talk To Me has Sonny Boy Williamson II’s fingerprints all over. The tremolo guitar arpeggios on Now You Want Me Back are pure 1960s soul bliss. The CD culminates with a well tidy cover of Nina Simone’s up-for-it anthem I Want a Little Sugar in my Bowl, accompanied only by solo piano. The record label thinks Forsman could go crossover, and my hunch would be that they could be right. Check her out while she’s still on the blues scene. DAVID OSLER

ROBIN TROWER WHERE YOU ARE GOING TO HATMAN RECORDS

I am due to speak to Robin about this latest set but have been savouring the songs and ambience of the record whilst he has been touring in the States. His singing gets better and better, never trying to emulate the late

great James Dewar, to Trower’s eternal credit. For touring, Trower has a bassist blessed with a Dewar style voice so justice can be done to Bridge Of Sighs, Day Of The Eagle etc. Another plus is that Robin doesn’t try to sound pseudo-American, the great trap for so many UK and European acts when it comes to singing. With this set, Robin retains his reputation for being an inventive and motivated guitar stylist, never pouring too many notes into the mix and creating a blur of sound. All these years on since his first solo record, it is still refreshing not to be bombarded with show-off runs that soon lose all feeling. I get so tired of the many fretboard Lewis Hamilton’s on the circuit – you’re trying too hard, chaps! When Will The Next Blow Fall is a fine opener, with Trower delivering a thoughtful lyric over an ominous riffing with a dirty undercurrent but precision ruling. The solo kicks in around 1:30 with a lovely legato tone and soulful bends twisting off into wah’d runs. At any volume this stuff sound so cool. The title cut is a winsome rolling slow number and again the singing sounds really good, this is almost electric folk. The churning funk of Back Where You Belong has a meaner sound, with a fine Trower ascending progression and the vocal slightly grittier and conspiratorial with a hint of Hendrix. Jigsaw has an intriguing lyric and the key is just right for the singing,

the guitar being surefooted but never plodding. We Will Be Together Someday is as tender as anything Robin has recorded, personal loss-inspired and utterly beautiful. If you recall For Earth Below with fondness, this one will resonate. In Too Deep has a restless core riff and bursts with electricity. The deep blues rolls in on I’m Holding On To You. Closer Delusion Sweet Delusion slows down a James Brown figure to send the set chugging out on a cloud of fuzz and pumping bass. As distinctive as any past Trower collection but with the lyrical content bringing real-life poetry, keep those Strat sonnets coming, amigo. PETE SARGEANT

REBECCA DOWNES BELIEVE MAD HAT

Birmingham based Rebecca Downes is a sassy, powerful vocalist with a tight band. Downes has just released her latest album ‘Believe’. Her live performance has been described as being similar to the frothy mountain which happens when you drop a mint in a bottle of cola – an experienced, authentic and tight R’n’B band mixed with Downes singing style creates a

soul explosion intertwined with blues and rock. The blues machine that is her awesome band consists of Steve Birkett, co-songwriter, guitar and vocals; Rick Benton, keys; Dan Clark on bass and Lloyd Daker on Drums. Downes has been described as a “breath of fresh air” to the blues scene. Her latest work certainly lives up to the hype. Rebecca has already had a pretty colourful year which kicked off with a well received performance at Skegness Rock and Blues Festival on the introducing stage, which was voted by the audience as best of the day. In February, she then released her much anticipated second album Believe. Believe is a tasteful album which perfectly captures everything you would expect from an album of this genre. It has striking vocals, powerful lyrics, tasteful guitar playing and a rock solid rhythm section. The opening track Never Gonna Learn comes in with a Dire Straits feel, spacey guitar sound before the rest of the band hit you with a bouncy shuffle beat. The opener sets the tone for the album, quite definitely a stand out track. Night Train the second track on the record is another prominent one, strong lyrics such as “money can’t buy you love” show what Downes is all about – it’s not just a typical blues record about loss, regret and what brings you down, it has a warmth and a caring vibe. One track which stood

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out for me, It’s That Easy, has striking harmonies from Downes’ wingman Steve Birkett. If you haven’t picked up a copy of Believe then do so, Rebecca Downes is on her way up.

MUMBO-JUMBO SONIC GUMBO

souls. There’s even a slice of country and western in the shape of Back To The Wheel, served up with Mariachi horns in the manner of Johnny Cash’s Ring of Fire, while Later Somehow is a hymn to the joys of pledging eventual revenge on that fool who was daft enough to dump you. All enjoyable stuff, and this lot are the last band you could ever accuse of being run of the mill. But I could have done with the blues-o-meter turned up a notch or two sometimes.

‘ERE AM I RECORDS

DAVID OSLER

MIKEY MACLENNAN

Like it eclectic? As you might expect from the album title, Midlandsbased trio Mumbo-Jumbo have weighed in with an intelligent 13-song CD of acoustic material that draws freely on folk, country and jazz, not to mention a little blues. Certain offerings even put me in mind of some of the quirkier album tracks offered up by The Who back in the 1960s. There’s wry observation on life aplenty here. Second Hand Guitar Dealer exposes that breed of bloodsuckers that prey on those of us with insufficient willpower to resist vintage Gibsons and Fenders, while Hosedown takes a humourous look at the indignities of ageing, when it gets to the stage where having a care worker spend 15 minutes wiping your backside each morning is the highlight of the day. No Devil At The Crossroads laments the state of today’s music, now that Old Nick is no longer trading blues greatness for

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RB STONE SOME CALL IT FREEDOM (SOME CALL IT THE BLUES) MIDDLE MOUNTAIN MUSIC

You can look at the blues in many ways, but when there’s a touch of humour it never goes amiss. For example, there are two warnings on this CD cover; ‘Contains strong roots content’ and ‘Uncontrollable head bobbing may occur’. I can concur that once I’d stopped smiling, both these admonitions proved accurate. Roland Bennett Stone is an Ohio boy whose father was a boogie rock’n’roller. So this CD’s content was inevitable. It opens with a John Lee Hooker-style Hill Country Stomp. Some Call It Freedom motors along like a freight train, with some fine smooth guitar breaks by Stone, who also plays harmonica, slide, rhythm, and cigar box guitar. So you get the picture; this man is blues through and

through. His vocals are fine, too, especially on the slide-driven 35 Miles From Mobile. On Weapons Of Mass Persuasion we’re in deep Muddy Waters territory. Track 11, Standin’ On Top Of The World showcases his commanding harmonica technique, with some fine atmospheric organ, plus fiery bass and drum solos. This is vibrant, satisfying modern blues with a healthy respect for heritage. ROY BAINTON

JOHN MAYALL’S BLUESBREAKERS

LIVE IN 1967 - VOLUME 2 FORTY BELOW

Listening to this album, for someone of my advanced years, is like stepping out of a time machine. The year before these recordings I’d seen blues legend John Mayall at Hull’s Skyline Ballroom with the classic ‘Beano’ album line-up of Mayall, John McVie, drummer Hughie Flint and on guitar, Eric Clapton. That was one hell of a night and it seemed doubtful that anyone could match Clapton’s prowess, but a year later, here’s the mighty Peter Green proving that Britain had more than one blues guitar legend. Don’t expect high fidelity from this collection, because these gigs were recorded on a one track reel-to-reel tape recorder by a dedicated fan, Tom Huissen. All that can be said is that Tom did music history a great service. Recorded at the Marquee, the Ram Jam

Club and Klooks Kleek, all legendary blues venues, Mayall’s pile-driving vocal power reminds us of how unique the man was on the British scene. No-one understood and interpreted the music, and composed in the genre, better than Mayall. His organ playing on the up-tempo Please Don’t Tell is terrific, but then he launches into some truly superb harp playing. Throughout, from the opener, Tears In My Eyes to the atmospheric 13th closer, Double Trouble, Peter Green’s guitar is remarkable, especially on the instrumental, Greeny. There’s a guest vocalist, US serviceman Ronnie Jones on Stormy Monday, and a terrific bass solo on Chicago Line from John McVie, and the whole album is kept firmly on the rails by Mick Fleetwood’s fine drumming. Forget the sound quality; just play this very loud and wish you’d been there. A superb slab of blues history. ROY BAINTON

JOHN VERITY MY RELIGION VAVOOM

British blues is truly alive and well in the hands of old school players like Jon Verity for whom playing is a religion. I’m not sorry for the play on words as for guys like him, and indeed guys like myself, something happens deep down in your soul when music just hits home with all the passion, inspiration and resulting reward lifting you higher and making you feel frankly bloody brilliant.

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As soon as the opening cut, which happens to be the title track with its clever lyrics calling you to join his “church”, began I knew I was going to like this album. In truth, apart from being aware of Jon’s name along with the fact that he had stints in both Argent and Phoenix, until My Religion I had not heard any of his solo output. Surrounded by some fine players, who make it feel like a band release rather than solo with added musicians, you get six originals and four covers for your investment when the collection plate comes around. Hope For The Best is a fine song with shades of Robert Cray as the guitar weaves in and out before you hit the slightly heavy rock and roll of The Devil’s Music. I don’t know if he, the devil has the best music or not but this is good stuff. Three covers next the first being Don Nix’s Going Down which is way too short before a tasty Chain Of Fools with Bianca Kinane doing a cracking soulful job on lead vocals. Oddly Cocaine is the weakest cut here but we bounce back with Spoonful (Willie Dixon) and the remaining originals. All round a fine CD which will be enjoyed for many years to come.

that he’s the recipient of several Blues Music awards and in 2014 Living Blues magazine voted him Male Blues Artist of the Year. This is sophisticated blues with masterful arrangements supporting well-crafted songs. For example, the opener, Tiger In A Cage is a heartfelt comment on what happens to a young man kept in prison, and the effect this has on his character. Born To The Blues is a superb song any blues artist would want to sing, and it takes a brave vocalist to tackle Jackie Wilson’s classic, Your Love Is Lifting Me (Higher and Higher) but Rawls handles it with style, panache and utter confidence, and the brass arrangement and backing vocals are superb. Lucy is bouncy, cheerful number and you can hear the smile in Johnny’s voice here. I Would Be Nothing is a rich, romantic ballad, as smooth as silk with a beautiful arrangement. If you like blues for late nights with two bottles of wine, this is the one for you. Highly recommended. ROY BAINTON

GRAEME SCOTT

JOHNNY RAWLS TIGER IN A CAGE

LAYLA ZOE BREAKING FREE

CATFOOD RECORDS

RUF

What’s the word here? Smooth. That’ll do nicely. Johnny Rawls is a fine singer and it’s no surprise

Canadian singersongwriter/blues-rocker who recently toured UK on the Ruf Blues

HURRICANE RUTH LAMASTER WINDS OF CHANGE BLIND RACCOON

Add a touch of Janis Joplin, some Aretha, a bit of Tina Turner, a big chunk of Mama Thornton plus a few other great singers, stir them all up and you get Hurricane Ruth from Beardstown, Illinois, where she learned her prodigious performance skills in her dad’s hostelry, The Glendale Tavern. The fact that singers like Ruth are out there, on the road, gigging regularly and leaving a trail of happy memories in her wake is a warm, joyful thought. Caravan tour with her 10th album. Backstage Queen intro’s with what sounds to me suspiciously like backwards recorded guitar and then settles in with a crashing drum beat and booming bassline all topped off with tough vocals from Layla and heavy guitar riffing from Jan Laacks. Why Do We Hurt The Ones We Love is a much more measured rock-ballad featuring emotive vocals and a nice restrained guitar solo from Laacks. Slide guitar maestro Sonny Landreth adds his slinky touch on the swampy Wild One as he slithers behind Layla Zoe’s sensual vocal. From the chiming opening notes of the slow bluesy Highway Of Tears it is clear that this will be a long

This woman can really sing, and although there’s only four tracks her, her encompassing personality grabs you from the first, the stirring I Feel Lucky. Willie Dixon’s simple song, Built For Comfort, is one of those neglected r&b classics, and Ruth reanimates it here in strident style. On all the tracks, especially the Percy Sledge classic, When a Man Loves A Woman, she’s supported by a terrific big band sound with stirring brass arrangements by Dick Garretson. This is loud, happy, beer drinking music, shot through with barrelhouse blues tradition. Will you enjoy it? Damn right you will - Ruth’s a real musical tonic. ROY BAINTON

number (11.09 mins) with big production values featuring emotive vocals and a Gary Moore style guitar solo from Laacks as it builds to a climax. In contrast the driving title track Breaking Free features forceful vocals and excellent wah-wah guitar as it positively whizzes by at 6.23 mins. The funky Work Horse features sassy vocals and classy guitar chops and the pretty Hendrix tinged ballad Sweet Angel features Layla crooning softly as Laacks plays some jazzy guitar fills. The material is mostly penned by Zoe and Laacks who also handles production duties. The one cover here is an acoustic version of Jagger/Richards countryish favourite Wild Horses. The shimmering

