Blues Matters 49

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'D'

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of the first things I

when I began working on this magazine was the seeming obsession with unearthing a new, young guitar god. At the time, it was Danny Bryant, Aynsley Lister, Tommy Allen et al that were courting much of the attention, and expectant burden. All have gone on to enjoy respectable music careers – particularly in Europe – and longevity could bring them to the level of mentor-to-most Walter Trout in years to come. However, none have been able to enjoy the major level success that was hoped for –if not demanded by Blues fans in this country.

Today, it’s the likes of Oli Brown and Jay Tamken, led by parents who remember the ‘60s Blues boom and idolised Blues guitarists of a bygone era, that see their standings inflated by zealous fans. Although, like the aforementioned slingers before them, they’ll find that same explosion hard to come by again, because young male guitarists have little need for new idols when the music of previous decades (and the likes of Hendrix, Vaughan and Clapton) is still so prevalent and accessible today.

Joe Bonamassa’s more considerable success is attributed as much to his songcraft and melodies as his axeprowess – something Ian Parker recognised, and these youngsters will have to follow suit to reach even his level.

With the ladies, however, there’s still a big opportunity. As Joanna Shaw Taylor has recognised herself, there’s never been a trailblazing female Blues guitarist, and it’s little surprise therefore that Ruf Records has been quick to snap up both Joanne and Dani Wilde – and both have enjoyed instant high profile in the UK and across Europe.

With everybody looking at the guys to take Blues-rock back into the mainstream for many years, it could be that the ladies have to do the job for us – which generally tends to be the case!

DARREN HOWELLS Editor-in-Chief

ne

noticed

08 FEEDBACK

Jason Ricci, Kenny Neal, Matt Schofield

13 HAPPENIN’

Koko Taylor, Ana Popovic, Duke Garwood, Walter Trout, She Keeps Bees, Willem Maker, Tommy Castro, The Black Crowes, The White Stripes, Duke Robillard

37 SUBSCRIBE TO WIN

The Derek Trucks Band CDs, Lynyrd Skynyrd DVDs

136 DVD REVIEWS

James Brown, El Chicano, Bob Dylan, Little Richard, Muddy Waters, Ten Years After, Stompin’ Dave Allen

142 FESTIVAL FEVER

Burnley National Blues, No Mean City

148 GOT LIVE

Son Henry Band, William Elliot Whitmore, The Zombies, AC/DC, Gwyn Ashton, Vulnerable Things, Gary Moore

157 MEMBERS’ COMPETITIONS

Popa Chubby CDs, Luther Kent CDs...

North Mississippi Allstars, Karima

Francis, Buckwheat Zydeco, John

Martyn, Colin Linden, Ian Gillan, Jersey Budd, Buddy Guy, Jo Ann

Kelly, The Insomniacs, Jake La

Botz, Bob Log III, Tom Allalone & The 78s, Christopher Rees, Kyla

Brox, Danny Bryant’s RedEyeBand, Matt Schofield, Little Walter, Rev. Gary Davis, The Answer, Delta Spirit, Ry Cooder, Little Feat, Sleepy John Estes, Fink

20 INTERVIEWS

Bonnie Bramlett, Joanne Shaw Taylor, Buffalo Killers, Pete Molinari, Harper, Naughty Jack, Dave Arcari, Ian Parker, Alex Gomez, Paul Jones, Philipp Fankhauser, Slidin’ Slim...

35 SUBSCRIBE

Support our efforts!

81 EASE THOSE BLUES

With “The Healer”.

82 GETTIN' THE BLUES

Marcus Bonfanti gets the Blues!

132 BLUE BLOOD

Mellow Peaches, Little Steve Long...

160 NOW, BEFORE WE FORGET… Bessie Smith.

26 JOANNE SHAW TAYLOR

When Joanne Shaw Taylor graced the cover of our magazine back in 2002, little did we know that it would take over six years before her debut album would materialise. However, after years in the wilderness, Joanne is finally making her impression on British Blues. “I’d been putting it off for a while because I didn’t think it could be the right finished article. So, just on a personal level, it’s brought me more confidence to know that I’ve been able to put out a record that I am very happy with and represents me and where I am at the moment.”

TRUE MEANING

I was dismayed to read – particularly given the history of this music – that Jason Ricci (interview, issue 48) has had to endure narrowmindedness performing the Blues given his sexuality. You’d think Blues fans in particular would be a little less bigoted than the norm – if they don’t appreciate the history of the music, then surely there are missing the magic?

On the other hand, it’s great that playing the Blues has helped Jason turn his life around. Now that is something this music is all about!

Karl Rulton Luton

BM! Says: It is alarming some of the reactions Jason has experienced due to his appearance and lifestyle but, on the whole, his music has won over many fans and, like you say, given him a life that otherwise he probably couldn’t have imagined.

WAIT A MINUTE

It was unfair of Guy Bennett (Vulnerable Things) to dismiss Ian Siegal as a mere imitator of Tom Waits (interview, issue 48). Whilst, like every artist, Siegal’s influences are clear, he’s put enough of his own personality into his music to stand him apart, and I would rate him as one of the most inspiring and exciting performers in this country – something I wouldn’t say of the Vulnerable Things!

Claire Hampton London

I enjoyed the Tom Waits feature this issue (Conil inter view, issue 48) – how about a full interview, guys? – I was in particular accordance with the first paragraph. I’ve preached for years – in vein – the wonders of Waits’ music to my friends and family, but I’d be lucky to get three tracks into any of his albums before I’m asked what else I’ve got to listen to. However, surely there are few artists as influential on modern Blues acts today?

As Guy Bennett rightly pointed out his interview later, the best Blues artist Britain has produced in years – Ian Siegal – owes a massive debt to Mr. Waits. Surely the Blues world needs to show greater appreciation?

Andrew Platt Sidcup

BM! Says: We’re sure Tom Waits isn’t short of appreciation from critics and musicians alike. We’d welcome an interview with Mr. Waits, but it seems he is somewhat media shy, particularly outside of the major publications..

A FIGHTER

It was great to read the news (Happenin’, issue 48) that Candye Kane is returning with a new album after her battle to overcome cancer. I’ve been a massive fan since you interviewed her in your fine magazine. She’s always stood out as having the courage to speak her mind, be herself and fight against prejudice, and it

It hasn’t been easy for Jason Ricci.

THE REAL DEAL

Last year I wrote a letter to Blues Matters, which was published, about the predictability of the festivals here in the UK, and the lack of genuine Blues artists appearing live. Well, I have just been to the Burnley National Blues Festival, and it delivered a massive improvement on recent years. Whilst I have no idea what The Cadillac Kings and jump jive have to do with genuine Blues, and find the MC, Chris Powers, and his costume changes all about his ego and nothing to do with adding value to the festival, the festival really came alive when the real Blues artists took the stage. Kenny Neal, Magic Slim and Li'l Ed & The Blues Imperials simply confirmed to me that Blues festivals really do require these 'real deal' artists who bring genuine Blues class to the stage.

Well done, Burnley and long let the Chicago link continue. Let’s see the great Lurrie Bell, Jimmy Dawkins or Jimmy Johnson next year. This year was a blast!

BM! Says: You can read a report on this year’s event later this issue.

shows the character of the woman to return so soon with a new collection for her fans. I’m sure given recent events, this album is going to pack an emotional punch, and I’m preparing myself for the album of 2009.

Hollie Reilly Bristol BM! Says: Everyone at Blues Matters! is equally excited about the new release. Look out for a Blues Matters! interview with Candye before the end of the year.

INTRODUCING…

I welcome the recent introduction of features within features – almost a 2 for the price of 1 offer! This issue (48) brought me the hugely exciting, young female talent of Ndidi Onukwulu – whose debut ‘No, I Never” I’m so passionate about – but also the music of Madagascar Slim, who I can’t believe isn’t more widely recognised internationally.

I know you – rightly – touch on mainstream acts from time to time (your recent Kings Of Leon interview, for example), but it’s for these sorts of introductions that I can’t do without your magazine. I would never have discovered either of these acts elsewhere.

Raymond Watson Plymouth BM! Says: Hopefully we’ve brought a few more great acts to your attention this issue, but we want all Blues musicians to have a higher pro-

file/gain better recognition, so we hope to feature more “mainstream” and less undiscovered gems in the future!

ANOTHER FAREWELL

I was surprised to see you announcing B.B. King was touring the UK again in June (Happenin’, issue 48). I paid over the odds to see him in 2006 – when I was

photo: Pat Johnson

John Angus County Durham

This issue John will receive a copy of the “Delta Blues” book. The acclaimed book sees Ted Gioia’s thorough research bring to life the music of the Mississippi Delta, reminding us of the great artists that have shaped popular music.

Kenny Neal stood out at Burnley.

going through a particularly difficult time financially – as we were told this was the last time we could see him live in this country. Yet, lo and behold, he’s back just three years later. Now I feel this was a cynical marketing to exploit Blues fans, and surely his devoted followers deserved a little better!

Richard Sprey Colchester

BM! Says: We’re sure, given King’s age and health, that the previous farewall tour was announced with sincerity, and equally Blues fans in the UK will be delighted they are being given another opportunity to see this legend in a live setting.

A FRESH TAKE

I couldn’t help but laugh at Danny Bryant’s “poor me” comments in the latest issue of your excellent magazine (48). Instead of thinking there’s a conspiracy against him in this country, maybe he should ask a few questions about his music.

Without wanting to offend any readers, the rest of Europe is not known for producing great music – and I know UK performers do enjoy elevated status on the continent due to our history and their own weak pedigree – which is probably why he and other UK Blues artists can enjoy better billing than they do at home. The fact is, Danny Bryant and other performers in this country just aren’t good enough. Seasick Steve, The White Stripes etc have shown good, original Blues music can still connect with listeners today, and television/events in this country would not turn a deaf ear to Danny if they weren’t likely to get such a headache!

Instead of feeling sorry for themselves, Blues artists in this country just need to up their games and develop a personal identity, instead of feeling there are owed anything for their unoriginal and uninspired dirges.

Gregory Care Northampton

BM! Says: We’re sure many of our readers will disagree with your comments – Danny is a highly respected performer – but we agree, and it has been proven, that the Blues packaged in a contemporary way can still connect with listeners today.

SOMETHING DIFFERENT

I must admit to not being much of a Matt Schofield fan to date. I’ve found his music leaning too far towards the jazz idiom, and the one live performance I saw conceited – but I’m pretty keen to hear his new album after your interview (issue 48).

So many performers, particularly in the UK, tend to stick rigidly to a moderately successful formula (so many names spring to mind), so it’s enlightening to read about Matt’s desire to broaden his own musical horizons and his willingness to shake things up a little with the new band set-up.

Whether I ultimately become a fan or not of his new direction is up for the debate, but I can still recognise the talent and appreciate his courage and ambition. I wish him all the success in the future.

Rhodri Driffield Altrincham

BM! Says: Matt is arguably the UK’s most respected Blues guitarist, and so far critical reaction to the new album suggests any gamble has paid off.

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

Matt Schofield & co. move in the right direction.

photo: Patrick Cusse (ccphotoart.biz)

KOKO TAYLOR

28th September 1928 – 3rd June 2009

“Queen of the Blues” Koko Taylor passed away on 3rd June 2009 in her hometown of Chicago, IL, after complications following surgery to correct a gastrointestinal bleed. She was 80. The GRAMMY Award-winning Blues singer, who recently won her 29th Blues Music Award (Traditional Female Blues Artist Of The Year), was discovered by the legendary Willie Dixon, who instigated her signing with Chess Records and would subsequently produce several singles, two albums and pen her million-selling 1965 hit ‘Wang Dang Doodle’, which would become Taylor’s signature song. Koko had been an Alligator Records recording artist since 1975, recording nine albums for the album (eight of which were GRAMMYnominated, including 2007’s “Old School”). The singer, born Cora Walton (gaining her nickname ‘Koko’ because of her love of chocolate) to Tennessee sharecroppers, also appeared in films such as “Wild At Heart”, “Mercury Rising” and “Blues Brothers 2000”. Amongst the numerous awards bestowed on the popular singer, Chicago Mayor Richard M. Daley honoured Taylor with a Legend Of The Year Award and declared “Koko Taylor Day” throughout Chicago in 1993; in 1997, Koko was inducted into the Blues Foundation’s Hall of Fame; in 1999, she received the Blues Foundation’s Lifetime Achievement Award; and, in 2004, she received the NEA National Heritage Fellowship Award, which is among the highest honours given to an American artist. alligator.com

Brooklyn duo She Keeps Bees release new album “Nests” on 3rd August 2009 via Names Records. Said to take their influence from the likes of Howlin’ Wolf and PJ Harvey, the couple’s homemade debut recording features just drums, guitar and Jessica’s “sing ‘til her stomach hurts” vocals. The duo will play London’s The Luminaire on 2nd July, with British festival appearances during August and September. myspace.com/shekeepsbees Nell Bryden releases her second studio album, “What Does It Take?”, on 24th August 2009 via 157 Records. The album was recorded and produced by GRAMMY award-winning producer David Kershenbaum (Tori Amos, Cat Stevens, Tracy Chapman ). myspace.com/nellbryden

Curtis Whitefinger released the follow-up to 2008’s “Your Arse Is Mine” on 25th May 2009. “The Curtis Whitefinger Ordeal” (his fifth album on Black Thumb Records) features a cover of the Tamla-Motown mod classic ‘Baby Don’t Do It’. Curtis plays Birmingham’s Hare & Hounds on 10th September 2009. curtiswhitefinger.co.uk

Willem Maker releases “New Moon Hand” via Fat Possum/big Legal mess on 29th June 2009.

Joining Willem on his second album, said to continue “the rich lyricism and punishing Bluesbased guitar” of his acclaimed debut “Stars Fell On”, are Alvin Youngblood Hart, Jim Dickinson and Cedric Burnside. Amongst the standouts is “the soulful,” ‘White Ladye’. myspace.com/makerworks

The “Queen of the Blues”.