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IBBA TOP 50 | JUNE 2016

IBBA TOP 50 POS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

ARTIST KAZ HAWKINS BAND THE BLUES BONES CRY BABY & HOOCHIE COOCHIE BOYS KRIS BARRAS BAND ROBIN BIBI ALBANY DOWN ROYAL SOUTHERN BROTHERHOOD ALBERT CASTIGLIA HONEY ISLAND SWAMP BAND LISA MANN RHYTHM ZOO ANA POPOVIC ERIC CLAPTON ROOTBONE ROADHOUSE DEBBIE BOND NICK MOSS BAND WILY BO WALKER FEAT. DANNY FLAM & FRIENDS DEEP BLUE SEA MICHAEL MESSER'S MITRA FLAWLESS CARBON AMANDA ST. JOHN LOL GOODMAN BAND AL LERMAN VARIOUS ARTISTS MOJO PREACHERS NO SINNER MORELAND & ARBUCKLE HITMAN BLUES BAND JACK J. HUTCHINSON ALEXIS P. SUTER BAND REBECCA DOWNES MATTY T WALL COREY DENNISON MISSISSIPPI MACDONALD AND THE COTTONMOUTH KINGS MALAYA BLUE SPENCER MACKENZIE THE RIDES THE KAT KINGS MARKEY BLUE BILLY WALTON BAND GUY TORTORA BONNIE RAITT BRIDGET KELLY BAND STEVIE NIMMO MA POLAINES GREAT DECLINE KYLA BROX GUY KING KATIE BRADLEY & MATT LONG BLONDIE

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TITLE FEELIN' GOOD DOUBLE LIVE I GOT NEWS LUCKY 13 NO MORE A SECRET THE OUTER REACH THE ROYAL GOSPEL BIG DOG DEMOLITION DAY HARD TIMES, BAD DECISIONS SOLD FOR LOVE TRILOGY I STILL DO THE LONG ROAD HOME CITY OF DECAY ENJOY THE RIDE FROM THE ROOT TO THE FRUIT TALES OF THE MESCAL CANYON TROUBADOURS THE STORM INSIDE CALL OF THE BLUES A GOOD DAY TO FEEL BLUE GROW JUST WANNA SAY SLOW BURN ALLIGATOR RECORDS 45TH ANNIVERSARY COLLECTION CONFESSIONS OLD HABITS DIE HARD PROMISED LAND OR BUST THE WORLD MOVES ON UNPLUGGED ALL FOR LOVING YOU BELIEVE BLUE SKIES COREY DENNISON BAND DRESS FOR THE MONEY HEARTSICK INFECTED WITH THE BLUES PIERCED ARROW SWINGING IN THE SWAMP THE BLUES ARE KNOCKIN' WISH FOR WHAT YOU WANT BLUESMAN IN A BONEYARD DIG IN DEEP OUTTA THE BLUES SKY WON'T FALL SMALL TOWN TALK THROW AWAY YOUR BLUES TRUTH A NEW BEGINNING COMPILATION

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sounds of rock-ballad A Good Man feature soulful vocals and chiming guitar from Laacks. The album closes with He Loves Me a gentle poignant love song sung beautifully by Layla accompanied only by the piano of Gregor Sonnenberg. Layla Zoe is already regarded as Canada’s queen of the blues and this fine album will increase her standing on the international scene. DAVE DRURY

MORELAND AND ARBUCKLE PROMISED LAND OR BUST ALLIGATOR RECORDS

Shamanistic guttural yet soulful and melodic and that is only a description of lead vocalist Dustin Arbuckle’s vocals. His grungy harmonica playing also adds to the no holds barred approach by this very talented three piece band. Aaron Moreland also plays mean guitars and can change the mood and tone of any track they play. Add thrashing percussion in form of Kendall Newby and that is the finished article and live performances at times are mesmeric. This eleven track release has it all the band able to look at different styles to further discover and put their own interpretation on old style songs such as Slim Harpo’s I’m A King Bee. Changing record labels is a real step forward and will give them even more recognition they deserve. Produced by Matt Bayles who also plays keyboards on Waco Avenue and

guitar on Mount Comfort only adds to the eclectic musical mix. Other guests are Scott Williams on keyboards and mean fired up bass by Mark Foley. Take Me With You When You Go oozes Mississippi swamp howling vocals. Haunting murder ballad Hannah fuelled with passion and rage is a highlight. Another cover Lee McBee’s Woman Down In Arkansas boogies down. Long Way Home has snarling slide guitar covering a song of betrayal. Ending up with the slow paced reflective ballad Why’d She Have To Go this shows a mellow side and a sassy narrative. Raw with a traditional twist this is a masterpiece of changing the rules. COLIN CAMPBELL

LOL GOODMAN BAND

JUST WANNA SAY INDEPENDENT

On 21 April 2016, the Manchester based Lol Goodman Band held the launch of their third and latest CD: Just Wanna Say at the Cottonopolis Restaurant in Manchester and I was lucky enough to be invited to attend. What a fantastic experience it was too, since the whole evening was very enjoyable, starting with acoustic support from Kevin Farrell and then the main course of some of

the main tracks from the new album from the Lol Goodman Band The band was founded by guitarist and vocalist Lol and has existed in varied formats and with various musicians since 1997 and for the majority of the time, James Doc Horrocks has been on second lead guitar or bass guitar; from 2010 with, Jon Firth on drums, supported by Phil Barrett on guitar, organ and keyboards. If you liked Tautology, you will love this new album since the new 10 track CD, self-penned by Lol, is their best to date. It is broader in scope, more blues rock and radio friendly but still maintains their authentic British blues reputation. This is made clear in the opening track, Don’t Go Fishing which sets the standard for a great album. It is obvious that the band have played together for a long time, being tight, with quality musicianship. The tracks are not only blues rock since Water is a fine acoustic song; The Tales Of Teddy Black Bear is an instrumental and my favourite, the classic blues orientated track, Live My Life With The Blues, which for me is the album’s stand out track. However, there is a lot of competition since the album is varied but does not have a bad track on it. I suggest you just play the album and do what track 8 recommends: Beer In My Hand and just enjoy. I Just Wanna Say that this is one of the best blues albums I have heard this year ANDY MANN

SOFT SHOE SAM PLAY IT AGAIN … SOFT SHOE SAM! INDEPENDENT

Soft Shoe Sam is the alter ego of folk singer Dick Appleton - or is it viceversa? Either way, Sam is an excellent bottleneck player with a fine feel for vintage country blues; his vocals are not quite as accomplished but they are certainly perfectly acceptable, and usually better than that. His material… well, he certainly knows a thing or three about the vintage blues, as he has proved on previous sets, but this one focusses on a mix of covers (though this being Sam, none are note for note) and originals in the same vein - and I am a sucker for a well-played version of the archaic standard Po’ Boy Long Ways From Home and Sam’s cover is certainly that, mixing it up with Reverend Wilkins’ That’s No Way To Get Along. Willie Dixon’s The Same Thing gets a vigorous acoustic treatment, there are several very fine slide guitar instrumentals (a speciality of Sam’s), and in a nod to his folk side maybe, the introduction to the mandolin accompanied Motherless Children made me think of Irish outfit Planxty! The banjo accompanied Nine Hundred Miles does show off Sam’s folk credentials too, whilst maintaining those blues links, and maybe the inclusion of Lightnin’ Hopkins’ Blues In The Bottle shows just where Sam’s blues roots

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ROADHOUSE CITY OF DECAY KROSSBOARDER REKORDS

Performing for over 20 years Roadhouse is lead by singer/songwriter Gary Boner. City Of Decay is their 13th release and is definitely more ambitious than anything previously recorded by this busy high profile band. There are 6 co-writes here from twin lead guitarists Boner and Danny Gwilym. Boner’s renowned gravelly vocals are throughout with superb lead and backing vocals provided by the 2 illustrious ladies Sarah Harvey Smart and Mandie Graham, with the rock solid rhythm section lie – this was a popular tune back in the 60s. There are some very fine acoustic blues performers around these days and Sam certainly deserves his place alongside the likes of Catfish Keith. NORMAN DARWEN

NEAL BLACK & LARRY GARNER GUILTY SAINTS DIXIE FROG

Wow, what a delicious bit of, at times lightish, blues with an old-style feel at its heart. This appears to be an inspired pairing of two US bluesmen who clearly on this evidence

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consisting of bassist Bill Hobley and drummer Rodger Hunt. The opening track This House Is On Fire is a catchy, guitar driven, uplifting tune with raspy Boner vocals. This is followed by the title track City Of Decay (Boner/ Gwilym) written about the downfall of Detroit after the ‘Big 6’ car manufactures withdrew. Americana/ blues/rock King Of The Streets continues the guitar rock feel with a solid beat. Then the epic 11 minute long doubly reprised Blues Highway (Boner) (repeated with a 4.5 minute radio edit) and inspired loosely on the book by Richard Knight. A truly beautiful and timeless blues number written and performed exactly as you’d expect a contemporary blues track to sound like. It’s infused with sultry female vocals, both taking turns to lead and with some full-on guitar solos by Boner and Gwilym taking

centre stage at times and playing some real deep heartfelt blues. Boner also enthrals with his whammy bar led solo as it drifts back to the beautiful smooth bluesy female vocals. Next up its Midnight Rain (Boner/Graham) Mandie G on lead vocals here and reminiscent of early Stevie Nicks, again deep dark lyrics about lost love but it has plenty of sparkle and lush slide guitar accompaniment from Danny. Another tight arrangement with Mandie on lead vocals is Queen Of The Mountain, it’s a slide driven rocker. Turn Your Face Into The Wind (Boner/Gwilym) is more Americana and begins with acoustic guitar leading to an awesome electric guitar solo finish, again the female vocals are strong and beautiful on this one. It’s a real end of the night special.

know exactly what they're about and enjoy what they're doing. Black comes from the Texan end of the spectrum and plays some hot guitar while his partner on this outing, Larry Garner, is an accomplished sideman from Louisiana and brings a taste of the Deep South, crawfish-gumbo playing to the mix. Although this is the first time they have been paired together, these two old-hands work slickly and gloriously well together, jamming and gelling effortlessly on each of the dozen tracks on offer. The delightfully

'light' touch that is central to this album's success probably comes from the guys varied backgrounds and groundings; both are clearly comfortable with the old blues tradition given the way they easily interlace standard and traditional blues with hints of Americana and general roots-style music in this self-written release. While this exchange and interplay could all too easily cause problems, the sheer exuberant experience of Black and Garner ensure the whole project works wonderfully from beginning to end. This is positively

MAIRI MACLENNAN

an album to catch and a near-perfect pairing. IAIN PATIENCE

RED DIRT SKINNERS BEHIND THE WHEEL SIDEGOAT RECORDS

Husband and wife duo Rob and Sarah Skinner follow up their first four widelyacclaimed albums with another helping of their anglicised take on that subgenre of Americana known as Red Dirt. But despite having picked up gongs in both the British Blues Awards and the country and western counterpart - suck on that, Jake and Elwood! - their sound is not in the mainstream of either genre. It revolves instead around acoustic guitar balladry firmly in the singer-songwriter mould, augmented by jazz tinged soprano sax work. And if their marriage is only half as harmonious as their singing, this couple won’t be heading to the divorce courts anytime soon. No hard-bitten tales of whiskey and cheatin’, in either the blues or C&W mode, for these two. The Skinners are clearly a wholesome young couple who are very much in love with each other, thank you, as songs such The Other Half and Daybreak make abundantly clear. Thoughts of the Past, by contrast, details the heartache of an anonymous older single woman propping up the bar, but you almost get the feeling that they are planning to set her up with a nice bloke at their next dinner party. Ultimately, both the lyrical

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subject matter and the instrumentation on Behind the Wheel come across as predominantly on the sweet side. But there’s no denying the sheer craftsmanship that has gone into this CD, which is certain to enjoy both the popularity and the sales of its predecessors. DAVID OSLER

DEKE MCGEE ALL NIGHT LONG MDM MUSIC PRODUCTIONS

Well, this makes a change from a guitar led band, Deke is a seasoned sax player and despite having played for over thirty five years, this is his very first recording under his own name. Over the years he has played many of the great names and is best known as a reliable go to sideman and session player. But here we have an 11 track album of self-penned music that was written over a twelve year period, so you can't accuse Deke of rushing into things! I am looking back at my notes and have written Sounds like Bill Wyman’s Band and that isn't surprising as this a six piece with Hammond organ, and to top all that, Deke has played with the Rhythm Kings! (amongst many others) There are a couple of jazzy instrumentals on here and

my favourite track is track 3, called That's Love and it is a fabulous slow blues piece that I wanted to step and play along with. Nice drumming from David Stone who I have to say is no relation, I just like seeing my name in print! In fact all of the parts are impeccably played, with Daniel Meade on piano and organ giving some great fills, Lloyd Reid and Alan Brown on guitars and Richard Anderson double bass, giving that distinctive sound. Quite a short album, as none of the tracks come in over 5 minutes, but this is one that will stay on the CD player in my car for a while. DAVE STONE

RICKY WARWICK & THE FIGHTING HEARTS WHEN PATSY CLINE WAS CRAZY (AND GUY MITCHELL SANG THE BLUES)/ HEARTS ON TREES NUCLEAR BLAST

Two new albums in a double CD package from Belfast singer/songwriter/ guitarist Ricky Warwick (ex. New Model Army, The Almighty) whose day job in recent years has been fronting and touring worldwide with the reformed Irish rockers Thin Lizzy/Black Star Riders. The hard rock centred Patsy Cline CD opens with The Road To Damascus Street a muscular and furious rocker featuring thunderous, dense guitar and rough edged vocals the style of which reminded me of early blue collar Springsteen

songs. Celebrating Sinking features heavy riffing but also displays a more melodic upbeat feel with Warwick’s accent on the vocals lending a touch of Thin Lizzy to the sound. Title track When Patsy Cline … harks back to the good old days of childhood when Warwick would be allowed to stay up late at parties spinning discs by Dusty Springfield, Bobby Darin etc. as family and friends drank and danced. Other highlights on the first CD are the crunching Johnny Ringo’s Last Ride and the twin guitar attack of Son Of The Wind featuring Ginger Wildheart (Stiff Little Fingers) on guitar. The second album Hearts On Trees tells of the troubled Belfast streets where Warwick grew up and is largely acoustic although opening track Presbyterian Homesick Blues features searing slide guitar from Damon Johnson. The only cover here is Leon Payne’s dark tale Psycho which is thankfully followed by the uplifting title track Hearts On Trees a song of love and hope for the future. Jake Burns (Stiff Little Fingers) adds his vocals and guitar to the anthemic shout out of Schwaben Redoubt and Joe Elliott (Def Leppard) sings backing vocals on closing track 82 a gentle love song. Actually there are also five bonus tracks on this CD. Ricky Warwick has so much creativity that it needs two CD’s to contain all the fine and contrasting music on

these excellent albums. DAVE DRURY

RIFF RIDERS HIT THE ROAD POWERWAGGIN’ RECORDS

With a sound that is drenched in harmonica, moody guitar, and sassy female vocals that evoke just the right amount of Janis Joplin and Beth Hart, in Hit The Road, the five piece Riff Riders have hit upon the right ingredients. Lead by Amy Shallenberger on vocals, the music detailing is more than capably handled by guitarist Seth Smith, harmonica player Otis James, and the rhythmic shifts are placed by drummer Joe Caprara and Tony LaPaglia on bass. The twelve songs on the album are all original, and range in tone from the jaunty opener Hit The Road, to the broodingly atmospheric Trouble, which features one of those soaring guitar solos that Eric Clapton plays so effortlessly. A solid groove, cigar box guitar, and some fine sound effects feature in My 65, and slide guitar features very heavily during Rollin’. Although there is nothing startlingly original in these twelve grooves, the band have found a sound, and style that allows them to all show of their skills to their best advantage, from the haunting harmonica, to the solid guitar work, and tempestuous vocals, there is plenty on this album for any fans of the blues, and its associated genres to enjoy. BEN MACNAIR

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GREAT BRITISH

BLUES

IN TWO AMAZING KOMPILATIONS

FEATURING:

RED VINYL EFFECT PRESSING!

ZOE SCHWARZ & BLUE COMMOTION, DAVE THOMAS BAND ROADHOUSE, TOM GEE, SHARON COLGAN BAND, THE WHITE KNUCKLE BLUES BAND, RED BUTLER, THE IDLE HANDS, INNES SIBUN, ALEX McKOWN BAND, DOVE & BOWEEVIL, ROY METTE BAND, JACKSON SLOAN, PLANET GRAFITTI, LITTLE DEVILS, ABSOLUTION KAT & CO, JO BYWATER, SPLIT WHISKERS, JED THOMAS BAND, SAIICHI SUGIYAMA, THE MIGHTY BOSS CATS, DR. A’S RHYTHM & GROOVES, ROBIN ROBERTSON BLUES BAND, SPACE EAGLE, PAUL LAMB & CHAD STRENTZ, JACK J HUTCHINSON BAND FRAN MCGILLIVRAY BAND, ANDY TWYMAN, SHORTSTUFF, GWYN ASHTON THE BARE BONES BOOGIE BAND

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ROB HERON & TEA PAD ORCHESTRA SOMETHING BLUE TEA PAD RECORDINGS

Something Blue is something completely different. The title track which opens the album reminds the listener of a cold wet Parisian winter evening, with the main character huddling under a street lamp, smoking a gauloise, waiting for an unknown assignation. Django Reinhardt most certainly comes to mind with that distant but slightly tinny guitar sound. Rob Heron’s music is set somewhere in the past, and touches on many different genres. It appears he doesn’t mind how you describe it, the band are wholly immersed in the sound that they put out. Tea Pad originated as four friends at Newcastle University, studying folk and traditional music, but have over five years diversified and in that period released three albums, of which this is the third. Instruments featured across the five musicians include accordion, keyboards, mandolin, piano, tenor banjo and harmonica as well as the usual assortment. Very little here is the norm and a word I’ve never used before to describe music

is quirky. Throughout, they sound as if they are enjoying themselves and Rob certainly has good pipes, his voice extremely suitable to the music he writes. Still Go Honky Tonkin’ is a very danceable up-tempo song, happy in both melody and lyric and the percussion, played on drum rim or chair legs is excellent. Shades of Cajun music resound in Honest Man Blues with the accordion to the fore and in Leftovers, the country & western style receives a nod, complete with torn voice by Rob, the closest they get to a ballad here. Opening with a standard 12 bar guitar riff and blues harp, Hundreds Of Miles tears it up. Egos are non-existent in this recording, no solos because it is expected, no single player hogging the front place, just a bunch of players who seem happy to play. My favourite track is Flat Tonic Water, another visit to Paris and a seemingly autobiographic song relaying past events, better forgotten. Interesting release, but definitely one for the fringe. MERV OSBORNE

HARPER AND MIDWEST KIND SHOW YOUR LOVE BLUHARP

Singer and blues-harper (sorry) Peter D. Harper may be based in Michigan these days and using a local American band, and he may have been signed to Chicago’s Blind Pig label, but he is not about to let anyone forget that he

ALBERT CASTIGLIA BIG DOG RUF RECORDS

Following on from the highly acclaimed and award winning Solid Ground comes the sixth studio album from Albert Castiglia. This has eleven tracks of pure quality blues infused tracks. This was produced by Mike Zito at Dockside Studios Louisiana who also plays guitar and vocals on this recording also featuring part of his band The Wheel namely Scot Sutherland on bass guitar Rob Lee on drums and Lewis Stephens on keyboards a formidable cast it has to be said to bring raw energy and pace to a quality release. With the addition of other guest Johnny Sansone who blasts his harmonica tones to Where Did I Go Wrong and Where is actually Australian. The opener reveals this loud and clear – didgeridoo and aboriginal voices make for an attention grabbing introduction, before a cracking drumbeat and loud riffing blues-rock guitar continue this notable start to Hell Yeah – Harper’s vocals sound a little like John Lennon on this one. Nor is the didgeridoo just for a world music fad – he integrates it into several numbers, adding a distinctive flavour to the rhythm or a different instrumental break. Not that the blues harp is overlooked in any

The Devil Makes His Deals it just adds more fire power. First track Let The Big Dog Eat paves the way for superb guitar licks and heavy vocals. Don’t Let Them Fool Ya sounds steady rolling just right vibe and catchy tone. Get Your Ass In The Van for me is a highlight an upbeat rock number about life on the road working with a band this has a funny undertone. He funks it up on Easy Distance full of rhythm and sweet notes and his cover of Luther Allison’s Drowning At The Bottom just drips emotion and the narrative shines through added to blistering guitar work this is gorgeous. He keeps the best to last Somehow co-written by Cyril Neville is a tender ballad but lyrically packs a punch a theme throughout this excellent release buy it and play it loud. COLIN CAMPBELL

way – lend an ear to I Can’t Stand This, a blue collar slow blues lament about a factory shutting down, with impassioned vocals and an equally emotionladen harp break, or It’s All In The Game, a funk tinged pounder where the first instrumental break is taken by the harp, supported by the didgeridoo over a heavy mid-tempo beat. Harper’s songs – all eleven tracks here are originals – are distinctive and often catchy blues, avoiding blues clichés though rooted in a late 60s/early 70s style, occasionally with a tinge

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of Americana or rock, and his lyrics contain generally positive messages and/ or tend to come from a slightly alternative point of view. This is a fine release, recommended to all lovers of modern blues – but don’t expect a guitar fest, this is far more subtle than that. NORMAN DARWEN

IN LAYMAN TERMS TANGLED INDEPENDENT

Not heard of In Layman Terms, well this debut album will rectify this. Cole and Logan Layman, grew up music together and they have a maturity that flows through the album. Both are multi-instrumentalist, On Tangled they have divided the duties Cole on guitar and cigar box with Logan playing bass and vocals. Joining the duo on the album are Ron Lowder on drums and a plethora of additional instruments. To bring in changes of tones and textures they are joined over the nine tracks by a number of artists adding, keys, Harmonica and horns. Fake It Til I Make It opens the album and catches your music ears attention for all the right reasons. The album is a mix of originals and three covers, Don’t Even Try, Holly Montgomery with exceptional slide solos

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from Cole. Smokestack Lightning Chester Burnett, the familiar Howlin Wolf opening is there but the tempo has been changed and Logan’s vocals curl around the guitar with the sweetness of howls no menace here, bass is good and the simplicity of the riffs makes for an interesting in a good way interpretation of this classic. Closing out the album with Janis Joplin’s Move Over delivered with energy and Logan’s voice sounds very Joplin the re-working is minimal and leaves you up beat. Throughout the album the bass lines are solid and Logan’s vocals work each track so that they standout, Heartbroken the duo delivers grittty blues that has an authentic feel. Stand out track for me is Karma this is modern mash-up blues with a funky feel from drums and Cole’s Cigar Box guitar. Karma has a sense of purpose the rock power is there but never overwhelms the blues that the album is drenched in. This is a debut album that In Layman Terms, should ensure that In Laymans Terms are heard throughout the blues world. This is blues funky, bold and with the energy and enthusiasm of youth. An excellent debut album. LIZ AIKEN

THE BLUESBONES DOUBLE LIVE INDEPENDENT RELEASE

This is a double CD, totaling 105 minutes of music, 15 tracks, 4 over

the eight minute mark plus two more over twelve and it’s pure class all the way. The Bluesbones execute real blues in a way that lots of European bands seem to excel at. No pyrotechnics, no frills just a wonderful understanding of when less is more and an instinctive feel. The stars of the show are front man Nico De Cock and bright young guitarist Stef Paglia who I’ve been keeping an eye on since I heard him jamming with Eric Steckel a few years back. He is developing into a real talent and displays throughout this album real control and versatility over a number of blues styles. These two are ably supported by Edwin Risbourg on keys who excels in places, I love his intro to Wrong and playing on No Good For Me, and Geert Boeckx bass and Dominique Christens drums. Over the course of the album the band show its considerable chops Chicago blues, shuffles, Texas style, Hill Country and on three well chosen covers including a brilliant version of the early Fat Possum released Cedell Davies track She Got The Devil In Her, at 13 minutes the longest on here. That Hill Country vibe crops up on original Moonshine to great effect too. It’s hard to pick out highlights on an album as consistently good as this but mine are probably Voodoo Guitar and the outstanding I Try. If you love a little rock’n’roll we have that too with Cruisin’. You have to be brave to cover a track by the force

of nature that is Matt Andersen but the band pull that off with aplomb too, delivering a blistering version of Devil’s Bride. I think this album should take The Bluesbones into a higher level, go get a copy. STEVE YOURGLIVCH

THE DAVE MUSKETT ACOUSTIC BLUES BAND LIVE AT SLIPPERY NOODLE INN MUSKETT MUSIC MEDIA

Well as titles go you don’t get more descriptive than that one. Because, yes, this is Dave Muskett, the 2014 International Blues Challenge Semi-Finalist and 2015 IBC Finalist (with his duo Muskett & Carnes), recorded live at the Slippery Noodle Inn with his new acoustic blues band. So props for that literalism. And it’s quite nice to hear an acoustic take on the blues these days, what will all the emphasis on seventies styled electric guitar histrionics. If you’re looking for the obvious influences then I would point you towards Sonny Terry and Brownie McGhee, and the rhythm section of upright bass player Jay Arnold and Charlie Bushor on minimalist drums is a real treat. Mr Muskett is also joined by his duo partner Mark Carnes, who honks

REVIEWS | ALBUMS

a mean harmonica on some excellent songs like She Can’t Give Me The Blues. Muskett himself is a fine vocalist and guitarist, and the band all give the impression that they really enjoy what they’re doing. That’s something that translates well on numbers like Rain Song and Semi Naked Shoe Shine, and it’s safe to say that anyone with a hankering for the olden days of the blues will find a lot to enjoy here. STUART A HAMILTON

TOMAS DONCKER THE MESS WE MADE TRUE GROOVE RECORDS

Recorded as a musical reaction to the Day of the Charleston Massacre on June 17th, 2015, when nine black churchgoers were shot at Bible studies, The Mess We Made is very much a topical and political body of work that has little to do with the blues, but says so very much about life in modern day Southern States of the USA. But in many ways, unless the listener has knowledge of the events around which the subject is written, the work and its meaning have a tendency to fall short of the hoped-for outcomes. Doncker plays guitar, bass and keyboards as well as lead vocals on an album that skirts so many styles and influences. Opening with Some Ol’ Dolls, the song is a funky strut with some great husky vocal, complete with a smattering of ol’ Dixie played on banjo in the mid section and deals with the same old problem of racial equality.