SPREAD THE LOVE

Guitar slinger looks to please everyone on new collection

Ana Popovic will release the follow-up to her debut US release, “Still Making History”, on 21st July 2009. Her second album for Delta Goove subsidiary label Eclecto Groove Records, entitled “Blind For Love”, was produced by Mark Dearnley (AC/DC, Tom Petty, Paul McCartney...) and David Z (Prince, Etta James, Jonny Lang...). Talking to Blues Matters!, Ana said: “I finished the first part of the recording session at the Castle Oaks Studio in Los Angeles. Six songs were laid down with producer David Z. In April, producer Mark Dearnley finished the project. I love recording the project in two separate parts with different producers.” The twelve-track collection, recorded with members of her touring band, as well as guests Tony Braunagel (drums) and Mike Finnigan (keyboards) from The Phantom Blues Band, is said to offer “up a little something for everyone, including Blues, rock, jazz, funk and gospel,” with Ana demonstrating a “uniquely distinctive style.” Track titles include: ‘Nothing Personal’; ‘Steal Me Away’; ‘Putting Out The APB’; ‘Get Back Home To You’; ‘Lives That Don’t Exist’; ‘Need Your Love’; and ‘Blues For M’. “I hope the new record will bring us back to the UK,” revealed the guitarist. “It’s been way to long since we last played that amazing island!” anapopovic.com

STOPPING TIME

Songwriter will transport listeners into another world

Duke Garwood will release new album “The Sand That Falls” on 10th August 2009 on Fire Records. Garwood, who had previously released several albums via the Loog label, and who has played with the likes of the Archie Bronson Outfit and The Woodsmen, recorded his Fire Records debut in a vast, deserted house – the space of which is said to be audible in the music. “As Garwood picks his Blues and murmurs his songs, time vanishes. He transports you to a world soundtracked by sparse plucking, gentle percussion and his deep, thoughtful vocal. Though steeped in the Blues and deeply influenced by his hero Thelonious Monk, Garwood never becomes distracted into reverential homage. There’s a fractured, lo-fi feel to what he does, an unconcern with rigid adherence to tradition.” myspace.com/dukegarwood

Ana Popovic sets out to impress British fans with new album.

IT’S THEIR TIME Outfit step out of luminaries’ shadows

Blind Pig Records released the new album from Big James & The Chicago Playboys on 2nd June 2009. The new CD, Big James’ debut for the Blind Pig label, entitled “Right Here Right Now”, is described as a great introduction to the Playboy’s unique-horn-driven sound, which has backed the likes of Buddy Guy, Eric Clapton and Otis Rush. Alongside eight original compositions, the album features covers of songs by Bobby “Blue” Bland, Tyrone Davis and The O'Jays, “all highlighted by precisely-executed horn arrangements and dynamic, soulful musicianship.” blindpigmusic.com

20TH ANNIVERSARY

Guitarist celebrates with new release

Walter Trout celebrates twenty years as a solo artist with the release of “Unspoiled By Progress” on 22nd June 2009. The new Provogue Records collection sees Walter compile live recordings from his career, alongside brand new studio songs and BBC sessions (‘Going Down’ and ‘She’s Out There Somewhere’ both recorded for Bob Harris’ show in 1991). Amongst the originals are ‘They Call Us The Working Class’, which Walter describes as his “musical commentary on what’s been going on around the world”; ‘Two Sides To Every Story’, a song he wrote after a few hours listening to Lightnin’ Hopkins; and ‘So Afraid Of The Darkness’, a song wrote for a young man “who felt he had to leave the lights on at night.” Amongst the live inclusions are ‘Life In The Jungle’ and ‘Long Tall Sally’ “from my very first appearance with my own band at the Paradiso in Amsterdam in 1991”; ‘Sweet As A Flower’, recorded at Jimmy Trapp’s final show in Las Vegas; and ‘Finally Gotten Over You’, recorded at the Bonn Blues Festival in December 1991. “In choosing these tracks, I had to sometimes weigh the recording quality against the performance,” admitted Walter, before gushing: “Having you all in my life is truly a gift.” waltertrout.com

Rick Estrin & The Nightcats released “Twisted” via Alligator Records on 2nd June 2009. Rick, who fronted Little Charlie & The Nightcats for more than thirty years and nine albums, puts his name to the front of the band following Charlie Baty’s recent retirement, and “while still swinging the Blues, ‘Twisted’ is a harmonica-driven, rocking, guitar-fueled rave-up.” alligator.com

London-Irish songwriter Michael J. Sheehy will release his sixth, “With These Hands”, on Glitterhouse Records on 20th July 2009. The album, featuring Sheehy’s band The Hired Mourners, tells the story of a fictional prize-fighter whose life begins to unravel after taking a dive in the most important fight of his career. The tale develops through the songs and voices of all concerned – promoters, the punters, and his merciless opponent. “A rich tapestry of gothic, vaudeville, Blues and folk, ‘With These Hands’ marks Sheehy out as a no-holds barred songwrite.” michaeljsheehy.co.uk

MVD Visual and Sexy Intellectual will release the “From The Outside” DVD on 14th July 2009. The documentary film tells the story of The Doors from recollections, memories, stories and anecdotes of those who knew the group and its members, including Jim Morrison’s widow Patricia Kennealy-Morrison; Billy James, who signed them to their first deal with Columbia Records; and James Riordan. mvdb2b.com

Big James hopes to make sizeable impression.

All eyes now on Rick Estrin.

photo: Kent Lacin

FEEL THE FORCE

Guitarist joins popular label’s ranks

Blues Music Award winner, Tommy Castro releases his Alligator Records debut, “Hard Believer”, on 11th August 2009.. The new album was produced by John Porter (Los Lonely Boys, Santana, Buddy Guy, Elvis Costello ) and “shows just how much heart and soul an album can hold. Whether burning up a frisky rocker or steaming through a soulful ballad, Castro stokes the intensity with stinging guitar and gritty singing.” Songs include six Castro originals, alongside covers including Wilson Pickett’s ‘99 1/2 (Won’t Do)’ and Bob Dylan’s ‘Gotta Serve Somebody’. tommycastro.com

A SPECIAL THANK YOU

Band are to reward their loyal fans

The Black Crowes have announced their new CD

“Before The Frost ”, released on 1st September 2009, will include a second album, “ Until The Freeze”, which will be given away for free exclusively through a unique download code, as a “thank you” to their fans. Both albums were recorded over a series of five nights at Levon Helm Studios in Woodstock, NY, in front of an intimate audience of the band’s fans. “Before the Frost...” includes eleven new songs, amongst them ‘Good Morning Captain’, ‘I Ain’t Hiding’, ‘Been A Long Time (Waiting On Love)’, whilst “ Until The Freeze” is a nine-song collection featuring eight new original compositions, plus a cover version of Stephen Stills’ ‘So Many Times’. “I think we fulfilled a musical commitment to continue on the golden road of artistic independence,” explained singer Chris Robinson. “Approaching twenty years into our careers, we still are ambitious enough to push ourselves to create something unique.” Both albums were produced by Paul Stacey and will be released through Silver Arrow and Megaforce Records. In other news for the band, Eagle Records will release the “Warpaint Live” DVD on 29th June 2009. The DVD features live versions of the whole “Warpaint” album, filmed on the 20th March 2008 at the Wiltern in Los Angeles. The performance also saw the band perform The Rolling Stones’ ‘Torn And Frayed’. blackcrowes.com

Joe Henry releases new album “Blood From Stars” on 17th August 2009 through Anti-. Henry has recently been exploring classic Blues songs, producing Allen Toussaint’s “The Bright Mississippi” and Ramblin’ Jack Elliott’s “A Stranger Here”, and the Blues is said to have found its way onto Henry’s own work. “I was playing with a writing form - a Blues structure, in the same way that you might sit down and try to write a sonnet or a haiku. I was intrigued by how structured and how simple those ideas of, say, a pair of repeating lines answered by a refrain can be,” Henry said. “I’ve been reading a lot of poets lately, and lot of diverse poetry very consciously references a Blues tonality, whether it’s Langston Hughes or Allen Ginsberg or E.E. Cummings. Poets are very aware of the power of that structure.” joehenrylovesyoumadly.com

Jack Savoretti releases the follow-up to acclaimed debut album “Between The Minds” on 6th July 2009. “Harder Than Easy”, released via De Angelis Records, is said to be full of “inspirational soul, rock and Blues,” whilst displaying a “new found raw, grittiness.” jacksavoretti.com

Damaged Goods will release “Archive From 1959The Billy Childish Story”, a 3 LP or 2 CD package, on 6th July 2009. The musician, poet and painter, championed by everyone from Kurt Cobain to Jack White, has released over 120 albums to date (including four on one day!), and this compilation is a look back at the more rock‘n’roll aspects of his musical career. damagedgoods.co.uk

idea.

Chuck Mead releases “Journeyman’s Wager” via Continental Song City on 13th July 2009. Chuck is co-founder of the threetime GRAMMY nominated honky-tonk outfit BR549. The new album, produced by GRAMMYwinning Ray Kennedy, is said to be a “fervent mixture” of rock’n’roll, pop, hillbilly rock, Blues and gospel. “Why be confined by barriers and or genres?” asked Mead. “As far as I am concerned, it’s all American music (and) these are sounds that made up my musical vocabulary.” Chuck will announce UK tour dates soon. chuckmead.com

The Black Crowes get a fresh

Duke Robillard goes back to his roots.

A ROOMFUL OF BLUES

Independent Canadian label treats Blues guitar enthusiasts

Stony Plain Records released a double-dose of guitar-driven Blues on 2nd June 2009, with new albums from Duke Robillard (“Stomp! The Blues Tonight”), and the latest album from Ronnie Earl & The Broadcasters (“Living In The Light”). Duke Robillard is said to have returned to his Roomful Of Blues roots on “Stomp! The Blues Tonight”, featuring a horn section on many tracks that includes Doug James on baritone and tenor sax, Rich Lataille on tenor and alto sax and Al Basile on cornet (all former Roomful alumni). Duke’s singing discovery, Sunny Crownover contributes vocals to six tracks, including the Helen Humes classic ‘Million Dollar Secret’. “Living In The Light” is Ronnie Earl’s follow-up to 2007’s acclaimed “Hope Radio”.The new collection is described as “a varied mix of Blues, soul and gospel, all marked by distinctive stinging guitar tones.” In addition to nine original songs, the new CD includes a take on Robert Jr. Lockwood’s classic ‘Take A Little Walk With Me’, assisted by Kim Wilson’s harmonica work; and ‘Ain’t Nobody’s Business’, which was popularised by Jimmy Witherspoon. stonyplainrecords.com

THE BAND LEADER

Legendary drummer/vocalist gets the Blues on latest collection

The Band’s Levon Helm, who overcame a battle with throat cancer in 2007, will release new album “Electric Dirt” in the UK on 29th June 2009 via Vanguard Records (a day later in the USA). The follow-up to the GRAMMY-winning “Dirt Farmer” was again recorded with multi-instrumentalist Larry Campbell at ‘The Barn’ – The Levon Helm Studios – and is described as a “great folksyBlues album,” with two Muddy Waters compositions amongst the eleven song mix of originals and cover songs. “Our objective here was to take the honesty, innocence and purity of the ‘Dirt Farmer’ record, which represents a true element of what Levon is all about, but also expand on that, and explore deeper the goldmine of Levon’s musical artistry,” stated producer Campbell. Amongst the originals is ‘Growing Trade’, which tells the story of a farmer’s struggle to preserve his livelihood, whilst covers include a “rousing rendition” of The Grateful Dead’s ‘Tennessee Jed’; and ‘Kingfish’, written by Randy Newman, brings the “swagger of New Orleans to the forefront.” levonhelm.com

STRANGE GOINGS ON

Trio take peculiar inspiration

The Groanbox Boys are due to release “Gran Bwa” on Groanbox Records by mid-July 2009. The group’s second UK release is described as a “truly deep and darkening” concept album. “Shamans of yesteryear would smoke apple seeds and get their instructions direct from Gran Bwa himself, placing an offering of sheep's wool at the entrance of the rabbit hole’’ offered band member Paul Clifford, when discussing the album’s title. Gran Bwa is the Haitian Voudou god of the deep forest, protector of wild animals and herbal loa, and the gateway between the spirit world and the real world. “We wrote a lot of the grooves under a tree in Edinburgh with a drunk dude watching on,” recalled Clifford. “Could the drunk

WHAT TO BELIEVE

Debut from hyped new outfit

Bleakmouse Records will release the debut album from much touted new outfit Polly And The Billets Doux, "Fiction, Half-Truths And Downright Lies", on 10th August 2009. The four-piece, who have been invited to perform at Glastonbury for two successive years, are said to “flit between jazz, rock and folk, flirt with Motown and soul and remain firmly Bluesy whilst exploring guitar slinger/indiesongwriter territory.” myspace.com/pollyandtheband

Blackbud released their new self-titled album on 8th June 2009 on Independiente. The new collection, produced by Mike Crossey (Arctic Monkeys, The Zutons ) is described as “a wonderfully warm and ambitious album which pieces together a patchwork of emotional and Bluesy, modern infused folk, epic and ambitious, mile high melodics and driving guitar work.” myspace.com/blackbud Northsyde, formerly known as Funkydory, released their debut album “Mercy’s Medicine” at an official Launch Gig at the Grey Horse in Kingston, on 6th June 2009. funkyband.com Sonny Landreth released “Levee Town” on 1st June 2009 via Proper Records. The album was originally issued on Sugar Hill Records in 2000, however this re-mastered reissue contains five previously unreleased tracks from the original sessions (‘Pedal To Metal’, ‘Road A Plenty’, ‘Old Flame’, ‘Fare You Well’ and ‘For Who We Are (The Nightbird Sings)’). sonnylandreth.com Queen and Paul Rodgers have announced that they are to part ways after just over four years' collaboration.

Jack White, who releases “Horehound” with new outfit The Dead Weather (featuring The Kills’ Alison Mosshart on 12th July 2009), has announced The White Stripes will begin work on a new album before the end of 2009. White has also joined the Music Business Council in his home city of Nashville. The Council is a 46-member board (also featuring the likes of Emmylou Harris and Kix Brooks), which was set up to protect the city’s brand name 'Music City'. whitestripes.com Legendary Blues guitarist Peter Green has joined the line-up of the Cornbury Festival, which will be staged on 11th & 12th July 2009. Peter will line-up alongside pop acts, including Scouting For Girls. cornburyfestival.com

Something different from The Groanbox Boys.

The White Stripes: No let-up in Jack White’s schedule.

photo: Autumn De Wilde

hey say if you remember the ‘60s then you weren’t there, but Bonnie Bramlett can remember everythingand she was smack dab in the middle of it all!