With a fast tempo, almost at panic speed, Church Burning Down relates to the event in the morning when church goers died and in Revolution, Doncker sings about the failure of the equality revolution, rolling over to corporate sponsorship. Set to a K C and the Sunshine Band style funk with horn section, this is a very danceable song and the Beatles Revolution even gets a sample. In The Mess We Made, he is in reflective mood, trying to get his mind right and apologising for the way things have turned out. This is an extremely smooth ballad style song with lush horns behind the stuttering guitar, perhaps the low point of an interesting album for me. The style changes again for Don’t Let Go, Doncker on unaccompanied acoustic guitar in a Jack Johnson styled song, and then again a change to an Isaac Hayes Shaft styled song called Blood & Concrete, a song that could benefit from having a rapper perform it. Next up is U2’s Still Haven’t Found What I’m Looking For, a strange choice and the only cover on the album. His arrangement, very bluesy in feel certainly puts a different spin on the song, highlighting the aimless way in which society is currently drifting. An interesting and enjoyable album all told. MERV OSBORNE

VARIOUS: GOD DON’T NEVER CHANGE

THE SONGS OF BLIND WILLIE JOHNSON ALLIGATOR

When you get a batch of CDs to review you always sift through to see which one is the gem of the batch. I can report that this is the one. Blind Willie Johnson was a Texan who sounded like a Mississippian. It’s hazy, but he was probably born 1897 and died of pneumonia 1945 (some sources say 1947) after putting out a fire in his cabin then going to bed in his wet nightshirt. Johnson was a complete Man of God, you could almost say a religious fanatic, but whatever, his powerful living musical legacy has inspired bluesmen ever since. Here’s 11 of his terrific songs performed by various artists whose stature illustrate how important Johnson was. The Soul Of A Man, the opening track, is a perfect vehicle for Tom Waits, who growls his way through the words like a wild Baptist preacher, repeating the effect with the famous song John The Revelator. I was surprised to see Sinead O’Connor here with a stirring rendition of Trouble Will Soon Be Over. The high point is the Blind Boys of Alabama’s version of Mother’s Children Have A Hard time, with a fantastic slide guitar break by Jason Isbell. The title track God Don’t Ever Change, is performed by Lucinda Williams, with Dark Was The Night, Cold Was The Ground

is superbly handled by Rickie Lee Jones. When one realises how old these songs are, it can give a blues fan nothing but joy to know that these ten major acts can recognise their power in the 21st century. Beautifully packaged, with superb notes by Michael Corcoran and Jeffrey Gaskill, this is a CD to treasure. ROY BAINTON

NO SINNER OLD HABITS DIE HARD PROVOGUE RECORDS

No Sinner are a four piece band hailing from Vancouver Canada. Their first release Boo Hoo Hoo was much acclaimed and far different from this new release. The band’s name comes from the backwards spelling of lead singer Coleen Rennison’s surname very smart wording from a very talented songwriter and terrific band leader. Her vocals are sharp sometimes guttural yet tender when the band tones down the sound you can really feel her passion coming through. Again with any girl lead singer that belts out the lyrics people will compare them to Janis Joplin and Etta James. But this sound is a bit different and special and personal you can almost feel her honesty in

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her approach. First track All Woman sets the tone a big production number channelled by Ben Kaplan. This shows off the vocal range and capabilities of the lead singer and overlaps a grungy backing from a hard working band. On hearing the next track Leadfoot it just puts a smile on your face with the snarling harmonica tones mixing well with solid bass and phenomenal singing. Tryin’ is catchy also Saturday Night is pure rock and roll. The pace is brought down on the ballad Hollow a particular favourite. Overall the sound is blues rock at its best with edgy approaches and a slide guitar riff on the closing number Mandy Lyn making this one of the best releases of the year this band has a great future ahead. COLIN CAMPBELL

SEAN PINCHIN MONKEY BRAIN

Pinchin’s every bit as skilled and fiery as anything below the border. It’s also heartening to know that Canada’s government, with its Department of Heritage and Canada Music Fund actually financially supports musicians like Sean Pinchin. Could you imagine that happening in the UK? No, neither can I. This is a worthy follow-up to his much-praised 2013 release, Rustbucket, which saw him nominated as New Artist of the Year. The title track says much; ‘When life starts to get to me, my head starts to change; I give in to my monkey brain’. Well, talented though they are, I doubt many monkeys can play like this. There are interesting contrasts, such as Charity Case, and a kind of blues world weariness dominates the haunting Goin’ Hobo, with its almost cinematic soundtrack opening. This is a rich layer-cake of an album, relentless and insistent. If you’re going to play electric blues, these are elements worth developing, and Pinchin’s got them just right. ROY BAINTON

FACTOR CANADA

If you like your modern blues delivered with meaty, gritty fat guitar riffs, Sean Pinchin’s your man. Since 2009 he’s been playing 180 gigs a year and this experience certainly shows in his musical ability. Canada always comes across as a fine place for developing blues, and

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THE RIDES PIERCED ARROW PROVOGUE RECORDS

Another quality release from Provogue, The

Rides is little short of a supergroup, melded in the same traditions of its original late 1960s/70s counterparts. From the recognized blues-end of the spectrum comes multiple Grammynominated Kenny Wayne Shepherd. To provide gravitas and enormous experience - not to mention sales-pulling-power - we have Stephen Stills, a guy who, the older he gets, is always ready to experiment and push the musical fences aside in his quest for gripping musical adventures. Chicagobased keys sideman Barry Goldberg adds his rock-blues influence with absolute confidence, and, surprisingly to some extent, the entire thing works marvelously. Nine of the ten tracks are self-penned efforts from the band members themselves while the final cut features a compelling take on Willie Dixon's My Babe. Stills calls this trio, "the blues band of my dreams" and while on a personal note I reckon this might be a bit of an optimistic exaggeration there's no doubting the top-notch quality of the performances and delivery. Shepherd and Stills take centre-stage for much of the time with melodic mastery and surprisingly sound harmonic flourishes where their voices blend neatly, with occasional reminders of Stills famously revered earlier work with Crosby, Nash and Young. Shepherd's fretwork is at all times soaringly powerful and Stills is no slouch

with a guitar; Goldberg's keyboards pitch into the battle with tasteful touches and ripples. This is bound to be a well-deserved seller and guaranteed success. IAIN PATIENCE

DVDs JIMMY DAWKINS WEST SIDE CHICAGO BLUES BLUES ARCHIVE

Another release from Blues Archive, who as the name indicates are on a mission to record blues performances for posterity, but with the added bonus of interviews with the artists. In this case they have chosen Jimmy Dawkins, one of the greats of the Chicago sound, and this is an unusual recording as it is filmed at the Welsh R‘n’B Festival in Wrexham in July 2000. The filming is typical of previous Blues Archive recordings in that it seems to have been shot with available lighting, and as such is quite dark in places with very subdued colours. Furthermore the camera angles are off putting as the cameramen are obviously keeping low out of the audience’s way, and as such most shots are from below. This does have the advantage that for keen guitarists, you do get to see Jimmy's finger positions in a lot of the shots. The sound quality however is pretty good, although you don't catch much of the back chat of the band in between numbers, of which there are 11 tracks. It isn't clear

REVIEWS | BOOKS

who has written them, although some are familiar. At the end of the film, we get an edited interview with Jimmy where he speaks about the sound from the West Side, contrasting it with other music from the Delta and running through a list of his influences and others that he has played with. Personally I would have liked to have heard more of this interview as Jimmy talks about the lives of black people of his generation. It certainly left me wanting more. DAVE STONE

RHYTHM N' BAYOUS ROAD MAP TO LOUISANA MUSIC MVD VISUALS

This is an odd ball in that I don't quite know where it fits in the market? According to the opening frames, it was originally intended to be a documentary following the annual tour of The Rock n Roll Hall of Fame, and in fact the first couple of scenes are showing the tour cast getting together, performing with Frankie Ford and then they are all seen doing promo shots before all getting on the tour bus, and that is where that part of it ends! The rest of the film is a semi concert/documentary

following up different styles of Louisiana music. It then divides into three parts, part 1 is headed up Another Country and documents the different musicians from Northern Louisiana, I am afraid to say that I had never heard of any of the musicians that figured in this part, and that their respective performances were more on the line of sound checks and rehearsals than any proper concerts. Part 2 is sub headed Spirits In The Night and purports to be about the Musical styles found in New Orleans & Baton Rouge, and as you can imagine, this barely scratches the surface of such an eclectic town, that deserves at least a double DVD all its own! Finally we get to Part 3 called Music in the Air which is all about Southern Louisiana and similar comments apply. I can't see anyone going out to buy this for the musical content, it is more of an educational document that would serve well if anyone was studying Louisiana music for A levels. DAVE STONE

BOOKS THE GRAIL GUITAR THE SEARCH FOR JIMI HENDRIX’S ‘PURPLE HAZE’ TELECASTER BY CHRIS ADAMS ROWMAN AND LITTLEFIELD

The growth and the development of the internet is responsible for many things, and one of the benefits of the possibilities of the world wide web is

the existence of books like this, where something said over a 3rd hand telecaster can lead to the amount of detective work that would put a Raymond Chandler private eye to shame. If you add one of the most revered and iconic figures in rock history, to the mix, then there will be a lot of interest, from fans of the guitar, rock music, and the sixties and the seventies. In 1973, the author of this book bought a white telecaster from a music shop, with the seller telling the budding musician about the storied history of his newest acquisition. Now seen as being a country guitar, the telecaster has also featured on many more mainstream songs, from the rock and roll of the Rolling Stones, to Bruce Springsteen, to James Burton with Elvis, from Gram Parsons to Status Quo, even featuring as the main guitar on Mike Oldfield’s epoch changing Tubular Bells, but Hendrix is most closely associated with another one of Leo Fender’s inventions, the Stratocaster, so to find that one of the most iconic guitar riffs of all time was originally recorded on a different instrument is a surprise. Jimi Hendrix arrived in England in 1967, with a Fender Stratocaster that was ‘borrowed’ from Keith Richards of the Rolling Stones, and little else, but he soon, with the help of The Animal’s bassist Chas Chandler made something of a name for himself amongst

the movers and shakers of London, even stealing the limelight from Eric Clapton at one a Cream Concert, and went onto set up his own band, with the drummer Mitch Mitchell, and bassist Noel Redding. After a gig, where Hendrix’s main guitar was damaged, due to his showmanship, a new instrument was needed for the recording session of Purple Haze, so the Telecaster in question was borrowed from a friend, and with the help of an octave pedal, and some amplifiers, Purple Haze was recorded, over-night, whilst the trio had some time in the studio. The telecaster passed through the ranks of various bands, but due to the lack of record keeping by Hendrix’s management company, any number of guitars went missing, or where sold and never used, so there is no real way of knowing for sure, whether or not Chris Adams’s prized telecaster was the same instrument that played such an important part in rock music history, but the evidence points to a very strong case that it is. There is a lot to be said for this book, both as an historical record of the bands and musicians who worked with Hendrix, and the times in the 1960’s and 1970’s, and shedding light on some of the musicians and players that plied their trade in the shadows of one of the giants of rock music. BEN MACNAIR

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REVIEWS | FESTIVALS

SHOWTIME The BM! Round-up Of live blues

Guy Verlinde by Janet Patience TERRI' THOUARS BLUES FESTIVAL

THOUARS, FRANCE 30 TH MARCH - 3 RD APRIL 2016

One of the first blues festivals of the season in France, Terri' Thouars in the small town of Thouars in SW France, always manages to surprise. A small, intimate event spread across a few venues but majoring on the local town-centre theatre, it invariably pulls musical rabbits out of the hat with unexpected and at times unknown artists who seldom fail to impress. Every year a number of US blues players are booked together with a melange of French and European musicians. This year's surprise package was probably a pair

of aptly named Entertainment Crackers: Nate Nelson & Dan Sheffield - son of Atlantabluesman Bill Sheffield - were fiery, hi-octane and explosive at all times. With a footing in traditional blues and a southern heritage this pair produced explosive modern material, more Americana than blues - mostly written by Nelson - alongside top-quality lyrics and Byrd-like, harmonies backed by their own fretwork and a couple of France's finest sidemen, Abdell B. Bop Bouyousfi on double bass and Denis Agenet, fresh from the IBC in Memphis, on drums. This is an irresistible US duo with enormous stage-presence and a huge sense of humour. They were

simply excellent. From Belgium, Guy Verlinde and his band also turned in a cracking set of hienergy rock-blues that had the entire, packed hall on its feet. Spain was also well-represented this year with Barcelona harp player Victor Puertas and his new band The Mellow Tones. This was again a very fine outfit that had the place roaring for more, which Puertas happily provided, again and again, till virtually dragged from the stage to make way for another act. From Madrid, Quique Gomez and Italian guitarist Luca Gordiano also produced the goods with a set of sure-fired sensitivity and soulful blues that was largely based around the Chicago sound with some positively delightful, soulful, fretwork from Gordiano and strong harp and vocals from Gomez - a band that is not afraid to reach deep, slow it all down and ease it all forward when needed. Cyril Maguy, (half of French blues band Vicious Steel) a young, guy with a very fine, strong voice also turned in a number of powerful performances that went down particularly well. New Mexico, Mississippi Hill country-toting player, Cooper CW Ayon was in attendance for the second year running and had the crowds eating out of his hands, loving his music and his, understated at times, delivery. The whole festival was topped off by a mighty fine US picker who moved effortlessly between his

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elderly National Steel, Gibson semi-hollow electric and Fender Strat with determination, style and a clear grip of the tradition both blues ends of the spectrum and both sides of the MasonDixon Line: Richard Ray Farrell is one of those genuine 'travellin' men', who has been around and knows the music inside-out, from picking Piedmont style with slide thrown in for full measure to Chicago-ramped, Strat-fuelled numbers that also echoed and went down an absolute treat with the full-house crowd. His work on his 'secret weapon,' a huge, Paul Oscher-inspired electric harp, also highlighted his versatility and sheer, clear class. This is a guy to check out for sure, with a fair number of albums already available. All in all, another successful start to the French festival season. IAIN PATIENCE

FEEL THE BLUES 2

GRASSLOT WELFARE CLUB MARYPORT 16 TH APRIL 2016

Feel The Blues 2 had something for everyone. Acoustic and electric blues, jazz, heavy rock and everything in between. A fundraiser for the Alzheimer’s Society and demonstrate how music helps my partner Ann deal with Alzheimer’s. Musicians came from around Cumbria and elsewhere, Jon Amor from Wiltshire, Ash Wilson from Lincolnshire and Jamie Francis of Maryport but now residing in Cornwall. Secure Unit opened the event fresh from success at Bowness Blues. As in Bowness, Roz Sluman joined Dean Newton and the band on sax. They played jazz tinged Blues as well as songs like Moving On and Come Together. Eric Nock and Harrison Milner followed. Eric played

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Ash Wilson by Christine Moore banjo and harmonica. Songs by Robert Johnson and Donovan featured. Then Harrison, a week before his 13th birthday, played a selection on both acoustic and electric guitars. The session ended with Eric joining Harrison on Ring of Fire. Slagbank played a rather different style. Covering songs from Deep Purple, Budgie, Neil Young and Led Zeppelin amongst others. Stairway To Heaven concluded this set which Buzz Elliott called “a nice bit of blues”. Jon Amor played his first set backed as last year by The Bullfrogs. Juggernaut opened this set of classic songs. The energy, with Buzz Elliott as Jon’s guitar sparring partner,

can be summed in Jon’s words. “I’m peaking too soon” he said very early on! Jon mused about Maryport nightlife before Another Stitch In Your Party Dress. After a romp through more songs well known to the audience the set concluded with Jon promising to come back later. But not before ending with Zeppelin’s Rock and Roll. Vocals from Tony whilst Jon played guitar and enjoyed himself making rock expressions! Roz Sluman’s Big Shoes played a set of sax lead jazz. They were joined by Dean from Secure Unit on a few songs. It was great to see the two of them playing together again. Crow Dog played their

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Cockermouth blues, a mix of originals including Twenty Again and covers including Rory Gallagher’s Calling Card. They were joined by Jon and backed him on Lizard Like Me, In The Devils Back Yard and finished with a lively Bones from Jon’s Hoax days. We then had a very entertaining solo set by Jon. More songs for the Maryport crowd to sing along with including one the show’s highlights. A vocal walkabout by Jon from the stage to the bar at the back. “Shandy” Jon cried in shock after sampling a drink. Back on stage Jon was joined by Roz on sax for a show stopping Even After That. Another great set from Jon to whom I owe personal thanks for supporting Ann. The next highlight was provided by Ash Wilson, well known to Maryport from Sean Webster and The Deadlines. This was Ash’s first appearance as a solo artist. He was backed by a super group of Cumbrian musicians. Hoss Thompson (Thirteen Stars), Mark Coles (Paul Raymond Project and Slagbank) and Stephen Jackson (Heartbreak Remedy and AWOL) They had never played together before getting on stage that day. The set, originals from Ash’s forthcoming debut album and a selection of classics, was learnt over the internet! They opened with Green Manalishi which set the scene for Ash’s selection of originals and covers. One of the originals, Peace And Love, has what Mark calls a “funky groove”. Potential single perhaps. This was followed by another original, The Hitcher with Hoss contributing great guitar. An entertaining version of Going Down, was followed rapidly by two more originals Worlds Gone Crazy and Show Me Love. The

band obviously loving every minute of it they rattled through the set, underpinned on bass by Mark and drums by Stephen .Favourites, including Oh Well and Crosscut Saw followed. He closed with Whiskey Blues. A slow blues in G minor, written by Ash a few years ago when he had his “dusty blues band” The Melt. It was fitting that this full on debut performance by Ash should end with a song from his past, even more fitting that Jon and Roz joined in! A marvellous debut as a solo artist. Maryport born Jamie Francis, now a successful solo artist and played a short set including Death Letter by Son House and a traditional blues song Sail The Jordan. Great of Jamie to come from Cornwall. Next up was South Quay making their first appearance at Grasslot Club since winning Battle of The Bands in 2007. They opened the Maryport Blues Festival when Gary Moore headlined that year. This evening they played their stomping rock and blues led by Keri Farish’s amazing vocals. They were joined by Jamie, who was in an earlier line-up, and played Whipping Post, Little Wing and Every Time I Think Of You an original written by Keri and Jamie. A great set! The day ended with MamaSang and The Robot from Whitehaven. They played their mix of original and covers of heavy blues. Originals included Settle, The Govner and Shoot To Kill. Ash joined in for a couple of Hendrix classics and Neil Young’s Rocking In The Free World with Ryan Burns on vocals. A great song to close a great day. A total of £1200 was raised thanks to the musicians and audience who came to the event. Thanks are due to Mark

Singleton for comparing the event, Allan Hall and Dez Rumney for the sound as well as Dek Williamson for lighting including slides. The event was also supported by Blues Matters, Bowness Blues, Cockermouth Blues, Maryport Blues and Mighty Boof who run Whitehaven Blues and Rock Festival. Plans for Feel The Blues 3 in 2017 are underway. See you next year! GRAEME MCGRORY

GUINNESS BLUES ON THE BAY FESTIVAL

VARIOUS VENUES WARRENPOINT, CO. DOWN 25 TH - 30 TH MAY 2016

“At these gigs we get a chance to do stuff we don’t do that often,” announced Van Morrison chattily during his headlining Festival performance. That might explain why he had returned to Warrenpoint for the third consecutive year to play a venue that, by my estimate, holds fewer than 300 people and certainly his set included surprising choices like Billie Holiday’s Trav’lin’ Light and Cole Porter’s Miss Otis Regrets, both of which he sang beautifully. Backed by an immaculate five piece band Morrison sang his own Days Like This reflectively and there was a wonderful, gleeful version of Wild Night, about the adrenaline rush of a night on the town. Backing vocalist Dana Masters duetted persuasively with Morrison on the irresistible Whenever God Shines His Light although the simple-minded proselytizing on another Christian song, By His Grace, felt somewhat unengaging. John Lee Hooker’s Think Twice Before You Go, Sonny Boy Williamson’s Help Me and Them’s first two singles, Slim

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Crow Black Chicken by Trish Keogh-Hodgett Harpo’s Don’t Start Crying Now and Big Joe Williams’ Baby Please Don’t Go, which were played as a medley with Mose Allison’s Parchman Farm, showed how connected Morrison still is to his blues roots. On some of the blues songs, mind you, the band did perhaps seem a tad too restrained but Morrison’s singing was absolutely sublime throughout the entire gig and it is difficult to think of another British singer who comes close to his expressiveness and vocal technique. Generously, Morrison, a supporter of many Northern Irish charities, played his two Festival gigs as benefits for a local hospice. For feel, musicianship and sheer emotional intensity the Ronnie Greer Band have long been regarded as the best blues

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band in Northern Ireland. At his festival gig Greer’s guitar playing seemed at times to be wrenched from the depths of his soul on the likes of Robert Lockwood Jr.’s Take A Little Walk With Me while he sang Jimmy Rogers’ That’s All Right with marvellous sardonicism. Kyron Bourke’s keyboard playing was fascinatingly unpredictable and his singing recalled Tom Waits on a cleverly written and witty original about the vicissitudes of the music business. Fronting a power trio, American guitar slinger Shawn Jones, a former Waylon Jennings sideman, played with impressive technique and, at times, with brutal heaviness on a repertoire of original songs, including Natural Soul. But his set also included some effective slow blues playing and Lonesome Road, a rockabilly-flavoured

song, provided further variety. The Bluez Katz, led by harmonica player, singer and Festival organiser Ian Sands covered a satisfyingly wide range of blues, jazz and rock songs by the likes of Albert King, Herbie Hancock and Cream with aplomb. BB King’s Rock Me Baby was sung assertively by Sands while there was an unusual funky rearrangement of Muddy Waters’ Mannish Boy. The Chicago Blues Mob, fronted by singer-guitaristharmonica player Mike Connelly, blew in from the Windy City for the Festival and impressed with tight and cohesive ensemble playing on material such as Don Nix’s Goin’ Down and Bo Diddley’s Before You Accuse Me, which was sung effectively by drummer Glen Huey. It was no surprise that the Blackwood Blues Band featured

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several Rory Gallagher songs in their set because guitarist-singer Sam Davidson toured Europe for years with latter-day versions of Taste. Davidson’s hard rocking interplay with the excellent rhythm section of Lyn McMullan drums and Laurence Dugan bass was often sparkling on extended versions of Morning Sun and Catfish while, less predictably, there was a storming version of the Box Tops 1967 hit The Letter. Veteran Belfast blues guitarist Rab McCullough played, in 2001, on saxophone legend Dick Heckstall-Smith’s Blues And Beyond album. And so blown away was Heckstall-Smith by McCullough’s contribution that in a subsequent interview he declared that McCullough was an ‘astounding singer and guitar player …. ridiculously good, so good you die; he’s something else - a wild, wild guitar player.’ Certainly his performance in Warrenpoint, on acoustic guitar, alongside South African harmonica player Cuan Boake, was outstanding on Robert Johnson’s Walkin’ Blues, on which he played acerbic slide, on a lively interpretation of Jesse Fuller’s San Francisco Bay Blues, on a stylish version of the Band’s The Weight and elsewhere. Cork power trio Crow Black Chicken’s sound was badly unbalanced with the volume of Christy O’Hanlon’s vocals nearly slicing the top of my head off and rendering his lyrics unintelligible. A pity, for the band can be phenomenal performers in the right environment playing hard rock with real intensity and panache. Andy Whittaker’s well-drilled soul septet pushed all the right buttons with a repertoire that included sure-fire crowdpleasers such as Al Green’s Let’s Stay Together, Van Morrison’s

DUVEL BLUES FESTIVAL PUURS, BELGIUM 28 TH MAY 2016

minute due to Deivert suffering an illness that precluded travel. As a result, and as an unannounced, last-minute booking the Johnny Rawls Band turned up and blew the place apart with a stunning set based around Rawls' current release Tiger In A Cage. Rawls is a master singer-songwriter in the soul-blues arena and he worked the crowd with ease and class, filling the aisles with dancing, bopping, singing blues fans who clearly loved every minute. Stepping into the twin-set gap left by Deivert's absence came UK veteran acoustic bluesman Dave Peabody. Paired with German fiddler Regina Mudrich, Peabody had the unenviable task of following on from Rawls with his closing set of the evening. If anyone expected an anti-climax, they must have been pleasantly surprised. Peabody showed his sheer skill, professionalism and extraordinary encyclopedic knowledge of traditional blues with a wonderful set that never faltered or slipped. John Hurt, Frank Stokes, Robert Johnston and Charley Patton all tumbled from his assured fretwork and fine vocal delivery as he produced a simply excellent set against the odds, and almost literally had the huge crowd packed into the marquee-setting eating out of his bluesbound hand. In short this is a quality festival in a pleasant setting with some great music. Well worth discovering.