As a teenager, growing up in St Louis, Bonnie sang with Ike & Tina Turner, Albert King and Little Milton, but when she moved to California things really got interesting. As one half of Delaney & Bonnie, she became one of the biggest female Blues singers in America, with only the legendary Janis Joplin of worthy comparison at the time.

When her marriage to the late-Delaney came to end, so did the band, and with limited success as a solo performer, Bonnie turned to bit-part acting roles. However, after a twenty-year absence, the noughties have brought a string of acclaimed new solo albums – 2008 seeing not only the release of new collection “Beautiful”, but a ‘best of’, “Piece Of My Heart” bringing renewed appreciation for a vocalist who can count the likes of Roseanne Barr and Eric Clapton amongst her biggest fans…

BM: On your most recent studio album, “Beautiful”, you teamed up again with producer Johnny Sandlin, who produced two of your big LPs in the ‘70s…

Bonnie: It’s great to back with him. We’ve been in touch. I’ve been to a lot of his sessions. He calls on me quite often, but it was so good to get back in the studio with him.

You have a stella cast backing you on the record, including your daughter Bekka Bramlett and Randall Bramblett… Absolutely! Randall wrote two of the songs. He wrote

‘Shake Something Loose’ and ‘Witness For Love’. He sang a duet with me. Doesn’t he sound good?

What was it like singing with your daughter?

That’s the hardest thing to answer! Because it gets asked a lot, like, “What was it like working with Eric Clapton?” It’s so unique. To me, it’s like riding in a Cadillac as opposed to riding in a Bentley. It’s just an easier ride, because we’ve all grown into our talent.

There are also covers by Stephen Stills, and other songwriters. How did you choose what went on the album? When I stopped thinking about making a ‘hit album’, which happened a few years back, it really released me. I’m able to stick to my guns. All my work is my work. If you notice, all the writers are from the old school. It just fell into place.

How long did it take to put together?

Oh, not long! We did two days cutting tracks and three days vocals. I sing while they’re cutting. You want to be there when the energy is in the room. Johnny had more work!

What’s the track you are most proud of?

That’s a hard one to pick, but the one which means the most to me is ‘Some Of My Best Friends’. The writer, Gary Cotton, is from around Nashville. He’s had this song for a long time and no-one would touch it with a ten foot pole! I told him six years ago I would do it. I love that one.

I love ‘For What It’s Worth’ by Stephen Stills. I think he’s one of the greatest songwriters who ever walked this earth.

You actually grew up in St Louis, and started singing when you when you were very young. You used to hang out with people like Herbie Mann and Stan Getz…

There was a place at the time called Gaslight Square. It

“When I stopped thinking about making a ‘hit album’, which happened a few years back, it really released me. I’m able to stick to my guns. All my work is my work.”

photos: David Compton

was pretty much like Bourbon Street in the French Quarter (New Orleans – JH). It was where everyone worked. It was strange for a young girl my age being able to carry a song vocally, so I was intriguing to everybody. Everyone would come in. It wasn’t like I hung with them, because I was too young. My dad and mother would pick me up and take me home straight away. I wasn’t able to go to breakfast with them after the gig!

You were playing with people like Albert King… Yeah, I was 14 or 15 years old.

It must have been an incredible experience… Yeah, it was. When I got out from there, I realised that this doesn’t go on all over the place – calling people on stage. Artists didn’t do that in Los Angeles. Nobody sat in with anybody. Where I came from, if there was a musician in the room, you had to ask them. It would be rude not to! Saxophone players would always bring their own mouth pieces to gigs, because it was all about jamming. When we got out to California, and Delaney and I got together, we got into that. It was not just famous people. The worst thing which could happen was they would say no and you would get on with the night. The best response was, “Yeah, let me play!”

You were also an Ikette and the first white person to join Ike and Tina Turner’s band…

I didn’t get to stay long because of the racism. But, I’m still in touch with some of them. On the album before last, I had the Ikettes singing with me, all three of them.

I miss Ike so bad. You know, he wrote the liner notes on my last album. He went down in history as an a**ehole, but he has done so much for our music and none of that is ever mentioned. He had the first rock’n’roll record ever –‘Rocket 88’. Nobody gives him that credit yet. There wouldn’t be a Meters without Ike. He broke B.B. King. He broke most of the black artists... Don’t get me started!

You moved to Los Angeles in 1967. Was it mainly because of the music?

I went to Los Angeles to be a star!

Just like everybody else. You either had to go to New York or LA. Although, it’s now Austin, Texas.

How did you first meet Delaney?

On 27th December 2008, Delaney Bramlett passed away following complications of gall bladder surgery. The songwriter had enjoyed a long and varied career, not only enjoying success with former partner Bonnie, but with a host of legendary artists.

“I went with friendships, which turned into great opportunities for all of us,” recalled Delaney, speaking to Blues Matters! only months before his passing.

“Initially, we all became close through the music, which then lead to hanging out and having fun, which led to forming real bonds with each other, like my close relationship to Duane Allman, George Harrison, Leon Russell…the list is unending!”

Delaney’s contributions bore fruits for his friends at the time, and his songs have gone on to be immortalised by established names, across various genres.

“It's always satisfying when you hear your music recorded and sung by artists like Ray Charles, Luther Vandross, The Carpenters and Usher,” insisted the Bramlett.

“It's always a thrill to be sitting in a theatre watching a movie and one of my compositions just starts playing, like the ‘Juno’ film, which had a version of ‘Superstar’ recorded by Sonic Youth.

Whilst his back-catalogue continues to be interpreted by contemporary artists, and appear on numerous soundtracks, Delaney proved he was still a creative force in later life with “A New Kind Of Blues” released in 2008.

“It says just what it is and it is just what it seems to be,” he said. “It's been a real learning process, a lot of hard work, tons of blood, sweat and tears, and a true labour of love. I love the Blues!”

Although he’d achieved more than most in the business, in later life, Delaney’s expectations were modest. “Success to me is not needing a Record Executive somewhere judging whether or not your music is going to be heard because you’re too old, or too forgotten,” explained the songwriter. “You know, music will always speak for itself.”

Whilst fans are still mourning the loss of such a talented musician, they can at least take some comfort from the probability they haven’t heard the last from him.

“We have at least five new albums to release that are already in the can,” he revealed. “Our next release is called ‘Rise Up’ - this CD is going to really get some attention.

“You know music is my life. It gives me my ultimate joy, and I hope I've been able to give a little bit of that joy back to the world.” DH

More to come from Delaney Bramlett. photo: Suzie Lanier-Bramlett

He was in the houseband (The Shindogs – JH). I came down from San Francisco. I was hanging and working with Sly & The Family Stone before they broke. He was a disc jockey and he put me in touch with this guy, Sam “the Soul”. I was singing duets with him. We were booked to go down to LA for three weeks. Delaney was in the houseband and they wouldn’t back us. He didn’t want to back a girl, so I told him to go f**k himself. After he heard me sing, he came out and said, “Oh, man!”

So, we started off on a hard note and I wouldn’t speak to him for a whole week. He was bringing in everybody to hear me sing every night. He brought in Leon Russell and all his friends. Then, on the last day, he said, “I’m so sorry; can I please have your phone number?” I said okay. He was drop dead gorgeous (laughs). He came over, we sang and he never left. We got married seven days later. It was magic. How romantic, huh?

How did Eric Clapton get involved with Delaney & Bonnie?

I think we got involved with him playing on the Blind Faith tour. George Harrison took our tapes back to the UK. Gram Parsons brought George Harrison to hear us. They taped it on a little cassette at the club. George took it back and played it to Eric, and Eric hired us for the Blind Faith tour, to open for them. It was a huge, big break.

When we got on the road, we were all on the bus, partying

and having fun and at that time they (Blind Faith - JH) were not even riding in the same limo together. They just wanted to put this supergroup together and they didn’t give anyone a chance to breath. Eric heard us play and he was up there playing tambourine with us! Can you believe that? They wouldn’t let him play guitar. Eric would ride the bus with us; him and Rick Grech. Steve and Jack Bruce rode the limos. We were full of energy. It was old hat for them. Eric just jumped on the bus and we just had the best time. That’s how we got the “Live On Tour With Eric Clapton” album on Atlantic.

It sounds like a lot of fun…

I don’t know if it was so much more fun than it is now. When you’re doing it, fun is fun! It’s just as much fun for the young ones coming up now. They have to work a little harder than we did. There’s so many of them out there.

If you wanted white power singers back then, it was me and Janis (Joplin). Now you need to have two or three pages to list them all. I like to think Janis and I had something to do with that.

What was Janis Joplin like?

She was a doll. She was full of pain. She would just try and make it through the day. My heart broke for her, but she was a good girl. She was a brilliantly educated girl. It’s not about your voice or your vocal ability, it’s about how much

“Praise God that I can get up every morning and sing my brains out. I’m so blessed. I don’t take it for granted.”

ability you have to get up there and be vulnerable. It’s about picking songs you can embrace and interpreting them.

Delaney & Bonnie also did the famous “Train Tour”, where you took a train across Canada with lots of other musicians…

From Toronto to Calgary! There was The Band, Grateful Dead, Ian and Sylvia, Buddy Guy...everybody you could imagine!

Looking back, you were making music history. Did you ever think that at the time? Nah! I didn’t think about it. I was just trying to make it through the gig. It was so much fun. I wasn’t thinking about making musical history. I really wasn’t. I’ve always sung. I thought, maybe, I’ll be famous after I’m dead, like Billie Holiday or Van Gogh. We didn’t think about making musical history.

After you went solo, you cut a record with the Average White Band (“Sweet Bonnie Bramlett”). How did you discover them? Bruce McCaskill, who was Eric Clapton’s

road manager, called me one night and played this band to me over the phone. It was a little cassette. I was like, “Oh, send this band to me immediately.” So I brought them to the United States, and I think I broke them.

You also did a lot of backing vocals during the ‘70s for people like Greg Allman and Little Feat!

And Carly Simon - you know, ‘You’re So Vain’ - and Paul and Linda, and Doris Troy…

You also sang backing vocals on ‘Giving Up For Your Love’ by Delbert McClinton…

Oh, that was so good! Delbert has a Blues cruise and all the bands are on it. We’re all on the same page when we are there – for the music. Sometimes Delbert would say I need to have a Bramlett sandwich, with Bekka on one side and me on the other, and Delbert in the middle.

You did a lot of acting in the 1980s and ‘90s... I didn’t do a lot, but the pieces I did were really good (laughs). I was just learning.

You were in “The Doors” movie. What did you think of Val Kilmer’s take on him?

I think he did a phenomenal job! I said at the time people are either going to love it or hate it, but it was just like it happened.

When we were doing the read through of the script, Val was already in character. He came to the reading in a pair of black leather pants and a white t-shirt. I was sitting across the table from him and he reaches over and touches my hand and says, “Did you know Jim Morrison?” I said a little. He looked me in the eye and said, “Did you know he was going to die before he did?” I said, “Yeah, he was a walking dead man. Sooner or later it would get to him. He was so tortured.” He (Val) walked away from the table and he nailed it.

Jim was a genius. He was a tortured soul, but he sure made the world a better place, musically.

You also appeared in the sitcom “Roseanne”… I had so much fun. Roseanne Barr was a fan of mine. She approached me and said she knew every word to every song and asked if I wanted to be on her show.

Your “Roseanne” co-star John Goodman is a bit of a Blues singer, too…

He’s from South Street, St. Louis. as well. Everyday we would sit around the dressing room and jam a little. He lives in New Orleans now. He sure knows his music. He just loves it!

Do you still enjoy singing?

It’s like asking me if I enjoy breathing! It’s the thing I do.

Praise God that I can get up every morning and sing my brains out. I’m so blessed. I don’t take it for granted at all. JH

Delaney & Bonnie, circa 1969

photo: courtesy Atco Records

n 2002, there were few greater hopes for British Blues – of either sex – than Joanne Shaw Taylor. A standout performance at Colne’s Great British R&B Festival had many salivating at the young guitar slinger’s prowess – a performance that would also land her the main cover slot of this very magazine (the only artist without even a solitary release to take the prime slot).

Several years later, however, and despite the association with Dave Stewart (Eurythmics), Joanne had disappeared off the radar, with many beginning to speculate that British Blues had lost one of its best female guitar prospects.

Fast forward to 2008, and buoyed by the success of Dani Wilde, Ruf Records gave Joanne the platform and exposure her talent deserves. Major European tours – rubbing shoulders with the best of her contemporaries – and a critically acclaimed album later, and Taylor finds herself about to wow audiences at Colne once again, and back taking centre stage on the cover of this very magazine (with another first – the first artist to take the main position on more than one occasion)…

Where did you get your passion for the Blues?

From my dad really - that’s where it all kinda started. My dad was a guitarist and harmonica player and got me into Stevie Ray Vaughan when I was 13…and then Albert Collins. I decided that as soon as I discovered those artists, there was no looking back - that’s what I wanted to do! So, my parents kinda helped me study the Blues, if you will, and told me all the important artists to check-out.

Who else inspired you?

They’ve got a lot broader over the years, lots of Hendrix, soul and Motown, particularly when it comes to singing. I’m a big funk fan also - Curtis Mayfield impressions and lots of Prince, as well - he’s an astonishing singer. Anything that is played with passion, really.

Why have chosen to play a Telecaster over the Gibson, the one often favoured by Blues guitarists?

Yes, I suppose they do actually. You don’t see that many guys playing Gibsons nowadays, though, as the Strats come through. For me, I play the Telecaster because of Albert Collins. Then, also, there was the fact, as I got to be more serious with playing, my parents said they would help me out and get a proper guitar, instead of the cheap handme-downs I had been receiving off my brother. We happened to find a 66 Esquire going quite cheap in London. I just played it and it felt like the perfect guitar - the one I’m playing tonight actually. I just found the right guitar and it just happened to be a Telecaster. I find them easier to play - they fight back a little bit more!

Why do you think female guitarists get such little recognition compared to their male peers?

I think there are less of us. I think there are more of us now - not that I’ve been round for years and years, but there are more female guitar players emerging. Saying that, I still think we are very much a niche.

I had this discussion recently with Sue Foley and Deborah Coleman, and we agreed that there’s been a lot of good female artists, guitar players that have been respected, but there hasn’t been an equivalent of say a Hendrix or Stevie Ray Vaughan - one that blows down doors and inspires millions of kids to pick-up a guitar. I think we are getting close to the day when that artist emerges. We have proved enough, so far, that we can play as well as men, but there hasn’t been that one kinda standout female artist to kick open the door a bit more.