DUVEL BLUES FESTIVAL is an annual event, now in its 16th year, named after and sponsored by a Belgian beer of the same name. Held in the small town of Puurs, with good transport links to both Brussels and Antwerp, previous artists have included the likes of BB King, Johnny Winter, Eric Bibb, Guy Davis and homegrown talent, Guy Verlinde. This year featured the usual mix of US and European musicians with Alvin Youngblood Hart's Muscle Theory, a new outfit featuring Hart, normally an acoustic wizard from the USA, with an electric band. On this performance, Sadly, Hart might be best returning to his acoustic roots. His set was electrically-fuelled, loud and loose and totally underwhelming. Other guests included Louisiana's Larry Garner who was paired with top German acoustic picker Michael Van Merwyck and produced a set that hi-lighted the skills of both men to great effect and was a firm success. A strong contender for next year's Belgian European Blues Challenge entry, the Steven Troch Band opened the festival with a strong, powerful rock-blues set led by Troch on vocals and harp. Clearly a band to watch, Troch told me they'd only been together since the turn of the year, yet the four-piece outfit was tight, focused and full of confidence and style. US-Swede Bert Deivert and Copperhead Run were due to play but had to pull out at the last

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Did Ye Get Healed, on which sometime Morrison collaborator Linley Hamilton played a gorgeous trumpet solo, and Bo Diddley’s Before You Accuse Me which featured a raunchy sax solo from David Howell. Guitarist Jackie McAuley, a veteran of Them and one time

Lonnie Donegan MD, performed as a duo with Pier Luigi Cioci who expertly played keyboards, bass and violin. “It’s compulsory to play this at a blues festival,” quipped McAuley before Robert Johnson’s Crossroad Blues, on which he unleashed a sizzling solo and, still in poor Bob mode,

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he also performed authoritatively on Come On In My Kitchen and on a spooky version of If I Had Possession Over Judgement Day. Big Joe Williams’ Baby Please Dont Go, which McAuley performed in the mid-60s as a teenager with Them, was ingeniously rearranged. Guitarist Pat McManus has rock star charisma, making various cool shapes on stage, but backed up the showmanship with virtuosic playing on originals like the dazzling instrumental The Bolt and on Gary Moore’s Still Got The Blues, on which he showed his gift for lyrical playing. Throughout his tone was beautiful. But the perennial and, I fear, insoluble problem at festivals of bands playing in bars not designed for music and crowded with raucous drinkers unfortunately undermined several gigs. In a rare ‘solo’ gig Grainne Duffy guitarist Paul Sherry, for example, playing acoustic and accompanied by electric bass, showed exemplary instrumental skills but, sadly, stuck virtually out of sight in the corner of a tiny bar and with his vocals under-amplified he was outdecibelled by the hard-boozing Saturday night revellers. Unbelievably, elsewhere, the same fate even befell the Grainne Duffy band itself, later in the evening. The band are road-hardened and massively experienced and Duffy is a compelling front-woman but, despite the fact that they play at high volume, from a distance of about thirty feet I had trouble hearing them over the noise of the crowd. But that aside Blues On The Bay represents a colossal achievement for organiser Ian Sands for this year, the

eighteenth consecutive year the Festival has run, it comprised over one hundred performances – and incredibly, every gig, bar Van Morrison’s two, was free. Little wonder that the small town was thronged for the entire weekend. TREVOR HODGETT

FROME; BLUES, RHYTHM & ROCK FESTIVAL 8 TH MAY, 2016

This time last year, this event was taking place in Westlands Social Club in Yeovil. Due to the closure of that fine venue, Steve Stanley, the promoter, was forced to seek an alternative site and moved the Festival to the Cheese & Grain in Frome. So it was that on an extremely hot and beautiful Sunday, blues & R’n’B fans found themselves closed into what was once a cattle market. Opening act was the Luke Doherty Band, and with Luke standing to the far side of the stage, it falls to the other band members to engage with the audience. Simon Parratt on drums is not short of comments to the crowd whilst Paul Morgan, vocals and harmonica and Ant Biggs on bass are both larger than life characters who provide the visual side of the act. All of the members can play some and there is great interplay between Luke’s guitar and Paul’s harp on many occasions. They are very much a “rocking” band who seem to prefer the up-tempo styles, such as in Hope Some Rain Will Come. Luke also takes to the slide on Fantasy Girl, proving just what a great player he is. He tips a nod to an influence in their own version of All Along The Watchtower, always a favourite when played. Paul has a very good voice and plays some very mean harmonica at times. The smoke generator had ideas of its own during their set, working overtime, creating an atmosphere

where everyone began to disappear as visibility was affected. Luke favours a wide brimmed Stevie Ray styled hat, his trademark, and sadly seems to hide beneath the rim, never really making eye contact with the crowd or seemingly noticing them. Sad really, because if he can break through that veil of shyness, he has all the quality to go far. Next band on are the complete opposite to shyness. Red Butler go for it from the start, tipping a wink to Led Zeppelin before Jane Pearce, vocalist, hits the stage in a pair of leggings that at best could be described as a black and white insult to the Union Flag. Jane is very outgoing and commands the stage with movements and facial expressions that may seem more at home at a Heavy Metal gig. Danger Zone from the Freedom Bound album is an infectious song with a catchy beat and is symptomatic of what this band does best, tear it up. They can also handle the slower songs well, as with Belly Of The Blues, or the song they played when representing the UK in the European Blues Challenge, Last Page Of The Blues, a rock ballad at its outset, but which then builds to an instrumental before the vocals pull it back into a blues again. They also give a mean slowed-down version of Johnny Kidds Shaking All Over. This band has two strong musicians out front. Mike Topp is a superb and powerful bass player with their real forte being Alex Butler, an extremely expressive and emotive guitarist. His sheer enthusiasm is a joy to watch and he even demonstrated his skills on a 4 string cigar-box guitar, making that sing beautifully. The closer, Show Me The Money turned out to be the best song of the set, with Jane and Alex going

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Ian Siegal and his band by Larry Pryce for a prolonged walkabout through the crowd. For me, Jane is somewhat overpowering, but thankfully we are all different and Red Butler went down well, earning a standing ovation for their set. Albany Down hit the stage unannounced and their set was sheer magic to me. I love how Paul Muir always comes across on vocals in a very clear way. I never have a problem understanding him either when singing or talking. Paul Turley on guitar is also a force to be reckoned with. Opening with two very up-tempo numbers they then slowed things with a slow blues entitled You Ain’t Coming Home where Turley stretched out on his solo, matched constantly by Billy Dedman on bass and Donna Peters on drums, a powerhouse of playing. They played a number of new songs from the forthcoming album with A Man Like Me, a song about feeling inadequate when with your loved one, standing out. Albany Down songs seem to be very accessible, with the listener feeling part of

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the song very quickly. They interact well with their crowd and the music doesn’t alienate, you can almost sing along without knowing the song. Turley played slide on South Of The City and then they finished with the hard rocker Revolution. All four members working flat out and Turley’s solo absolutely blinding. A great set with standing ovation again. Now was the spot where Virgil And The Accelerators were billed, but their current position meant that a stand in had to be found. Zoe Schwarz Blue Commotion filled the void. Zoe is a gentle lady with a very powerful voice and is accompanied by three extremely gifted musicians. Pete Whittaker on keyboards and bassline duties, Rob Koral on guitar and for only his second gig, Mike Hellier on drums. Zoe is a relative newcomer to the blues world, having gathered experience from the jazz fraternity. She possesses a truly fine voice, with an outstanding clarity of diction when singing, and is able to

express her emotion through her instrument. Likewise her partner, Rob has a fine pedigree through both the blues and jazz worlds, and at times, the prowess and master play of all musicians was staggering, but there was a degree of detachment between artist and audience. I feel this was possibly because of their position on the bill, following on after three in-your-face styled acts, Zoe’s more balanced and gentler approach seemed out of synch. More than once, I could hear Nina Simone in her voice and phrasing, none more so than when they played Anthony Newley’s Feeling Good, a song made famous by Miss Simone herself. Those influences were also apparent on Angel Of Mercy, a song that starts off gently, but builds to a crescendo before reverting to a gentle song again. Zoe’s spot was pleasant without hitting any real high marks. Next up was the heaviest hitting band of the afternoon, Corky Laing, ex of Mountain and playing the music of that band. Corky sits

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behind his drum kit, front of stage to the right side, just where everyone can see this showman at work. He is a larger than life character behind the kit although off stage he is a much smaller, almost unrecognisable character. The band mirror Mountain as a trio, with New Yorker Joe Venti on bass and Brit guitarist Phil Baker picking up the work of Leslie West, a job he carries off extremely well. They worked through a catalogue of Mountain’s most well known songs, such as Long Red, Mississippi Queen, Theme For An Imaginary Western and Sitting On A Rainbow. The most interesting aspect for me here were the tales that Corky told us about each song and his memories of that period. The story of Nantucket Sleighride was particularly intriguing being a tale of whaling and the subsequent ride in the row boat once a whale had been speared, with many boats failing to return. In reality the song was a tribute to those rock musicians who had chased the big time, only to fail and wither, never making it back In fact there is a degree of comedy surrounding both his tales and drumming, something I enjoyed greatly. The highlight of his set was a unique rendition of Dylan’s Like A Rolling Stone. Played solo on drums, singing all the while, this was a truly different way of presenting a drum solo. Closing the day’s proceedings was another artist who had made a name in the 70’s. Martin Turner, ex of Wishbone Ash, opened his set with a number of songs that have become Wishbone classics over the years. The King Will Come, Blind Eye, Warrior, Throw Down The Sword to name but a few. They didn’t rely solely on the work of the Ash, playing tunes

from their own repertoire, including the album to be released shortly. Martin, dressed in what can only be described as “far out pyjama gear” even had the balls to call the music “Zimmer Rock”. In fairness, he has surrounded himself with quality musicians. Danny Wilson and Serbian Misha Nikolic carry out guitar duties without fault. They play the harmonies and dual guitar work beautifully and on drums was Tim Brown, a player who certainly makes his presence felt. Vocally, the band also displayed good harmony between three of the four members, Martin singing the majority of the set’s songs. Blowing Free closed the set, reminding me of the pleasure I got back in the 70’s following the Ash. The band managed a couple of encores before leaving the stage. They were certainly the strongest of the bands on the day and thankfully one of their road crew took on the sound duties, making sure their sound was clear and correctly mixed, unlike the other bands where the sound suffered from a poor mix. Overall a success with something for everyone, and we must all thank Steve Stanley for bringing the event to Frome when Yeovil closed. Long may he continue. MERV OSBORNE

NEVIS BLUES FESTIVALBLUES ON THE BEACH

NEVIS ISLAND - OUALIE BAY 14TH - 16 TH APRIL 2016

A good way to handle the blues is to leave them behind, to paraphrase the words of the song by The Allman Brothers, “Leave My Blues At Home”, or even better still, go and enjoy a bit of live in a great setting; and what better location could there be to hear the blues played and sung, but over in the tropical paradise

that is the island of Nevis. Famous for their healthy quotas of sunshine, sweeping panoramic views, warm seas and sandy beaches, festivals too play a big part of Caribbean life, with many well-known international events taking place over the summer season. Whilst the area has long been recognised for its music festivals, often featuring big international names from the worlds of, not so well known are the smaller, more intimate blues affairs. The beautiful island of Nevis, the smallest of the Caribbean’s Leeward Islands and little sister to St Kitts across the water, is home to the latest blues festival in the region, embracing the genre for the second year in succession. A chance meeting in London between old school friends, local hotelier and property developer John Yearwood and British record label and artist manager Richard Pavitt, both passionate live music devotees, became the catalyst for Blues On The Beach, as the Nevis Blues Festival became known as. Situated on one of the finest beaches on the island, in the open air locale of Oualie Bay, just along the sands from John Yearwood’s Oualie Bay Resort, the festival took place over three days between the 14th and the 16th of April. With an international mix of artists from the UK, the USA and Europe, the music covered a variety of blues styles, including gospel, soul and blues rock, with each night proving an unqualified success as the event’s energy grew show by show. In true blues tradition, the first night saw the rehabilitation band Impression, made up of young offenders from the music education program in St Kitts prison, warm up the enthusiastic audience of locals

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and visitors before the Rhythm Chiefs from Amsterdam shook the stage with their rocking brand of blues, highlighted by the impressive guitar work of Dusty Ciggaar. Jules and Lorna Fothergill’s band, Northsyde from the UK, ramped up the action even further, with a blazing set of funky blues numbers including the Allman Brothers I’m Not Crying, Taj Mahal’s Statesboro’ Blues and a great version of Stevie Wonder’s Higher Ground. USA bluesman and ex-Thunderbirds guitarist Kirk Fletcher brought the Thursday night to a close, as he stormed the blues barricades with his soulful vocals and groove drenched guitar playing. Local band, Steel On Fire sent their steel pan melodies swirling into the tropical skies before Denise Gordon and her musical director, guitarist Denny Illet took to the Sundowner Stage with an exhilarating set of gospel tinged blues. Then Belfast boy Simon McBride, regarded by some as heir apparent to the late Gary Moore, raised the tempo with his special brand of guitar rock-blues before Friday night’s headliner, the eight-times British award winning bluesman Ian Siegal appeared with his band, those marvellous Rhythm Chiefs. Arguably the high point on a night of several other musical triumphs, Siegal swaggered through a breath-taking array of numbers, commandeering the stage like some latter day blues buccaneer of the Caribbean. Originals such as I Am The Train and Mortal Coil Shuff le, all vied together with a soulful interpretation of Bob Dylan’s Baby Let Me Follow You Down to get the crowd in full dancing mode. This was a blues festival and a fine one at that, but it was the face of the blues letting its

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hair down and having a lot of fun, as Ian Siegal was quick to point out; “A fantastically varied mix of music all coming together under the banner of the blues. The highlight for me was the positive energy created by the musicians collaborating, many for the first time …… we never stopped smiling on stage and laughing off stage!” The last day brought more perfect weather, more marvellous music and an even bigger attendance as another balmy tropical night settled in on the palm fringed island of Nevis. Despite being somewhat of a niche festival, or rather probably because of it, ‘Blues On The Beach’, embraced a wonderfully exclusive atmosphere that is sometimes missing in the region’s bigger events. There was a growing buzz of excitement around the open air bars and food stalls as first Lorna and Jules Fothergill and then Denise Gordon weaved their musical magic to their ever more enthusiastic audience before the evening finished on not one, but two, very special highlights. The first of these, under the headline, ‘Celebrating The Electric Guitar’, proved to be an inspired guitar summit featuring Simon Mcbride, Kirk Fletcher, Denny Illet, Dusty Ciggaar and Jules Fothergill who together delivered a hugely rocking set of blues with each of the guitarists taking it in turns to deliver some blistering lead work. As Jules Fothergill observed; “Everyone was cooking …. I really dug the fact that everyone was playing a different guitar, Strat, Les Paul, Tele, Semi-hollow, PRS, all with their own style and identity. These things can get a bit indulgent and OTT but everyone was very gracious and respectful of each other and I think it helped that we all

enjoyed each other’s company.” The ultimate high spot of both the evening and the festival brought a different sort of climax, with two of the festivals undoubted stars, Denise Gordon and Lorna Fothergill fronting a unique soul and gospel tinged showcase, “The Ladies Entertain”. Their band was joined by an eightpiece choir from NEPAC, the Nevis Performing Arts Centre, as Denise and Lorna gave a soul-scorching performance on numbers such as Wade In The Water, People Get Ready and Signed Sealed Delivered, which had the audience calling for encores after encore. Although long since based in the UK when she is not touring globally, singer songwriter Denise Gordon’s family comes from the region and as Nevisian Denise points out, “Once you have discovered the island you will find that it is easy to keep a little bit of Nevis in your heart forever. I could not be more proud of my island, the people and the indelible print left on all who visit”. For organiser Richard Pavitt, the last night was definitely the best night for him as he had a strong hand in programming both the guitar summit and the gospel showcase. “Up to that point it was bands doing their own thing and very well, but the last two shows of the final night were things I had personally conceived as special collaborations between all the various people involved, which could always have been a train wreck or could be brilliant, but of course it all worked, brilliantly.” A fine end then to a fine festival set on one of the most unspoilt and relaxing places in the Caribbean, Blues On The Beach must surely rank

REVIEWS | CONCERTS

as one of the most atmospheric music events on the planet …… blues in paradise indeed! LARRY PRYCE, WRITER, BROADCASTER & MUSICOLOGIST

CONCERTS WOODY MANN

GALA THEATRE & STUDIO, DURHAM 28 TH MAY 2016

Before the gig, we watched "The Harlem Street Singer", The Reverend Gary Davis Story, which Woody co-produced. The film has garnered quite a lot of film festival awards, and concentrates mainly upon Davis's time in New York City. Woody appears in the film, and several musicians are interviewed, including Bob Weir, Dave Bromberg, Stefan Grossman, John Hammond, and Happy Traum. The story tells of the Reverend's very humble beginnings, through his resilience of being a street singer on the harsh Harlem streets, to eventual management and recognised master of guitar, and to go-to teacher. Before the end, the DVD disc skipped a few times, then eventually seized on a single frame, but thankfully the film was almost finished. The movie was started again from the beginning, and the small audience waited patiently for the previously shown sections to be skipped over, but it wasn't happening, so we went upstairs early to the studio concert room. The first time I saw Woody Mann live was at the Burnley Blues festival on the acoustic stage. I remember being disappointed, for I expected less reverence and more of a lowdown and dirty, gritty performance. I was to find that is not Woody's approach. You are not going to holler at a Woody Mann concert. In fact,

Big Boy Bloater by Gemma Hall BIG BOY BLOATER 100 CLUB, LONDON 15 TH MAY 2016

If ever a bluesman lived up to a consciously self-deprecating stage name, it’s Big Boy Bloater. Unskinny and tall to boot, he physically swamps his soupedup Japanese Stratocaster, his not inconsiderable size majorly boosting his not inconsiderable stage presence. A natural live performer, it’s no surprise to see him gaining popularity on the circuit. Together with his band The Limits - Matt Cowley on drums, Steven Oates on bass and Dan Edwards on keys - BBB brought a bigger and younger crowd than blues outfits usually muster at this venerable London venue. Most of the evening’s songs were drawn from Luxury Hobo Blues, his latest album, supplemented with a handful of older favourites. The set opens with I Love You (But I Can’t Stand Your Friends), a cheeky boogie rocker dedicated

it is far more akin to a recital, from his quiet manner to his skilful, polished sound and delivery. Woody, like Gary Davis, improvises on guitar. In fact, Woody has been playing jazz

to dissing the missus’s mates, a strategy most guys will recognise as potentially entering a world of pain. Then there’s Robot Girlfriend, a cautionary tale of what happens when shacking up with an android goes horribly wrong. Other highlights include The Devil’s Tail, driven by an insistent stop/start slide riff that stands in lineal descent from Robert Johnson’s Stop Breakin’ Down Blues. All Things Considered is a tasteful excursion into Memphis soul territory, as Bloater gets his inner Otis Redding on. Drinking songs are also close to Bloater’s heart. Messing with the Booze is based around the familiar Green Onions organ riff, while Sweet and Brown celebrates a popular brand of spiced rum. The encore, Not Cool Man, tells what happens when you go one minute over stipulated set length while opening for George Thorogood. In short, this dude is great entertainment value. Catch him if you can. DAVID J OSLER

for most of the last two decades, before this rootsy tour. Quite a few tunes were medleys of at least two songs together, where the likes of Tommy Johnson rolled into Robert Johnson. About half

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the concert featured the work of Reverend Gary Davis, often leaping out of one of his tunes into another. We even enjoyed an Italian folk song, as well. It was a seemingly effortless performance by a man who has painstakingly learned his craft until it has become as natural to him as riding a bike. BILLY HUTCHINSON

PETE OXLEY/ NICHOLAS MEIER

LICHFIELD GUILDHALL 27 TH FEBRUARY 2016

With a stage liberally festooned with guitars, effects pedals, and amplifiers the guitar duo of Pete Oxley and Nicholas Meier gave a masterclass in inventive musicianship when they played at the Guildhall, as part of their tour to promote their latest release, Chasing Tales. The duo are well known within certain circles, for their pastoral guitar instrumentals, that move between genres and continents, blending Arabic, and Turkish strains with more mainstream folk, rock and jazz based influences. Their long form instrumentals allowed for the development of moods, and sounds, with careful use of live looping adding to the mix, which always put musicianship and lyricism ahead of pure technique, which the two have in abundance. The first half of the concert featured six pieces, whilst the second half was of five, showing the length of the pieces, and gave the concert more of a feel of a recital, with the audience being both comforted, and surprised by the sounds that the two could produce from their many instruments. The opening The Followers was a duet for jazz guitar and 12 string acoustic, with some exciting unison playing as the

The Sleaze Brothers by Dave Jones song developed, whilst the more spirited Looking West was a fine duet for Nylon String guitars. Looping pedals were used to build up the sound, and the sense of menace in Chasing Kites, that moved through a number of time signatures, before a coda of pure exhilaration finished the song, whilst Riversides featured Nicholas Meier’s Glissenter, an 11 string, fretless guitar which has a sonorous colour that sounds more like a Oud, and allowed for some interesting note choices to be made, against the backdrop of Pete Oxley’s 12 string electric guitar, whilst a rare cover featured, when they played their own arrangement of Pat Metheny’s Travels. The closing piece, Compass Points was another long form piece, which allowed for interesting backing and chords behind an incisive melody. The second half featured some older material, and a brand new piece that received its world premiere. Flight Of Fancy came from the pair’s first album, whilst the broodingly menacing In Restless Repose was a

showcase for Meier’s fretless guitar, whilst the set finished with an adaptation of Chick Corea’s Spain, moving the pianist masterly composition to guitar. An encore of a jazz duet, which blended an ambient backing with some fine soloing from both players showed the direction that the duo might go in, and was a fine way to finish a concert that fitted in so many moods, played with so many strings. BEN MACNAIR

SLEAZE BROTHERS/UKE 2 LICHFIELD GUILDHALL 9 TH APRIL 2016

Music fans enjoyed a smorgasbord of sound when two ensembles of completely different types of music played at Lichfield Guildhall. The duo Uke 2 providing a stark contrast to the good time party sounds of local favourites The Sleaze Brothers. Uke2 a duo of Barry Shaw and Matthew Leak played a set of covers, ranging from blues, country and rock songs. Elvis, Eddie Cochran and the Clash all featured, but the highlight of the set, musically, was their

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Ruthie Foster by Riccardo Piccirillo version of the Beatles Norwegian Wood, which went past the three chord excursions of the rest of the set. The Ukulele is a proper instrument, but too often it is seen as a novelty, or an easy instrument to learn, and this song pushed the duo past so many other acts that do the same thing. The Sleaze Brothers are one of those reliable bands that offer a good time out, so they don’t play eight minute solos that go through all of the time signatures, change key with each verse, or have a three week coda, but they do what they do very well. Songs from the established blues, soul, funk and rock repertoire were the order of the day, and with a full band of two guitars, bass, drums, keyboards, backing vocals, and saxophone they provided a solid, and full background to the spirited singing of Martin Derry. Bob Dylan’s Watching the River Flow received a far faster treatment than it normally gets, whilst JJ Cale’s Cocaine was an effective showcase for the guitar playing of Tim Perks, as was Seasick Steve’s I Started Out With Nothin, and I’ve still got most of it left.