If given the chance, which current day musician would you like to play with most?

Oh, I would probably pick someone in terms of Blues. There a couple of artists that just standout from the rest of the crowd, like Ian Siegal.

Otherwise, I’d go for Prince ‘cos it would be something completely different - the shows he puts on are so far removed from the three-piece Blues that I do. That would be pretty cool. There are lots of people I want to jam with, and I would pick someone who would stretch me a bit, and that would be him. Read into that what you will!

"There hasn’t been that one kinda standout female artist to kick open the door a bit more."

What do you think defines your guitar playing?

I can’t think too much about that; I can only go on what other people see in my guitar playing. I think the thing that keeps coming back time and time again, particularly for a female, or any guitarist, is that I’m a lot more attacking and aggressive, which is probably why I picked up on Albert Collins and Stevie Ray Vaughan. I really love that hard hitting Texas Blues. Hopefully it’s not in your face all the time. I try to play with a lot of passion and attack. Even if that means I would rather play a couple of bum notes because I’m going for it so much than miss out on the passion.

On “White Sugar”, you cover the song ‘Bones’…

That’s the one cover - a Hoax track. They were the first band I went to see live, when I was about 14 years old, and until then I’d been singing in my bedroom for a year thinking I was the only person on the planet from the age of 6 who knew what Blues was!

I didn’t need to go to Mississippi to see The Hoax play. You can imagine; two young and very talented guitarists, an amazing singer, drummer and bass player - all charismatic. I absolutely adored them and that’s been on my set-list for some years. It’s a great song. It just had to be on there for sentimental reasons.

What was it like to work with the other female Blues guitarists on the 2008 Blues Caravan tour?

I’m not going to lie, I was dreading it! I’ve never worked with female musicians before - not in the Blues anyway. I‘ve worked with a female sax player on stuff. I’ve worked with females in other areas - in bar jobs and offices when I was younger - and they weren’t always positive experiences. I just didn’t know how it was going to work. But it was absolutely fantastic! Playing with guys, you get a sort of brother/sister relationship, but you don’t get the camaraderie you have with females. It was a great experience.

Did you learn anything?

Yeah, there were lots of drinking games (grinning cheekily)… No, not really!

I learnt a lot, just working with more experienced musicians and of their pedigree. Sue Foley and Deborah Coleman have got things to teach that you really need to take onboard. Being a woman on-the-road, which is still a bit of a novelty for me, it was nice to have them to ask what I was kinda looking at. It’s a strange lifestyle we live, musicians, so it is good to get tips for what you’re in for really.

It was so nice to be around Laura Chavez and Dani Wilde, also; young girls, my age, who share the same passion I do but that are different artists to me. Yeah, lots to learn! There was lots of musical sparring and it was a good laugh.

Musicians tend to be perfectionists, are there any guitar techniques you would like to build further on?

To be honest, being self-taught, most of my technique, if I have any, was stumbled upon by accident. I don’t lie about it, I’ve had no lessons. Which is the way I wanted to play - I just wanted to play guitar, I just wanted it to be felt out. I’m

sure I’ve picked up techniques along the way.

I want to keep improving, getting better. I’m happy to let it take a natural course really, it’s more exciting. Keep working at it and see where it goes naturally.

The thing I love about Blues guitarists is they have so much personality in their playing, put on Albert Collins for two seconds or Aynsley Lister for seconds, and you know who they are. That’s something I want to keep working on!

What difference has signing to Ruf Records made to your career opportunities?

A lot! I’ve known Thomas Ruf since I was 15. I literally emailed him last July (2008) and said, “Do you fancy meeting up?” Then we did, three weeks later, and then I was making a record a couple of weeks after that. It was a very natural progress. It just felt right! I was finally ready to

Over its five year history, Blues Caravan (a travelling festival of sorts) has brought together the likes of Sue Foley, Deborah Coleman, Ana Popovic, Candye Kane, Dani Wilde, Aynsley Lister and Ian Parker.

The tours allow punters to see a selection of talented Blues artists in surroundings they’d arguably never find themselves otherwise. It also offers real value to the Blues musicians themselves, especially the younger ones taking part, as it offers an opportunity of musical collaboration and exchange in a long-term comprehensive setting.

2009 has seen Oli Brown and Erja Lyytinen join Blues Caravan with Joanne. “The trip into Europe, with Blues Caravan, has been a valuable education for me,” said Oli. “It is always a good experience being pushed to perform for different people and helps spark new ideas for my show.

Another great thing from this tour is spending a lot more time with experienced musicians and learning more about how I can further develop both my playing ability and my stage presence.”

Erja was equally enthusiastic: “I did my first Blues Caravan tour in 2006 with Ian Parker and Aynsley Lister. That was my first international tour and, of course, very rewarding, because I met tons of new people.

“This year’s line-up has been a lot of fun with Joanne Shaw Taylor and Oli Brown, both young and very enthusiastic newcomers.

“I think Blues Caravan as a concept is brilliant. It offers new artists for audiences, and gives opportunity for young musicians to show what they’ve got to offer the Blues genre. Artists can learn from each other, as well, as long as they keep their minds open. For new faces, the real job starts after Blues Caravan, though. It can really offer you every chance of succeeding. Since my first Blues Caravan, I have been busy building up my own solo act touring constantly all over Europe; around a hundred gigs a year in fifteen different countries. I’ve found out that I really want to do this job, make music with great musicians and give the best entertainment for fans that come to see my show. I feel very lucky!”

It’s obvious that Blues Caravan is more than the average gig; it’s a model for Blues exchange and learning on the ground floor! CB

make my first album - I’d been putting it off for a while because I didn’t think it could be the right finished article that I wanted it to be. So, just on a personal level, it’s brought me more confidence to know that I’ve been able to put out a record that I am very happy with and represents me and where I am at the moment. It’s certainly opened up a lot more doors for me, especially outside the UK.

You’re rooted in Blues and rock, but do you see yourself incorporating any other genres into to your music now or the future?

Again, I’d like to let those things take a sort of natural progression. I don’t think the debut album is a typical Blues-rock record - there’s a lot more soul on there and funk influences than maybe even I expected! But the Blues incorporates so many forms of music, from soul to Motown to rock. I don’t think you can say I’m a purist or a traditionalist. So, it is quite nice to keep branching out a little bit, but I hope it all keeps sounding like me!

The last of the original Blues musicians are nearly gone, the guys from the ‘60s British Blues boom are close to retirement… Where does the Blues go next?

That’s a big question… It’s hard to answer that question from the inside, from where we are now. I think it is changing in a positive way, from what I’ve heard, there are a lot more artists my age, and younger, emerging than there were ten years ago. I think its growing up and reaching a new younger audience.

We’ve reached a peak at the moment, where there is a lot of emphasis on the guitar, so I think we are going to see a shift more again to songwriting. I’m probably completely wrong and it’ll turn into acid or house music!

What’s on the agenda for the rest of the year?

Obviously the album’s out and I’m touring with Blues Caravan - lots of gigs in Europe. Then there’s lots of practice. I need to keep working hard for the next two years, build on the new album… I’d like to get over to the States!

Is there anything else you want to say?

I want to say thank you to your readers and the Blues supporters who have been coming to my gigs for the last ten years. I hope you are happy with the album. CB

Blues Caravan 2009: (from left) Oli Brown, Joanne and Erja Lyytinen.

o-fi sensibilities and a penchant for classic ‘60s and ‘70s southern and Blues-rock, it’s little surprise the Buffalo Killers can count the likes of The Black Crowes and The Black Keys amongst their most fervent supporters.

Having disbanded Thee Shams after four albums, Andrew Gabbard, Zachary Gabbard and Joseph Sebaali have honed their writing and musicianship on two Buffalo Killers albums that have seen the outfit compared to a who’s who of vintage rockers, from Neil Young to Blue Cheer, from The Rolling Stones to Lynyrd Skynyrd…

Whilst there’s little chance the trio will adopt the image makeover and overblown production techniques that have brought Kings Of Leon worldwide domination, high-profile touring and increased critical appreciation suggest they may take a fair chunk of America…

White picket fences, hometown vixens, and American flags draped outside every door. The northern belt States bordering the Great Lakes reflects the stereotypical images of the country’s heartland, through hard working collars, conservative values and dirt-laden fingernails. To the musicians who reside in their barrooms, the psychological burden of conquering New York or Los Angeles is nothing more

than a faint afterthought. The glistening spotlight stemming from their cultural epicentres couldn’t be farther away.

For Ohio, its rock’n’roll is as all-American as its inhabitants, drenched in a philosophy that is rooted in the core of traditional expression: the Blues. Born in the fields of the Delta and electrified in post-Capone Chicago, the plight of the American Blues musician, and its eventual influence on English wattage, yielded a new breed of modern practitioners creating recordings of scorching Blues-based garage rock. They favoured the distorted to the pristine, the moan to the pop falsetto, and the hum of an open road to the countdowns of MTV.

American rock’n’roll has been exiled to the underground by mass media and big business. But under the scab of mainstream pop and revolving trends, the ugly, battered soul of vintage laden Blues has managed to survive.

What’s left is an America divided by musical factions of ideology and relevance. In the East, bluegrass still reigns in the hills of the Carolina and echoes through the sootladen air of coal mining Virginia. New York demands sleek engaging expression, while Brooklyn stands at the cusp of hipster cool. In the South, time stands still as musicians encase themselves in the depths of local music scenes, too rich and diverse to ever leave. Across the Great Plains the Rocky Mountains are buried in an avalanche of jam, while Western shores are overrun by freak-folk extending the lineage of Gram Parsons’ Flying Burrito Brothers hammered

photos: John Curley

by the psychedelic collisions of ferocious organic rock. But it is Ohio, which holds the catalyst for emerging mojo workin’ reinvention.

Mixing vintage tone with growling guitars, a Bluesladen Ohio based trio is formulating passionate testimonials of lost love, desperate aggression and reckless endangerment. It is the nation’s underbelly and with the release of their sophomore LP, “Let It Ride”, in July of 2008, the Buffalo Killers have been hatched upon the age in a time of desperate need.

“My brother and I grew up in a musical household,” says Zach Gabbard (vocals/bass) while sprawled out across his bed back home in Cincinnati. “Our father played guitar and because of that we grew up listening to Neil Young, The Grateful Dead, Crosby Stills Nash & Young, and New Riders Of The Purple Sage from as far back as I can remember.

“We were groomed to do this,” Gabbard says. “If we wanted to be exposed to new music, it was a matter of rummaging through our father’s record collection. If we wanted to play an instrument, amps and guitars were littered throughout the house.

“Being from Ohio we were surrounded by a lot of great groups. The Greenhorns were natives, as well as the The Afghan Whigs. When we were younger we were huge fans of the latter. As a matter of fact, their bassist, John Curley, has a studio here, which is where we recorded our debut LP. “There was no pressure for us. It wasn’t like having to play or establish a project in New York. For us, it was about the music, not how we looked,” Gabbard offers.

ALIVE

“I’m a traveling man just a pushing ahead. We’re a traveling band looking for a bed. We’re not trying to bite you; we’re just starving to death.”

The buzz surrounding the Buffalo Killers origination was sparked by three events; a reinvention, a recording contract, and a Black Crowe. Emerging first as Thee Shams, Zach Gabbard, Andrew Gabbard (guitar) and Joseph Sabaali (skins) began to pave their way through the local network as a hard-hitting garage outfit, ultimately catching the attention of Black Keys guitarist Dan Auerbach. A friendship ensued, but upon the group’s crumbling, Auerbach, according to both parties, was never told.

While fans and friends were in the dark about the future of the trio, the gears inside the project’s creative wheel were turning. “It was a time for us when we were starting over,” explains Gabbard. “In no way did we think we would be working on a record. It was a time of heightened creativeness. We recorded five songs under what would be this new project. I mailed the disc out to some people with nothing more than my home phone number and ‘Buffalo Killers’ scribbled on its face.

“Two days later, I received a phone call from California,” says Gabbard in reference to the voice of Alive Records founder Patrick Boissel. “It came as a shock. Here we were - just looking to catch our bearings, and the next thing you know I am telling someone, ‘Yes, we do have the rest of

Buffalo Killers: (from left) Andrew Gabbard, Zachary Gabbard and Joseph Sebaali.

“A lot of the problem with digital recording is not the sound quality,” says Black Keys string bender Dan Auerbach. “The problem is the editing function it allows you. I feel like you can get lost in the smallest detail instead of keeping focused on the big picture.”

There was only one topic on my mind when Dan Auerbach took a few minutes to discuss production and recording. That was tone. Whenever I used to drop a needle to a Black Keys LP, all I can think is, “Damn, this sounds like a good ol’ fashioned early morning walk of shame back to the college dorm.” It was that grit and abrasiveness to the fuzz that seduced me every time.

“It’s those little mistakes,” answers Auerbach. “Those tape splices you can so distinctly hear. They all become the things that you eventually love and memorize. They are the things that mold itself to the song.”

“I am not an analog purist or anything; I just think it sounds better. But what it comes down to is the engineers behind the board who over indulge in the functionality of digital equipment. Things today are automated and processed to a point where it leaves this nauseating perfection in the sound. That is what I think brings the quality of the music down,” expresses Auerbach.

In a follow up inquiry wanting to dig even deeper into the inner workings of what produces the ‘vintage’ sound, Auerbach comes back defiantly.

“It’s simply rock’n’roll,” he offers. “People can make modern recordings that were tracked and still sound live. It has nothing to do with sounding vintage. Like I said, great records are made digitally; really interesting and cool ones at that. But it is when guys get paid a lot of money to f**k around with the mix on the computer that the music begins to loose its appeal.”

“It is a dying art, the engineer,” Auerbach says. “It is a shame. I have been listening to a lot of music lately where all of the drums are recorded in mono. The recording itself is two-channel stereo but just the actual drums are in mono. 99% of the time they sound way bigger than modern drums. These guys have 6000 microphones on the kit, and it sounds compressed to hell.”

“Do you know who I really do appreciate though,” says Auerbach, as he prepares his conclusion. “Rick Rubin. That guy is awesome!” MH

the material prepared; send us a cheque and we will finish the record.’ It then became a scramble to book additional studio time and do whatever the f**k we needed to do to finish the first record,” he expresses in an exhale of nostalgic urgency.

Gabbard continues, “Dan (Auerbach) didn’t know we formed a new group until he heard the first Buffalo Killers album and realised it was us. He called me wanting to know why I hadn’t gotten in touch with him to tell him about it.

“The reason was that we wanted to start over and didn’t want to approach audiences, as well as friends, as a band rising out of the ashes of another.”

“I have been into those guys for a long time,” says Black Keys co-founder Dan Auerbach. “Back when they were Thee Shams, I brought them on the road with me. I didn’t hear anything from them in a while after they disbanded. The next thing I know the Buffalo Killers first record is coming out. I bought a copy of it and was stunned. Just like, ‘Holy shit!’

“They had transformed from a good garage rock band to light years ahead of what they were doing in terms of songwriting, arrangements and harmonies. Not to mention Joseph Sebaali is an animal behind the drum set.

“The entire conception was particularly impressive.”

The last piece of the puzzle came with touring in support of the debut LP, as Gabbard will explain. “Things started to happen for us when we went to Los Angeles to support the first record. A drummer friend of ours came that night and told me that Chris Robinson of The Black Crowes had told him about the show. I was kind of taken back.

“All I could think of that entire night was, ‘Chris Robinson heard our record!’

“We were just going to California to play some shows in support of that first record. We were firmly under the impression that no-one was going to show up. We figured we would make some rounds, play to a few people, and then upon returning we might have something cool going on.”

People did attend those LA shows and, as a result, The Black Crowes handpicked the Gabbard brothers to open for them while touring the United States in 2007. The invite was extended again to join the upcoming fall legs of the 2008 Black Crowes “Euphoria Or Bust” tour.

“It was a big f**king deal for me when Chris (Robinson) asked us to go on the road with them. I grew up listening to that band – for us, it was like touring with The Beatles,” offers Gabbard.

LET IT RIDE

“Let it ride, don’t you hide. Cause tomorrow might never come so won’t you let it ride. Don’t you lie or wait one minute.

Just hold up your hand and make a stand.”

Recorded over two weekend sessions in the studio pro-

The Key: Dan Auerbach.

ducer Dan Auerbach built from the ground up, with vintage décor, classic equipment, and mathematically perfect acoustic architecture. The Buffalo Killers soaked in a relaxed groove as they laid the tracks for their sophomore LP.

“The atmosphere surrounding this record was completely different from the debut,” says Gabbard. “We knew exactly what we were doing, and what we wanted to do. Half

of the songs were already fleshed out on the road. When we returned home, we went right into the studio for the sessions that would be ‘Let It Ride’.

“The reason why I got involved was because I was simply a fan of the band,” comments Dan Auerbach. “I invited them up to my studio. Zach called and basically said they were ready to make a record. Plans were then made.

“It only took a few days - they were rehearsed. As a producer, I was there to bounce ideas off of. They are the kind of guys that don’t need a lot of help when it comes to making records or sparking their imagination. They have so much natural ability and talent. I was just there to answer any questions or to give some input, and, most importantly, to capture their raw live sound. Half of ‘Let It Ride’ was done on tape.”

As the record spins, sustained feedback and scorching distortion leads ten tracks of foot stomping garage Blues, with standout songs including ‘It’s A Shame’, ‘Take Me Back Home’, and ‘Black Paper’.

“I think anytime you get talented musicians together, who are writing original music, it is important,” Auerbach continues. “They may not be important to MTV, apparently they don’t like to see real musicians playing their instruments.

“I am partial to people who have an idea of past music and that sound; because that is what I like. I like sounds from the late-50s and 70s, not necessarily the songs, but the tone. The way things were recorded back then sounded better. When the ‘80s came around, things seemed to go to s**t. Engineers and producers took liberties with sounds, and really screwed up a lot of recordings.”

“It is beyond the point of faking it these days,” Zach

Gabbard states as he takes back over the reigns of ideology commentary. “There is so much fake s**t out there that people can see right through you. We are living what we do. We are not in it for the money; we are in it because we want to say something. I have no other ambition in life other than this.

“Playing music onstage is the most joy in life I have ever experienced. Having a child or being in love cannot compare. I cannot stop doing it. It is better than any drug you will ever take.”

Gabbard could not have hit the nail more squarely on the head. The battle between integrity in rock’n’roll and shameless existence comes down to a conflict of interest, the mixing of business and art. We revel in the idea of our musicians staying pure but the burden of basic living sometimes is harder and more stressful than preconceived.

It is the artists who have left radio, left marketing tactics, and hit the road with nothing more than blind faith that are the ones who sustain not only credibility but also longevity. What keeps them going and focused to the truths present with the essence of a dimly lit stage is the accompaniment of nightly interaction with live audiences at the mercy of creation. That is the fix. Those are the artists we yearn to believe in and, for the time being, the Buffalo Killers are one hell of a drug.

“If you are going to watch television and think that is what music is all about – I don’t know what to tell you. Nobody is going to be picking up Backstreet Boys records in thirty years and praising them as fu**ing fantastic,” offers Gabbard. “Rock’n’roll has gone back underground, and that is how you want rock’n’roll to be! You don’t want to be on MTV, you want it to be yours and that’s what it is again.” MH

hatham’s Pete Molinari has found himself with a reputation born through genuine talent and trendy street-cred. Originally cooking his unique style in Billy Childish’s kitchen (debut album “Walking Off The Map), having already followed in the footsteps of his idol Bob Dylan - spending eighteen months performing in the bars and cafes of New York’s Greenwich Village –Pete has enjoyed widespread critical acclaim and international exposure with second album “A Virtual Landslide” – recorded at the legendary Toe Rag Studios on analogue equipment.

Sporting snappy suits, cool boots and memorable millinery, his most notable asset is his distinctive voice and a belief in putting principles before personalities…

BM: The language of the troubadour is rich in multilingual puns, double-entendres, allusions of paradox and allegory. You seem to me to be the archetypal troubadour. Is this a burden or is it liberating?

Pete: Well, words are just words - it's the meaning of words

and the resonance behind them that matter.

I don't believe I am an archetypal troubadour, but if that’s what people want to make of it then that’s okay. I don't like to play around with words too much and would rather it came out the way it was felt. I think troubadour is another label that people have to try and use.

I don't find anything a burden. Liberation is what all humans are searching for, are they not? So, I guess, I would like to think of what I do and create in this world as liberating.

And much is made of your artistic and creative integrity, because of the New York café bar scene. Was it really as romantic as it sounds?

Well, yes, maybe too much again is made of these things. It was romantic and I see it that way, but no more romantic than going to the park today and looking over the river. I am a writer and a musician, so I guess that just by the nature of things I find life romantic and dramatic. Something that is kind of unfolding as it should and doing what I can to see things as only I would see them, and getting that down into a song or a poem or a tale of some kind. All these places have their illusions.

To play the Blues, people say you have had to have suf-

"Suffering has a lot to do with that identity of the Blues, but suffering and loneliness doesn't have to come from being in a certain place. It's a state."

UNSHACKLED

Courtesy Sony Music Entertainment, we have 3 copies of The Derek Trucks Band’s new album, “Already Free”, to giveaway. The band have already enjoyed top-20 success with the album in the USA, with many seeing this collection as the springboard for the former child prodigy to emulate the success of notable supporter Eric Clapton. The album once again fuses elements of Blues, jazz, rock and soul, with Mike Mattison’s soulful vocals and Trucks’ expert guitar playing to the fore. derektrucks.com

PLAY IT SIMPLE, MAN

Courtesy Lick Library, we have 3 copies of “Learn To Play Lynyrd Skynyrd” to giveaway. The new doubledisc guitar tuition DVD features the songs ‘Sweet Home Alabama’, ‘Gimme Three Steps’, ‘Tuesday’s Gone’, ‘Simple Man’ and ‘Freebird’, with each number broken down into bite sized parts, including intro riff’s, solos, verse, chorus, outro and key phrases. licklibrary.com

TAKE NO-NONSENSE

Courtesy New Internationalist, we have 2 copies of Louise Gray’s “The No-Nonsense Guide To World Music” book to giveaway. The book sees Gray explore the political and cultural traditions behind a range of world music styles, from the Delta Blues to the Portugese fado. Interjected with anecdotes and interviews, the book includes a comprehensive discography. newint.org

To be in with a chance of winning one of these prizes, subscribe, or subscribe a friend, by 24th July 2009. 01656

Trucks’ star keeps rising.

It’s understandable Pete Molinari says he prefers the name James Hunter to that of his previous alias Howlin’ Wilfthe latter hints at ridicule, even though it’s actually out of respect of the Blues origins it aims to promote.

Blues names are the ones people identify with; names that capture the imagination and capture the authenticity of traditional Blues. Genuine nicknames derived from physical appearance, misfortune or, indeed, a rare talent. In other words, they were classroom nicknames borne out of affectionate familiarity and community, and quite often from isolation and hardship. Do the new Bluesmen and Blueswomen have the environment and experiences to earn themselves such names? Probably not. That’s why today’s monikers are often seen purely as a marketing concoction. Our Blues elders are also fashioned by a spiritual tag, linked again to the devotional community and gospel authority. Rise up Rev. Gary Davis, Rev. Rubin Lacy, and Rev. LeDell Johnson.

The Blues describe a mood and an emotional intensity. What then of red? We welcome Tampa Red (Hudson Whittaker), Louisiana Red (Iverson Minter), and Big Guitar Red (Vincent Duling). Red has an element of sexual danger, and is also the colour of Old Nick. Red is a good colour to promote the Blues.

Size isn’t important to Little Willie Littlefield, Lil’Ed Williams and Little Charlie Baty; nor to Big Bill Broonzy (William Lee Conley Broonzy), Sunnyland Slim (Albert Luandrew), or the first Guitar Shorty (John Henry Fortescue). There are so many more. One Legged Sam Norwood starts the frame of disability; accepted use when the musician has talent, in a world before political correctness. The visually impaired such as Blind Boy Fuller (Fulton Allen) are well represented, as are the curiously impaired, for example, Homesick James (John William Henderson) and Seasick Steve (Steve Wold).

Some Blues acts, like Leadbelly (Huddie Ledbetter), Muddy Waters (McKinley Morganfield) and Howlin’ Wolf (Chester Arthur Burnett), are revered so much that their names are never considered oddities. Others just make us smile with knowing admiration. Take a bow Stovepipe No. 1 (Sam Jones), Bumble Bee Slim (Amos Easton), Long Tall Friday (real name unknown!) and Jelly Belly Louis Hayes.

There are those whose name, without an appending nickname, is their brand; Elmore James and Robert Johnson from the beginning; John Lee crossing the generations, and Stevie Ray, for modern example. Then a certain Blind Lemon Henry Jefferson began his musical career under the pseudonym Deacon L.J. Bates, and then reverted to his own name. Maybe it was James Hunter’s plan all along! GH

fered, if true, is that from New York or Chatham, or somewhere else? Can you play the Blues if you're happy?

I think the Blues is an expression of feelings. Suffering has a lot to do with that identity of the Blues, but suffering and loneliness doesn't have to come from being in a certain place. It's a state. I do believe that depth can only come from experience, but who can tell where that experience has come from? I think the whole meaning of playing the Blues is to reach out for a state of happiness.

How is Chatham? I feel it may have seen better days... Chatham has a good and a bad side. I guess sometimes the darker side is more obvious but, like anywhere, all these things are illusions. It's quite a hard place to grow up in, but then my upbringing is a whole different subject. I grew up different to other people in Chatham and, of course, we all know that we are more than our environment.

So, you're on the world stage now. Are there any countries that have taken you by surprise when you've toured there?

'Sweet Louise' seems to be an audience favourite...

I guess 'Sweet Louise' does seem to be growing that way.

I haven't really had many culture shocks, as I don't set myself apart much. The shock comes from when you con-

sider yourself detached from things around you and I see myself as being very much apart of that big picture. Of course, there are different places from the place you grew up in, but if you look closely, and integrate with the life around you, then you will see that it's not that different. Places are places. People are people. Loneliness is universal. You are not immune to these things if you come from the big city or if you come from the small town.

Have lost intimacy at the bigger venues?

Well, from my own experience from going to a stadium once, it didn't feel the same as being in a smaller room listening to whoever you were listening to. I prefer indoor places because of sound. Being in an outdoor environment does seem less intimate. There is something magical about playing places like the 100 Club or small cafes in New York or Paris. I recently went to The Albert Hall and that looked magnificent to me. It was like a big church; and still seemed to have the intimacy. Carnegie Hall in New York is another one of those venues.

I read if you're not singing, you are writing poetry or

Being himself: James Hunter.

painting? Which is most important to you? Singing is something I cannot remember not doing. I always sang, so I guess that would be the thing that would come first to me. The sound of the voice is something you are born with and can't really change, so if we were to look at it as some kind of gift then I think the voice to be the most valuable thing. However, I am always writing and I like to paint, and we all know how important expression is for the soul.

Your unique singing style has captured the imagination of a wanting audience. Do you see yourself with the same voice in twenty years time?

I always sang, whatever I was doing; if I was walking to school on my own, I was singing while walking there. It gives you a sense of not being alone. I guess going to places and playing to audiences helps your performance and delivery, but I see it that I sang with the same feeling and passion when I was at school as I do now, and will do for as long as I sing songs.

How far do you plan ahead in your musical ambitions? Do you have sketch of what you want to do in the future? No, not really. I try to think about the day. What the day

gives me and what I can give to it.

Your latest album, “A Virtual Landslide”, received fantastic reviews. Do you read the reviews?

I read them sometimes, when someone point's them out to me. Everyone wants to be a critic of some kind. I don't read into it much either way. I, like anyone else, enjoy the recognition, but try to go about my work and life in my own way. It's not going to affect me either way.

“A Virtual Landslide” was also a title from a single a couple of years back. Is there a special significance?

No real significance. It was just a song title like any other, and we thought it would be a good album title. If anything, it was about feeling everything is against you. But even when everything is against you, if you let go of certain things - like pride - and don't hide from these things then it can't stop you. Nothing can really stop the times can they? Maybe together we can change them.

You toured with James Hunter, formerly known as Howlin' Wilf. If you had to give yourself a Blues name, what would it be? Ah, I'm not much for that kinda thing. I prefer him as James Hunter. Names are names. I don't think Blues has got anything to do with a name. Someone did once ask me if I thought of changing my name. I was like “What?! With a name like 'Molinari'?!”

Who are your Blues heroes?