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Soul classics, such as Midnight Hour, Knock on Wood, Mustang Sally, were mixed well with blues rock standards such as Old Time Rock and Roll, and Gimme Some Lovin’, whilst Heatwave, a new addition to the set showed the group’s ensemble playing to good effect. BEN MACNAIR

RUTHIE FOSTER

DE KOLLEBLOEM PUURS (BE) 3 RD APRIL 2016

I remember being impressed by her gig with Pat Boyack at the Blues Passions festival in Cognac, France, many years ago, but tonight I witnessed a true five-star performance by American singer-songwriter & soul-blues singer & gospel ace Ruthie Foster her laid-back, melodic and subtle rhythm section consisting of Larry Fulcher five-string bass and Samantha Banks drums, percussion. Without any of the studio extras such as horns, keys and choirs, Ruthie Foster had the audience in her pocket within minutes. And all she used was her magnificent voice and authentic personality. She first offered an amazing blend of her own material (e.g. Singing The

Blues, an ode to all her soulblues heroes), Sister Rosetta Tharpe’s gospel Up Above My Head and – nice surprise – one of those gentle Mississippi John Hurt tunes. This Texan Girl as she sometimes refers to herself, went on to display all aspects of traditional black American music, culminating in a moving version of Son House’s Grinnin’ In Your Face, delivered acapella and with her whole body twisting and shaking. ‘Culminating’ isn’t the appropriate term, as this was about half-way the show! Ruthie Foster simply continued in that vein, though alternating with a short set showing her singer-songwriter talent and her nose for a song with built-in soul – regardless of its origin. She gave us an entirely reworked version of Johnny Cash’s Ring Of Fire and a beautiful rendition of Lucinda Williams’ Fruits Of My Labour. The show ended up-tempo, but now it was the band’s turn to be stunned by the receptive audience who called her back for more. Among several requests, the trio chose Travellin’ Shoes, but the audience wouldn’t accept that as the end of the show either. Ruthie Foster had to give in again (we imagine with pleasure) and sent us home with a second encore and the message of The Ghetto. With a sold-out venue and three standing ovations, Foster’s first-ever appearance in Belgium was a well-deserved success. Opening act was Tiny Legs Tim, who represented Belgium at this year’s European Blues Challenge in Italy. He performed as a one-man band, stomp box and all, doing what he does best: sing his brand of rural blues accompanied by creative slide guitar. Apart from his own compositions (Steppin’ Up, Big City Blues), we were also treated

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to a cover of Son House’s Death Letter. A most compact, but lovely set introducing the true blues that Ruthie Foster would further develop that evening. EDDY BONTE

RONNIE GREER BLUES BAND CRESCENT ARTS CENTRE, BELFAST 8 TH APRIL 2016

In an era when blues can seem at times to be merely a style of rock guitar how refreshing it is to experience the Ronnie Greer Blues Band for the band play with a musical sophistication and a blues feel that are exceptional. And here’s the magic: notwithstanding their subtlety they also somehow manage to pack more visceral excitement and more emotional power into their playing than any of the hordes of heavy rockers masquerading as blues bands who play at soul-crushing volume in pubs and clubs in every town and village the length

and breadth of the kingdom. Northern Ireland’s greatest blues band for many a long year, their versatility at this sold out concert was remarkable. Lowell Fulson’s Reconsider Baby was ingeniously topped and tailed by the lick from Jimmy Smith’s Back To The Chicken Shack, Lightnin’ Hopkins’ Stranger Blues featured a guitar solo of startling viciousness from Greer, John Hiatt’s Feels Like Rain was sung intimately and with great persuasiveness by co-lead guitarist Anthony Toner and Pete Johnson’s Roll ‘Em Pete was a marvellous showcase for keyboard player John McCullough who played ebulliently and with great technique on it. Peerless as the soloing was from Greer, Toner and McCullough, as important to the band is the rhythm section of bassist Alan Hunter and drummer Colm Fitzpatrick (“Partners in crime,” announced

Greer although calling them “Partners in time” might have been more apt) who played with a lightness of touch and sense of swing rare on the modern scene. The band showed their prowess as Chicago blues players on Jimmy Rogers’ That’s All Right, sung mordantly by Greer, and a roaring interpretation of Ray Sharpe’s Linda Lu (“Not Vindaloo,” advised Greer helpfully) while a version of BB King’s Sweet Little Angel showed they could play a slow blues with aplomb. Greer prefaced A.C. Reed’s She’s Fine with an apology for its sexist lyrics. His venomous solo was irresistible but the song’s concluding line – ‘I love that woman just like a dog’ – certainly justified the apology and saw some in the audience wincing. Many of the songs played are on Greer’s recent CD, A Lifetime With The Blues. To entice punters to purchase the album from the merchandising

Ronnie Greer Blues Band by Trevor Hodgett

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stall he announced a unique special offer: “Buy one – get one.” How could anyone resist? TREVOR HODGETT

Alan Nimmo by Christine Moore KING KING AND DAN PATLANSKY GLASGOW O2 ABC 14TH MAY 2016

Glasgow’s famous ABC venue played host tonight to two of the best and busiest blues outfits on the scene today. King King currently on their Reach For The Light Tour and fronted by local kilt swinging and captivating Glaswegian Alan Nimmo. Opening the evening was special guest, South African born Dan Patlansky who has also been shaking up the blues scene on his current tour. Patlansky, described as a “South African guitar virtuoso”, has recently toured with Joe Satriani and has been ranked #4 in the 10 Best Rock Guitarists in the World. Clutching a road-worn Fender Telecaster and backed by his tremendous 3 piece band of drums, bass and keys, Patlansky began slowly with tracks such

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as Drone and Sonova Faith. Followed by funky sounding Stop The Messin’ which is a co-write between Patlansky and bassist Falconer; a message to a woman to let loose in the bedroom. Then there was the slow bluesy number Loosen Up Your Grip which Patlansky played an amazing solo on, followed by Fetch Your Spade a heavy rock number. Track by track Patlansky held the audience’s attention building them up and then completely blowing them away with his explosive guitar playing. Still Wanna Be Your Man was up next, followed by Backbite and more string pulling and bending, his band, incredibly tight, each member playing his part with gusto and absolutely perfection. The set finished with My Chana and a mind blowing, rarely seen, guitar solo which can only be compared in showmanship to Jimi Hendrix, with much finger taping and all the magic tricks one would expect from a virtuoso. Alan Nimmo then swaggered onto stage in his signature red kilt with band King King to rapturous applause. King King were reportedly concerned as to whether they would fill the ‘big’ room but by the time they stepped on stage the place was rammed, when Nimmo appeared his presence and beaming smile instantly filled the room. Their set was full of bouncy, feel-good blues tunes with a few tender ballads thrown in, showing of Nimmo’s exceptional vocals. The band were epic with an extremely tight rhythm section provided by bassist Lindsay Coulson and drummer Wayne Proctor with genius keyboard playing from Dutchman Bob Fridzema; Alan Nimmo himself playing blinding solos, full of deep-felt meaning and passion. Recorded for a live album and a childhood dream

come true this was an exceptional night ending with a resounding encore to Let Love In with everyone standing and singing in unison. Both acts tonight have released spectacular albums this year and the queue for signatures and photos was immense! Arenas next! MAIRI MACLENNAN

PAUL COX - WE REMEMBER JOE COCKER BOOM BOOM CLUB, SUTTON 20 TH MAY 2016

Had Joe Cocker not died two years ago he would have been 72 years old on this day, but he left a musical legacy that Paul Cox remembered tonight. Paul Cox, who has a vocal style which is aptly suited to Joe’s catalogue and this evening he paid homage to a 50 year career of the great man. The task of collating the songs of which Joe made famous must have been a daunting task, but Paul managed it in spades. Joe Cocker always had a great ear for a tune and Paul kicked off with Leon Russell’s Delta Lady, Randy Newman’s Sail Away, the classics Don’t Let Me Be Misunderstood and Bye Bye Blackbird - all from the Organic period. Cocker always surrounded himself with top class musicians who at times included Billy Preston, Chris Stainton on keyboards as well as Dean Parks on guitar. Paul has the magnificent Roger Cotton and Dave Moore, whilst on guitar he had the intuitive Mike Summerland whose presence was felt throughout the gig, and Dave Neil on drums. The backing vocals from his suave bass player, Nigel Hardy, were always evident. His rendition of John Sebastian’s Be Home Soon and Stevie Winwood’s Can’t Find My Way Home was quite stunning. Paul doesn’t try to emulate Joe’s stage

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Dan Patlansky by Stephen Fourie antics, he just gets into the spirit of the man and the vocal interplay between Cox and the lovely Linda Hunt on Ray Charles’ Unchain My Heart and the Julie London number Cry Me A River was quite outstanding. As was Up Where We Belong where Linda took on the Jennifer Warne role. Paul raised the atmosphere when he took on the classic Leave Your Hat On and then morphed into the manic head-shaking, foot-stomping, hand-waving persona, which we remember from the Woodstock showstopper, With a Little Help From My Friends. The audience, were at this point, on their feet. Paul then stood solo on the stage, accompanied only by Roger Cotton, and sang You Are Beautiful, which was emotional from both sides – the audience and the singer. This gig was not just thrown together because Joe Cocker, despite his demeanour, was a perfectionist and Paul

Cox and his team had rehearsed and recreated Cocker’s vision of how the numbers would have been played. One of the best gigs I’ve seen this year. BOB BONSEY

DAN PATLANSKY MR KYPS

SUNDAY 22 ND MAY 2016

The last time Dan played this venue was a double-header with Laurence Jones, but this was him headlining and obviously the good people of Poole remembered what a talent he is. First up and standing in at the last minute, was local power trio Blues Machine, youngsters with bundles of enthusiasm and energy. Their set was loud, mixed with a both originals and well-chosen covers, not your usual run of the mill fare lads of their age rely on. Yes, they're loud, but with Andy Diplock on bass and vocals, they have a certain admirable cheek about

them. Mention must also got to guitarist Ash Gannicot and drummer Josh Askew. Then it was the turn of Dan to take to the stage, opening with the customary instrumental, Drone, then straight into Sonnava Faith and new single Stop The Messin' culled from his latest release, Introvertigo. The pure blues/ rock of Poor Old John before Bring The World and the keys introduction to Loosen The Grip. Special mention has to go to Dan's band, Clint Falconer on bass, drummer Andy Maritz and Dean Barrett on keyboards, they are a very tight unit, like Dan, all South African. If elongated guitar breaks are your thing, then Dan does not oblige, each number is concise and straight to the point, having the audience eat out of his hand as he cracks on through the set. All too soon, it's over, closing with the brilliant My Chang, a new composition, unavailable anywhere,

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Bonnie Raitt by Susan Weiand highlighted by Dan hanging the guitar by one string, the closest you'll get to pyrotechnics. The encore of Hold On and Queen Puree brought to an end a wonderful evening where Dan was able to unleash himself from the support role he's just finished with King King and show us what he's all about over an hour and a half. His popularity was shown by the long queue at the merchandise desk afterwards. CLIVE RAWLINGS

BONNIE RAITT

HAMMERSMITH APOLLO 1ST JUNE 2016

Several years have passed since I last saw Bonnie Raitt in concert, and having been more than pleased by her latest album, I was looking forward to seeing her and her band again. The tickets merely indicated that there was a support act and I decided not to look it up but let it be a surprise, and Lo and behold

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who should it be but the singer/ songwriter Mark Cohn. Now I have to confess that the only song of his that I could say that I knew was Walking To Memphis. Coming on stage with a fellow keyboard player as support I have got his name down as Ben Patcher but I have a sneaky feeling that this is wrong? Anyway, Mark hasn't performed in Europe for around 20 years so as he said, almost everything that he did would be new to us! A terrific opening act and an absolutely storming version of Walking In Memphis, I must go and look up his other work. The usual kerfuff le of changing the stage set up took up a welcome break and then Bonnie was leading the band out to rapturous applause, with practically a standing ovation even before she had strapped on a guitar! Any ideas that I had that she was just going to plug her new album were quickly

dispelled as she proceeded to run through her extensive back catalogue, very obviously enjoying being back where she belongs, on stage with a red hot band behind her. Any thoughts that Bonnie was going to play nice and gentle were blown away but the pounding beat and the screaming slide guitars from her and her fellow guitarist George Marinelli, and boy were they loud! The sound incidentally was not far from perfect, so well done the sound guys. I did write down the song titles, but if you're a fan you know them anyway, and this is all about what the show was like, not an anoraks guide to the set list. Well it was superb, Bonnie was on tip top form and her band were everything you could ask for. The tribute piece to BB King from keyboard player Mike Finnigan was awesome, what a voice that man has got, his phenomenal performance drew a few tears, After almost 2 hours on stage, it was all too soon over, and the audience continued to call for more. Bonnie and the boys came back on stage and obliged with the very best performance of I Can't Make You Love Me that I have heard and she then followed that up with a couple more. But here I have to confess that we crept out early to miss the crush, and to be sure of getting our train home. There were a few empty seats at the gig, so if you haven't booked yet, it’s got to be worth giving it a try, you won't be disappointed, if you can't get tickets, then buy the album and turn up the volume. Blues to Ya! DAVE STONE

LEWIS HAMILTON BAND TYNE BAR, NEWCASTLE UPON TYNE 12 TH JUNE 2016

After six years of extensive touring and a brilliant new

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fourth album to his name, Lewis Hamilton is undoubtedly one of the best contemporary bluesmen in the UK, justifying his sequence of Young Blues Artist Of The Year awards. The Scottish band kicked off with Old Faces, the opener from Hamilton’s latest masterpiece Shipwrecked, an infectious, hard rocking, funky blues with edgy lyrics, piercing guitar solos and clever, precisely timed rhythm changes. Dylan’s All Along The Watchtower was neither Jimi Hendrix nor Dave Matthews but pure Lewis in its unique interpretation. The mood changed with the slow burning, self-penned Sunrise with its intricate guitar and powerful, anguished vocals reflecting the deep emotions. As a power trio, the rhythm section plays a significant part with Ben

O’Reilly’s precision drumming and the pulsating bass of Nick Hamilton laying down the perfect grooves. The Geordie blues aficionados appreciated the innovative cover of Son House’s classic John The Revelator but it was the band’s energetic performance of Whisky Boogie which prompted thunderous applause. Even this reaction paled into insignificance with a finale which included Folsom Prison Blues, Going Down and Hallelujah, the band leader striding the stage like a colossus, his vocal range impeccable, and his axework scintillating. Maturing rapidly as a singer, songwriter and guitarist, this European tour is a triumph for 22-year old Lewis and his future ambitions. THE BISHOP

Lewis Hamilton by Baz Groom

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