As you may know, I am more with the past where Blues is, but I like variations of it. I like James Hunter, Billy Childish, Madeleine Peyroux... Of course, I always listen to Son House, Robert Johnson, Billie Holiday, Leadbelly, Blind Willie McTell, Howlin’ Wolf, Bessie Smith and Muddy Waters. I look at all those timeless musicians with as much awe and amazement as I always have done.

You seem steeped in traditional values. Does this mean you prefer old fashioned vinyl to the digital electronic medium?

Traditional is another one of those words like vintage and retro that I don't understand much. I like to think of great music or great art in general as something timeless; something that has content over style and form and will sound as good many years in the future as it did in the past.

I do like the format of the vinyl. I feel more excited about looking for something that way than I would a CD or just getting some digital interpretation.

I saw a review that said you had a voice like the high-pitched whine that Bob Dylan and Neil Young have. How does your ego cope with such back-handed compliments?

It's easy for people to cast quick and simple judgements as soon as they have seen or heard you. You only have to play the harmonica and someone will say this or that or liken you to whoever. I don't really think I sound like anyone, but they are usually fine musicians, which I like, that I get compared to, so I guess the best way is to only take it as a compliment and not think too much about it.

What's with the red hat?

I like hats... and I like red. GH

ritish-born, Australia-bred, and now America-based, Harper’s music is equally well-travelled; mixing western rock, Blues and soul with indigenous sounds from around the world – equally proficient on the harp as he is the didgeridoo.

With such a vibrant musical canvas, it’s little wonder Harper’s music has won favour internationally – including here in the UK –and attracted major support, via US Blues label Blind Pig. But whilst initial awareness is granted thanks to his interesting and innovative use of instrumentation, it’s as a socially aware and profound songwriter that he has built such a significant and loyal fanbase. With the multi-award winning performer set to bring his unique show to these shores again this summer, Blues Matters! shares in Harper’s passion for the Blues past, present and for future…

BM: Tell us a little bit about yourself?

Harper: I was born in Guilford, Surrey, but I grew up in Perth, Western Australia and now I live in Michigan, USA. So, I’ve lived on three different continents.

I had been composing and performing music in Australia for many years and, after a while, I decided to tour America. After being signed to Blind Pig Records in 2004, I felt it was time to move to America to promote the CDs more vigorously, and so formed a band to tour constantly.

Your music features a didgeridoo. How did you come to play this instrument?

I met a Hopi native in Colorado, USA and it made me realise how little I knew about the indigenous people of Australia. So, I made a decision to learn more about these deeply spiritual people. I was always fascinated with all indigenous instruments, and after jamming with a didgeridoo player in Australia, I felt I had to learn how to play it.

How do you feel the instrument fits into the context of Blues music?

The didgeridoo (Yidaki - CB) has a haunting droning sound which marries well with the raw feel of Blues. It seemed to me that the Blues opened its arms to this ancient instrument, born of a people who have faced annihilation.

You’re renowned also for your harp playing, using electronic enhancement and feedback breaks. There is obviously musical innovation and a creative factor involved here, but what draws you to this style of playing over the conventional harp playing technique?

I was a frustrated guitarist, but I seemed to take to the harp quite naturally. I wanted to mimic guitar licks with harp, which seemed to give me my own style of playing. So I played harmonica like it was a guitar. I was also fascinated in making rhythms with my playing, like a rhythm guitarist, to accentuate my music. I spent many years searching for amps and microphones that would give me the sound I wanted. I ended up having my amp built from scratch using a Fender Bassman 59 reissue as the shell. I have found the “Shaker Retro Rocket” crystal mic to be my favourite mic. I’ve always been outside the box - even the fact I will do shows and people will say, ‘Well, he’s a good harmonica player but he’s just too different!’ Well, isn’t that the idea? You get these people saying, ‘Who's the greatest harmonica player and who’s greatest…’ Who cares, it’s not meant to be about a competition. It’s meant to be about playing. If Freddie King was out there now, he’d be doing some really out there stuff. He wouldn’t just be sticking to the I, IV, V. He was trying to get out of that mould.

The only way we are going to save Blues is to actually open it up more! If you just stick to the same old thing, noone is going to be interested. How many people can do a Muddy Waters tune forever and ever? He was the best at it, no-one’s going to be better - his voice was unique. He had a reason to sing those songs, but I don’t have that reason. I wasn’t treated badly because of the colour of my

"The only way we are going to save Blues is to actually open it up more! If you just stick to the same old thing, no-one is going to be interested."

skin, and kicked out of places. I’m not going to do that because I just don’t think I need to repeat what someone has already done, when it is not really me.

What’s Harper’s definition of the Blues?

Blues is an honest and sometimes very raw expressionistic music, played with extreme passion.

You have recorded a number of CDs. Which has given you the most pleasure to record and why? That was “Day By Day”. It’s my favourite. It was the first one I recorded in America. To me, it was a special time to do one in the States. The rest was recorded in Australia, so it means a lot!

Which players have influenced your Yidaki playing?

No-one influences you with that; it’s a very personal internal thing. The thing that influences you is the Aborigine culture and the way they use it spiritually. They use it for healing, for collaboratory storytelling, for the ‘Dreamtime’. They have a lot of stories about ‘Dreamtime’. The more you play it, the more you learn. You get more involved in it, and it works with your body. So, can’t really follow someone else’s playing, you can’t copy it. It’s not that kind of instrument. You don’t do that, you just improve yourself by listening to the didgeridoo and just playing it. It’s a spiritual thing, you just get better and it takes years to achieve what you’re going to achieve with it.

You’re a songwriter favouring the storytelling mode of writing. Why does this appeal to you?

All Blues music was formed by storytelling, and I feel that Blues is my canvas to paint the visions I have for my songs.

Your lyrics, even the ones about love, have strong social commentary. The traditional Blues style is more simplistic and personal. How important is it for you to make such comments in your songs?

They are always about stories. I like to find interesting stories. I don’t do many love songs because there are millions of them out there. I get annoyed at certain things governments do in the name of a load of crap. So, I look into what they are doing and see where they go wrong. Say, for instance, the American guy - George Bush, he was just about oil. It was too obvious that entire Iraq thing, but sadly a lot of people don’t read more. For instance, America put him in power in Iraq and now they pull him out in anger! It’s just weird, the whole thing is just about politics - it was a game. I like writing songs about it because it’s child’s play to me, the silly things that they do.

How important is it in modern music to stay in contact with the roots of music for you, as well con-

Harper is one of those performers whose music blossoms, in creativity and innovation, in the live setting.

“A live show is like seeing music in a three dimensional setting,” stated the performer. “You see, feel and hear the music.

“As a musician, performing live is euphoric. You feel such an amazing high at a great show which is enhanced by the audience reaction and the band’s spontaneous improvisation.”

If live music is important to the future development of the whole musical spectrum then we are forced to consider how the present world economic crisis is affecting the live circuitespecially in the UK, with pubs and small venues being the grassroots of music. These are the breeding grounds, the nurseries of our future musicians. The British Blues scene of the ‘60s of Alexis Korner, John Mayall, The Rolling Stones, Eric Clapton, Paul Jones and co. didn’t start on large stages in concerts halls. It began in small venues like the Crawdaddy Club, Ealing Club and Eel Pie Club, and nurtured a new generation of Blues and rock artists.

In December 2008, more than 200 MPs called on the British government to back a five point plan to save “great British pubs,” with Lib Dem MP Bob Russell pointing out that five pubs were closing down in the UK every day.

“The current economic climate has hit some live venues very hard,” revealed Harper, when asked about the situation in the US, “but new clubs always seem to open.

“Everything goes in cycles, we have downturns and we have upturns, ebb & flow. The live scene will re emerge because people still love to see live music. I haven’t found too much of decrease in crowd numbers here on our tours.”

There is a light on the horizon for the Blues. It is being reported in the media that at this time of recession, music fans are turning back to the Blues for that schardenfreude experience. But the Blues cannot be complacent.

Harper tours the UK from August 2009, at the following venues: Hartlepool The Studio (29th August), Leicester The Musician (30th), Southsea The Cellars At Eastney (1st September), Northampton Malt Shovel Tavern (2nd), Keighley Bronte Blues Club (4th), Sheffield The Boardwalk (5th), Oxford The Famous Monday Blues Club (7th) and Oxford Robin 2 (8th). CB

Harper blows his own didgeridoo.

photo: Tony Winfield

tinuing to be involved in music’s innovation?

To go back to the roots is how you move forward. To feel the passion is how you understand the stories.

In your MySpace blog, you mention jamming with Walter Trout and Ekoostik Hooka. Who else have you jammed with, and who would you like to jam with?

I’m going to be jamming with Sugar Blue. I met Sugar years ago in Chicago - he had a few problems, but he’s over that now, which I’m glad about because he’s my favourite player of all time. I think he’s the most interesting harmonica player I’ve ever heard. To be jamming with him will be really nice. I’ll be nervous standing next to the man I regard as the master of the harmonica.

I’ve played with Journey and that was a lot of fun because it was out-the-box. A heavy rock band with great players, and I got up on stage with them!

Besides influencing your search for Aboriginal music in Australia, how else did your meeting with Dan Running Bear influence you and your music?

He was playing in Colorado and we just sat around talking for hours. It was just really about the Native American stories. How they’ve lost a lot things. He said, many Americans had lost their spirituality, and I said, “Hasn’t half the world?” He was the one that made me go look into the Aboriginal character. I feel embarrassed that I hadn’t really looked into it hard enough. I guess, for me, it was just meeting him and going, “This is really cool, hanging with a Native American that is really deeply into it.” Well, I wanted to find out if the Aborigines had this same depthand they did! How he got me in there was just by sitting next to this guy, like a little schoolboy next to this guy, with the wisdom coming out of him and just learning about his, the Hokie nation, and the way they deal with things - it’s interesting. It’s a pity that people don’t get mixed up in that sort of thing because we’ve lost a lot of our spirituality. The way people replace spirituality is by going shopping to fulfil their emptiness! I don’t mean going to church, it’s not that sort of spirituality, there was a lot stuff around before churches came in - I’ve always regarded them as a political instrument of control, and spirituality is a lot different to that. Lets face it, half the wars are fought over who’s a Christian and whose a Muslim, and really we are all on this little planet and its starting to shake and shrivel a bit. Its time we got over that and started to care about the planet a bit more. You started your musical career playing trumpet, euphonium and harmonica. Do you play any other instruments,and do you use any in your shows?

I’m taking up a new instrument soon - I’m going to be looking into the “Sheng”, which is the oldest harmonica in world. Maybe a Chinese empress invented the first one, I don’t how long ago, but it was the first one. It’s a really unusual looking thing. It’s got water in it and you blow into it, all these reeds, and it sounds really nice. I really like it. They say it’s the forerunner to the harmonica made by Buschman, who was the man who did the first harmonica. I like medieval instruments, so I’m looking at them at the moment. There is one that is made out of a sheep’s stomach you blow through, that’s kinda weird. They were invented I believe in India, which was the first place to have the rudimentary one. Then the Scots got it, but I‘m not sure how.

What plans does Harper have for 2009, and where would you like to see your career advancing next year and beyond?

I had planned to release another CD through Blind Pig Records in 2009. We were thinking about the economy being so bad, so instead of writing it and wasting this year, we thought we’d let it all come good this year and put it out in 2010. Everyone’s so depressed at the moment. I thought it was just America, but you go around and it’s everywhere. A tour of UK and Europe is planned for August/ September 2009. I am also working on the music for some other projects, such as “The Trouble With The Alphabet”, which is a book that highlights the plight of children around the world. There are also some film soundtracks in the works.

Is there anything you want to say to our readers?

Music is a passion, go out and be passionate! CB

aughty Jack, a.k.a. Adam Morley, chose not to follow in the family tradition (both his father and father before him were preachers), and instead became an itinerant musician; serving his musical apprenticeship on his travels (including time as part of a Venezuelan Waltz Band) en route to becoming the latest asset for contemporary Blues.

With a revered Glastonbury appearance already under his belt, and his debut CD, “Good Times”, bringing comparisons to such luminaries as Tom Waits, Morley has been tipped to takes the Blues to the mainstream in the same way Seasick Steve has – and send Dobro sales rocketing!

Whilst musically, he shares little with Steve’s raw sound, the chances are Morley’s laid-back delivery and contemporary stylings will prove even more successful…

BM: Why are you called ‘Naughty Jack’?

Adam: I’ve been called many things, but of all the nick-

names I’ve had, basically, Naughty Jack is the one which I thought would look coolest on an album. I guess one of the things I was called as a child was 'Got Stuck Record', because I had a bad stammer, which I still sometimes get now. So, the kid at school called me Got Stuck Record, but that didn’t have quite the right ring to it.

For the last five or six years now, a friend of mine has put on a DIY music festival on his parents’ farm in Cambridgeshire called Farmageddon. We formed a spoof rock band to go and play at the festival. Being a spoof rock band, we needed really cool names. So, I was called Naughty Jack, which is named after that scene in “Spinal Tap” where they are planning a rock opera about the life and times of Jack the Ripper. I think the tune goes something like, “He’s a naughty one, saucy Jack.” It’s a slight misquote but basically named after that. It seemed to stick!

What made you take music up? Why the Blues?

When I was a child, my brother and I had some friends we would go and have sleep-overs with. The film “The Last Waltz” by The Band, we used to watch that again and again. That kind of links through to the anyone who is in that film; Muddy Waters, Dr John, Eric Clapton, Paul

"I feel that the problem with Blues isn’t in the music - the music is very much alive! I feel that it is more in the way that it has been labelled."

Butterfield, etc. Anyone who was in that film, we would find out a bit more about them. I ended up forming a band with those lads. My dad’s a preacher, so he let us use the church hall, and we started doing gigs to our family and friends. There were probably more people in the band than in the audience!

When I was a teenager, I discovered Jimi Hendrix and that was me set. Thought it might be good way to get a girlfriend - it didn’t work straight away, but it ended up being helpful! That's how I got into music, and then I moved away and listened to all kinds of stuff.

I never really planned to make a Blues album, when I made “Good Times”, but since it has been out, everyone has been responding to it as a Blues album. This is kind of nice for me, because it reminds me that this is where I started from.

Would you like to tell me something about the thinking that went into the making of this CD?

I’ve played lots of different kinds of music in the last decade or so, and I didn’t want it to sound like a confused rehash of lots different kinds of style. I wanted it to hold together as one piece of work. I wanted to find a way to take everything I’d learnt about music and life, and really blend it. I figured a good way to do that was to give myself a week to record it. Lock myself in a house to get it recorded – focused and single-minded. I said to myself to just use the Dobro, the guitar, one vocal, double bass, which I would add afterwards - but no overdubs, no re-recording, or adding backing vocals or extra production afterwards. I really wanted to try and capture the mood. It was in that week when I was snowed in up in the Peak District. I’m pleased; it does certainly take me back to that time. Hopefully it holds together as a piece of work.

What drives you to write your songs?

Making music makes me feel alive! It’s what I think life’s about really, like all the other things that give me that same feeling - love, friendship, nostalgia, sunshine and alcohol! All of those things make me feel alive and those are things I’m drawn to writing about in my songs. I really think that’s what life is all about. We all have things in life, which are not what life is really about, but have to put up with them. But there’s no point talking too much about those things when you’re playing music.

The title track, ‘Good Times’, is a very eclectic mix of music rooted in the Blues. What was the inspiration behind the song? That song is painting a picture of myself and my friends when we are old, grey and sitting in the sunshine, drinking rum and strumming guitars. I’m not entirely sure that’s what being an old person is like in reality but it’s certainly a nice idea. It’s about nostalgia really. Musically, I was particularly inspired on that song by Nina Simone’s ‘I Wish I Know How It Feels To Be Free’, which I just think is a wonderful track in the way she builds the vocal throughout the

song, and the drama going through it towards the end. That particular song makes me feel nostalgic. So, I’ve kinda used a similar sort of gospel influence.

You favour a Dobro played on your lap...

I was playing a lot of traditional Irish music and bluegrass at gigs, with a few bands, where I was playing the guitar, and I was finding I was just holding everything together and doing a lot of rhythm playing. I guess, I’m envious of all of the other melody instruments playing the fiddle and the mandolin parts. My fingers wouldn’t move fast enough to master bluegrass flat picking like Tony Rice. I tried the banjo, but that didn’t work out for me. Then I heard Jerry Douglas playing the Dobro, and Josh Graves, and I pretty much knew that instrument was really going to work for me.

From day one playing the Dobro, I just found it incredibly enjoyable. Afterwards, I then actually remembered that when I was a child, trying to build something, which, I didn’t know at the time, was actually like a lap-steel. A block of wood and I fixed a bridge on to it, at both ends, and a pick-up in the middle, and just started playing it with a bottle neck on it. It sounded terrible! Completely unplayable, but I took it down to a local guitar shop. They said, “Err! It looks a bit like a lapsteel,” but at the time, I had no idea what a lap-steel was! It just reminded me that maybe I was drawn to that style.

What other instruments do you play?

I love musical instruments and I’ve tried many. I’ve tried saxophone, I used to play the harmonica, banjo, a bit of bass, keyboards and drums, but you wouldn’t really want to hear me playing any of these! I won’t offend people who can really play them to say I can play them. I'm now just sticking to the guitar, the Dobro and pedal steel. My pedal

photos: Ed Jacob

The legend of Robert Johnson, and his trip to the cross roads, forms a central core of the Blues. Books, articles and songs have all been written about the legendary guitarist – albums have been dedicated and Eric Clapton named his Crossroads Guitar Festival on the myth that Johnson made a pact with the devil at the cross roads. Clapton is quoted as stating, “Robert Johnson is the most important Blues singer that ever lived.”

Writer, producer and director David Hall has now written a new stage show about Johnson, aptly titled “Cross Road Blues – The Legend Of Robert Johnson.” The show was originally performed on the fringes, but after achieving sell-out attendances and rave reviews, David Hall has revisited his work, expanding the production with the addition of a choral score - performed by a twenty strong choir - and six-piece acoustic Blues ensemble.

“A lot of Johnson’s back story is in there: his hard upbringing, his large family, his estrangement from his father, and his young wife who died in childbirth when he was 16, and her only 15,” explained Hall. “He disappeared when he was 19 and came back a few months later aged 20, and this is where imagination takes over.

“Johnson came back transformed – nobody quite knew how – and that’s how the devil myth developed. In the play, we see him at this point - at this crossroads in his life.”

Instrumentally, Naughty Jack landed himself the role of slide guitar player in the performance. Hall’s choice of guitarist was not an easy one. Who do you pick to represent the music, with a legend like Johnson? And how do you go about finding him?

“I phoned around a lot,” admitted the producer. “I spoke to quite a few slide guitarists, but I needed someone who could read a very complex score, and improvise, and follow a conductor.”

“I stumbled on Naughty Jack on MySpace and sent an email to his manager. The reply came back: ‘Adam has a music degree, is happy to play from a score…and spent a month last year in a self-imposed Robert Johnson training camp. He would love to get involved.’”

“It was a dream come true, and Adam was then able to work with the composer on the guitar arrangements.”

The play is showing on 16th July 2009 at Hackney Empire. crossroadblues.net. CB

steel playing is coming on nicely at the moment.

You’ve been called “the next Seasick Steve” and hailed as “the latest potential new star for Blues fans to worship.” How do you perceive your musical future?

Of course, these are great compliments. I first saw Seasick Steve at the Tartan Heart Festival up in Scotland. I was really impressed with him and how he worked the crowd. I’m always very impressed with people who can get up and perform solo and hold it together. That would be one thing I would love to do - to do a lot of solo playing. Once I’ve got that nailed down then I’ll get as many instruments as I can and people together, but it’s good to know that should everyone else get off the stage that you can make it work by itself.

In terms of my musical future, I’m planning to get a hell of a lot better and make the sound a lot bigger, more diverse and probably a lot louder. I love acoustic music but I also love to make a lot of noise! I think there could be developments in that direction.

If you could change the current state of the Blues, how would you go about doing it?

I feel that the problem with Blues isn’t in the music - the music is very much alive! I feel that it is more in the way that it has been labelled. Through the ‘70s, ‘80s and ‘90s, there has been some incredibly successful music made which is basically Blues. I would call AC/DC very Blues based to me. Slash is clearly a Blues guitar player, as are Rage Against The Machine. I’m not sure young people know where those riffs are necessarily coming from. More recently there is The White Stripes and people like that. To me, that’s where Blues has already gone. I think all that would need to change really is people start to recognise where this music is coming from and for things to be marketed as Blues again. I mean, bands like The Black Keys are doing a good job of calling themselves Blues, and people recognise them as that. I think they are doing a fantastic job of moving forward rather than trying to relive the days of Muddy Waters. So, really, keep moving forward.

Blues has had lots of re-inventions; there isn’t going to be another Robert Johnson. Muddy Waters and Howlin’ Wolf moved it on another step and then Eric Clapton and Jimmy Hendrix took it on another step. I don’t see why we can’t keep moving forward in that way. Just making sure Blues is getting the credit its due - that’s what’s important these days.

So, how do you define the Blues? I was thinking about this and there is a particular song ‘Wang Bang Doodle’ by Howlin’ Wolf. It is a song about getting all the different characters in the town together and having a big party at the Union Hall. I think everybody has worries and everybody has problems but everybody can also put that aside and have a great time. I think it’s about all of that and feeling alive! CB

Bringing Robert Johnson’s story to the stage.

aving built his reputation as an integral part of the Radiotones, Dave Arcari is now widely recognised as a thoroughly unique solo performer. A constant touring schedule – which has brought success internationally – and a reputation for a hard living lifestyle to match the ferocity of his stage performance, have seen the growling Scotsman on the verge of emulating notable supporters Seasick Steve and Alabama 3 for mainstream success.

“Got Me Electric”, Dave’s latest collection, certainly did the business in terms of critical success earlier this year, and with Dave quitting smoking – and his guitar set to take even more of a pounding as a result – more fans, and even Jools Holland, should be won over in 2009. He’s already got us in the bag…

BM: Tell us about the new album…

Dave: I’m really pleased with it. Although I’ve been happy with recording quality on previous releases, I started to feel there was something missing compared to the live show, even though all my recordings have been completely live with no overdubs or s**t like that. Live, the sound is more edgy and can get a bit dirty, and I wanted to try and

capture some of that vibe, so thought I’d give a different recording studio a try. I ended up with engineer Paul Savings (The Delgados - SP), and he immediately understood the sound I was after, without trying to overproduce or complicate the recording process.

This was the first album I’ve had mastered separately from the recording process. I got Collin Jordan at Boiler Room in Chicago to do the mastering – he’s done a lot of Scott H Birham releases, so is familiar with the rootsy stuff that’s a bit left centre.

How was touring Europe in 2008, and what was the response like on the continent compared with ol ‘Blighty? I managed to get around a fair bit in 2008. As well as more than 120 gigs in the UK, I played in Canada, Finland, Estonia, France and Germany. Although I get good audiences in the UK, I’d say, in general, there seems to be more enthusiasm for live music on the continent, and folks are much more excited about and interested in hearing new and different stuff. In saying that, the people that turn out to the shows here are just as enthusiastic - it’s just that there are less of them! It might be down to that old adage about people not being bothered about whatever is on their own doorstep - it easier to get noticed outside your own country. It seems that being from a different country makes for a much more newsworthy story, so the level of media interest and resulting crowds are bigger.

photos: Tanya Simpson

It’s the norm for media folks to come to gigs abroad, yet a rare occurrence in the UK - unless you’re a very high profile act. The last little run of shows I had in France and Germany had at least half a dozen reviewers and photographers each - the time between sound check and showtime was filled with interviews for journo and radio folks.

How did you come to the Blues?

I’d been playing guitar for a year or so, and I guess my ear started to tune into the music that featured guitar. Someone gave me a cassette with some Billy Boy Arnold tunes, then I started discovering Jon lee Hooker and Muddy Waters in the Blues section of the local record shop.

What really did it for me, though, was a chance discovery of live Blues when I was about 19. I’d been going to a wee pub in Glasgow most Sunday nights with a bunch of pals, and these two country guys used to play every weekthey’d get me up to play the latest tune I’d learned. Anyway, one week they weren’t there, so we went to a different pub, and there’s this long haired guy playing Blues on a red Strat. I thought he was f**king amazing, so said to my buddy Chris, “I wanna do that!” The guy with the Strat was Big George, who, along with his band The Business, has legendary status in Glasgow Blueslore. I went to that pub virtually every Sunday night until I left Glasgow a year or two later - and if Big George wasn’t around for some reason, the Rev Doc And the Congregation would step in. That got me totally hooked.

George hasn’t been keeping too well recently, but I saw him last Christmas for the first time in more than twenty

years and he was still amazing. Over twenty or so years, though, I suppose I’ve been influenced by a load of other Blues styles and music in general. I’m big into trash country, rockabilly and punk - and prefer to listen to folks who write their own stuff and bring something different to the table rather than more of the same old, you know what I mean? I love ‘Sweet Home Chicago’ and ‘Mustang Sally’ as much as the next person, but I’m not sure the world needs anymore versions of old standards like that.

And that growl Dave…

The growl? What growl?! That’s me being mellow and presentable! A Glasgow upbringing where roll-ups and whiskey are key elements from about age 14 might have something to do with it. I’m off the fags now but the whiskey still figures - much to the delight of some of my audiences. Aye, like Kettering – they like getting me pished there!

You touring much this year?

There will be UK dates spattered throughout the year and hopefully some festival slots. We had Bullfrog Brown over from Estonia in April, and hopefully Timo Gross will be over from Germany in the summer.

I was invited to showcase at the NxNE (North by North East) in Toronto last year and it was amazing. So, we’re planning some Canada dates around June/July and if we can add some USA dates, too, that would be nice

Playing live is crucial for a full-time musician - not only in terms of gig fees, but in merchandise sales and PRS money. Although there’s a fairly consistent level of online sales and downloads throughout the year, the live shows

Dave with supporter Seasick Steve (left).

photo: Paul Webster

Dave Arcari and National guitars are a made to measure relationship. The instruments shape the musician’s raw edgy sound.

Dave picked up his first National Resonator guitar back in 1995, not long after the company was re-launched by Don Young and Mac Gaines in California. It was a Polychrome Tricone. This was followed shortly by a brass-bodied Style O.

“I got a brass-bodied Style O as I wanted to use the guitars live, and changing open tunings during a live set was a bit of a pain,” revealed the Scotsman. “I have a perhaps slightly obsessive belief that the guitars sound best when kept in the same tuning, and the tension and pressure on the cones is fairly consistent.”

After using the Tricone for a number of years, Dave’s high-energy live shows began to pose a problem. “After using the guitars live for a while, the finish on the Tricone started to bubble and rust,” he explained. “It was pretty bad, so I spoke to National about it and we came to the conclusion that it was mainly down to me having pretty corrosive sweat!”

By then, however, National had developed a new finish on their guitars, but, playing it safe, they put a brass body on Dave’s new instrument. “At the same time they put a beta version of Highlander's magnaphonic tricone pickup on the guitar and sent me another Highlander system for the Style O,” said Dave. “That all kinda started a long and happy relationship.”

Up until this point, Dave was using two instruments at his live shows, but a visit to the National factory changed all that, with Dave picking up a vintage steel Delphi Deluxe and a couple of lace hum-bucker pickups. “These pickups gave me a different sound option,” he revealed, “and also let me start experimenting with a bit of valve overdrive.”

After being on the road for some time, Dave came up with a wish-list of alterations for National, which has given birth to Dave’s two custom instruments. Dave got National to build power into the Highlander systems, along with a blend system for the Highlander and a hum-bucker pickup designed by Jason Lollar. “Also, because I break a lot of strings, I asked National to put M2 mahogany necks with flat headstocks on the new guitars,” he said. “The slotted vintage-style headstocks made quick string changes difficult, not least because I have to tape my fingerpicks to my fingers!

“The new guitars arrived in December and they're perfect. One is based on steel-bodied Delphi with a black finish and the other is based around a brass-bodied Style O.”

Let’s hope Dave’s relationship with National remains solid and the brand carries him through a rich musical career. SP

and the resulting press coverage and radio airplay that the gigs trigger boosts indirect sales, too.

Most of the venues and promoters we deal with are great. We found most of the dodgy folks and the venues that were unsuitable early on, so we just avoid them. You know the “it’s a crap fee but it’ll be good exposure” mentality amongst bookers that a lot of new acts fall for until they find out through experience that argument’s a load of s**t. We’ve all been there!

Seasick Steve is quoted as saying: “Dave plays like he got his skin turned inside out and pretty soon my skin was inside out too listening and it was all good.” It must be nice to hear such positive remarks from an artist like Steve... My first show with Seasick Steve was in Glasgow - the first show since he ripped up on “Jools Holland’s Hootenanny” first time round (2006 - SP). Not only was it a great show, but Steve turned out to be one of the most enthusiastic, helpful and personable folks I’ve ever met. I’d done plenty of gigs with some big names - some that I held in high esteem - but they turned out to be arrogant, aloof w**kers. But not Steve. You couldn’t meet a nicer guy.

A lot of folks think it was appearing on Jools Holland that made him. Of course, the exposure is great and a boost

most of us can only hope for, but look how many acts appear on there that you never see or hear of again. It helps, but it’s not a miracle machine. Steve’s personality, quirkiness and music are what made him popular - the TV shows have just made it quicker. We were lucky enough to be at one of his shows in London recently, and he championed me to the entire audience. That meant a lot.

Alabama 3 are another band to champion your cause… D Wayne Love from Alabama 3 turned up backstage at a show in Glasgow a few years ago. We met up again and he took my stuff to the band and they ended up asking me to do a bunch of dates with them. Had a swell time!

You have gained a reputation as the embodiment of the hard playing, hard living Bluesman? Is it something you feel you have to live up to? Or is that really Dave Arcari? To stand a chance of just making a living at this game, you need to play hard - and playing hard means working hard and pushing things to the limit. I think it has to be in you. There’s no point in pussy-footing around. So, I suppose the antidote to working hard is to party hard, and the environment I’m operating in makes it damn easy to party hard! Not so much living up to anything - more just getting on with it! SP

Dave Arcari tests the strength of his new National resonator.

nother artist who was taken under Walter Trout's wing during his formative years, however, Ian Parker is no longer one of the young British Blues hopefuls, but one of our most successful established European performers - reaching a level the likes of Oli Brown will have done well to emulate in the coming years.

In fact, newcomers like Oli could do a lot worse than take a few pointers from the Birmingham musician. Less reliant than many of his peers on guitar prowess, Ian's output has shown a versatility and progressiveness few of his contemporaries can match, whilst receiving recognition for his original songwriting ability - where so many pretenders tend to fall short - and connecting with listeners who expect more than a scintillating guitar solo to break the monotony of a Blues standard…

BM: You spend a great deal of your time on the road. How are you viewed in the different markets?

Ian: I’ve come to feel that audiences are essentially the same wherever you go, but there are subtle variations. For example, The Netherlands is a great territory for me. I find the audiences there to be really varied in terms of the age groups involved, and they seem to be very accepting of, and enthusiastic about my eclectic approach to making music. The rest of central Europe, including Germany, Switzerland, Austria, and Belgium has been building steadily for me over the years, and I think my brand is well established there now.

I work in Spain every year, too, which is immense fun, but as there is not a clearly defined circuit in place, it is hard to judge my progress really. I try to play in France every year, but this has always been a difficult territory. Generally, the French are looking for traditional black

American acts for their Blues shows, so it is really tough if you happen to be a white boy from Birmingham!

I’ve worked sporadically in Scandinavia, and I’m hoping to do a lot more there in the near future.

The Blues pilgrimage, with Aynsley Lister and Erjja Lytenen, looked as though it was a lot of fun, and a developmental experience. How did you find sharing the bill with two other guitarists, and was there any great benefit to you as a musician?

At times, it was great to work with two other guitarists, but at other times, it was chaos! I’m sure the others would agree. The stuff we did together was never more than a jam really, and jamming can generally either be great, or it can be terrible. It really depends on everyone’s frame of mind. Given that artistically the three of us were, and are, a million miles apart, really, there was very little common ground other than the Blues guitar element. As a result, that became the central focus of the tour, which was a little disappointing for me, because I’m really into songwriting. However, I accepted that reality, and actually got quite inspired to develop my playing and, I think, I did improve as a player during that period. Aynsley is a really strong guitarist, and his commitment to the instrument impressed me a lot. Also, Erja’s slide playing brought a lot to the party, and I’ve played a lot more slide as a result since this experience.

On a personal level, the tours were fun, as you observed, but I think I lost myself in the business of it all at times. When you have three artists touring under a clearly defined banner, such as “Blues Caravan”, it soon becomes important to adapt to the conditions in order to survive. When we started, we each had our own identities, but by the end of it, I felt it became like three variations on the same show, as everyone started to use the same tricks and ideas in order to fit the mould. I felt I was losing my identity to some extent. I had to keep reminding myself that the reality of why we were doing this - it was a great opportunity to increase our profiles. That may sound a bit

"The Blues industry in the UK is failing to convince a young audience that this kind of music is worthy of their attention. This responsibility lies with everyone involved."

calculated, but it is the reality of the music business. It did me a lot of good from that point of view, and I wouldn’t change it for the world, but I’m very resolute about following my own artistic path again now that it is over.

As I’ve watched you over the years, your style has constantly fluctuated; a more soulful sound for a while and then a harder, more Bluesy sound - even a rock edge to your music. Are you aware that the music changes? Is there intent to move in different directions? Is it that the music changes slightly to fit the time and the audience? From my perspective, the changes in my music are very gradual, but I guess it can seem quite dramatic for people who only see me a couple of times a year.

I get bored pretty quickly, so I do like to make changes. I’ve been criticised for this at times, as some people think I’ve never found my identity, but I just enjoy experimenting and trying new things. I feel that this is what art is about, in part.

There seems to be a great resurgence in British Blues in the last couple of years. Where do you see yourself in that movement?

Well, I’ve had to come to terms with the fact that I’m no longer a kid! There are lots of young players around at the

moment, and I think it is fantastic. I’m actually enjoying not being one of the new boys anymore; it gives me a feeling of permanence, and even achievement, to think that I survived those treacherous early years of my career when there were plenty of reasons to give up!

It’s nice to feel established in the genre but, to be honest; I’ve always felt a little on the periphery of the scene. I think that is due to my eclectic approach. I love the Blues passionately, but I also love lots of other music, and I don’t have any desire to be a purist in any genre. The fact that I write songs, which are outside of the stylistic conventions of the Blues, has naturally always made me a bit of an anomaly for the industry, and maybe for some audiences, too. That said, lots of people have been incredibly supportive and encouraging over the years, and that has always meant a lot to me.

How are you relationships with other British performers?

Guys like Matt Schofield, Danny Bryant and Ian Seigal spring to mind...

I don’t know Danny or Matt, really, but we’ve met a couple of times and they’ve always been friendly. I’ve hung out with Ian at a few festivals in the past, and he’s a very entertaining character. I’m a big fan of his music, he is a great performer and his band is superb.

Blues Caravan 2006: (from left) Aynsley Lister, Erja Lyytinen and Ian Parker.

The last time we talked, you said that British audiences tended to be more reserved than those you found on the continent – subsequently borne out by others. Is there something about the nature of British audiences that stops them letting their hair down? Why is it that young men, such as yourself, seem to attract – in the UK – a particular kind of predominantly male and generally middle-aged audience? Well, actually, I’m starting to think that I was experiencing a ‘grass is greener’ phenomenon. Now that I spend as much time in Europe as I do at home, and am a little less amazed by the mere concept of being on the road, I’ve begun feeling that maybe there is not so much difference between the continent and our little island after all.

In order to get anywhere, I spent years playing in every toilet putting on gigs in this country. I’m talking about spit and sawdust boozers that are not on the Blues circuit, just places that will pay a band £80 to turn up and play in front of their usually indifferent regulars. That was a deeply soul destroying time for me, but I kept at it and, eventually, got myself out of those venues and onto the next level. When I went to Europe, I didn’t have to start in the toilets, as being a UK artist - and later, one with a record dealgave me instant access to a higher level in Europe, so it was easy for me to think that the streets were paved with gold!

With regard to the fact that Blues gigs are still attended predominantly by middle-aged males in the UK, I can only conclude that the Blues industry in the UK is failing to convince a young audience that this kind of music is worthy of their attention. This responsibility lies with everyone involved.

I think there has always been a rather narrow-minded view about what constitutes the Blues in this country, and I feel that certain parties believe they are safeguarding the genre by warding off the perceived threat that is musical development and mixing of styles. I think they genuinely want to do their best by the music they love, but, in my opinion, they stifle any chance the genre has of finding appeal amongst the younger generations. If we fail to achieve this, I’m not sure what it will mean for the Blues.

How would you say you were received in the US on your various trips there?

Very warmly. They haven’t forgotten that it was British Blues that really re-ignited the fire for them over there, and they are still very enthusiastic about our ‘60s Blues boom pioneers.

Your self-penned songs have tended to be deeply inward looking, and downright heartbreaking at times. Is there something in you that only writes when you are low? For the most part, that is the case. I tried with certain songs on my last studio album, “Where I Belong”, to be more

light-hearted but, generally, I write because it has a cathartic effect for me. I need music to keep me sane. I don’t express myself very well in ‘real life’. I can count the number of really close friends I have on one hand, and even they say I don’t give anything away, so music is a really necessary outlet for me. I’ve had to come to terms with the fact that it is a minority audience that wants to use music in that way, but those who relate to what I do seem to connect deeply, and this is very rewarding for me.

You have been mentored by some top names in the business. Who has had the most impact on your music? What have they achieved that hadn’t been there before? Walter Trout is the guy I’ve worked with the most, and he taught me a great deal about how to survive on the road, be a band leader and respect an audience. He has been a really good friend to me.

“I feel that certain parties believe they are safeguarding the genre by warding off the perceived threat that is musical development and mixing of styles.”

photo: Jesse Davey

Ian Parker has been one of the best kept secrets of the British Blues scene for a while now – however, the rest of the world has not been so circumspect, and in the US and Europe he has been developing his career without any British reserve.

From his Ruf Records debut, “Inside”, Ian has been producing music of real inner soul searching. His guitar playing is an important element of his music and he uses it to emphasise the depth of his feelings and draw the listener in, rather than just impressing with his technical fire and brilliance. The tacklisting on “Inside” shows his tendency to write from the heart, with ‘The Love I Have’ and ‘Awake At Night’ both giving Parker and the band plenty of opportunity to stretch out and look deep into the music and their souls.

His second Ruf album was a live set – available on CD and DVD – also featuring his interpretations of other writers’ songs. The set opens with Ben Harper’s ‘Power Of The Gospel’ and closes with a medley of ‘Almost Cut My Hair/Green Manalishi’, but the music in between, including ‘The Love I Have’ and some funky playing on ‘Misfits & Fools’, really demonstrates the power of the Ian Parker brand of music.

In 2005/2006 Parker joined Blues Caravan with Aynsley Lister and Erja Lyytinen, and the resulting exposure gave him inroads into the US market, where he is now becoming a major attraction. The combination of the three guitarists seemed to act as a learning opportunity for Parker, and his playing developed some more soulful licks and shored up the rocky side of his playing.

The experience Ian gained from the Caravan was evident on his next solo release “Where I Belong”. He was exploring the more soulful elements of his music - possibly the most personal of his career to date. ‘Love So Cold’ and ‘Sweet Singing Sirens’ are examples of the man and his band cooking together, but the heartrending ‘Told My Girl To Go Away’ is possibly his darkest song to date. His latest album, “The Official Bootleg”, almost seemed to creep out, but as a statement of his band’s capabilities, it stands as one of his best. Steve Amadeo and Wayne Proctor anchor the Ian Parker sound and ‘Morg’ Morgan’s keyboards add another dimension to the music that has established Ian Parker as the least predictable Blues artist of his generation. AS

In terms of direct musical influence, I’d say Peter Green, Eric Clapton, Jimi Hendrix, John Lennon, Bob Dylan, Ben Harper and Damien Rice have been my biggest inspirations. I guess I don’t need to comment on the legacies of the first five of those names, but I can say of Ben Harper that he is a great role model for me. He is an amazing roots artist. He’s eclectic, he has a lot of soul, he writes great songs, and, without compromising his art, he has been able to reach wider audience.

Damien Rice has no connection to the Blues, but his writing is just so incredibly poignant that it melts my heart every time I hear him. I think he’s a genius, and he inspires me and makes me ashamed to call myself a songwriter at the same time! You have the chance to play alongside anyone in history, who would you want to play with?

I’d say Stevie Wonder, Ray Charles, and Dr. John for a lesson in taste, expression and true musicianship. Damien Rice and Ben Harper to absorb some of that raw expressive energy… Steve Gadd for the ultimate lesson in groove.

What is next for Ian Parker?

In the short term, I’ve just released a new live album, “The Official Bootleg”, which captures what I think to be the peak of the “Where I Belong” tour. It was recorded in February of last year (2008), and I really think the band was playing those songs better than ever before. A few months prior to that, I felt we were becoming stale, so I instructed everyone to take a much more freeform approach to the set. It was fun for a while but, ultimately, it didn’t work as we are all used to serving the song, and playing parts. When we reverted to a more song-orientated approach, it transpired that we’d learnt a lot from the experimental period and, although the control and space was back, we were no longer playing in a routine manner. We were being more creative than ever, in my opinion, but in a non-demonstrative way. My drummer, Wayne Proctor, produced the album and did a great job. I think it sounds raw, like a good live album should, but, at the same time, everything has its own place, so it’s far from crude.

I’m currently working very hard on writing new songs. I’m hoping to do more acoustic shows over the next few months and I may be using the acoustic guitar a lot more on my next record. Whether or not this will change my course in the long term remains to be seen. I guess my path will unfold naturally over the coming months as I put the record together.

Is there anyone you have heard on your travels that you think should be more widely known around the scene?

I still think Lisa Mills should be more widely known over here. I know she is doing quite a lengthy UK tour this summer, which will help. She has a great voice and she sings great Blues, but she also writes songs, and she doesn’t seem to be too worried about boundaries, which I like a lot. AS

lex Gomez conjures the Delta/Chicago Blues mojo at a crossroads teeming with jaded strippers, avaricious call girls, strung-out junkies and other fallen angels, where careless love, sordid sex and intemperate substance abuse collide.

Blasphemously challenging the status quo, Alex simultaneously fascinates, shocks and exasperates – little subtlety, this is as raw and visceral as it comes. But if you’ve ever found yourself chooglin’ along to the sounds of The Black Keys or Jon Spencer Blues Explosion, you’ll find yourself right at home with Alex, whose new CD, “Love Sex & Drugs”, brings yet more tales from the dark-side…

BM: So, let’s go right back to the beginning and find out what life was like for the baby Alex Gomez…

Alex: Breast-feeding led baby Alex to chronic boob addiction. Big boobs, little boobs, fake boobs - it’s all good.

Didn’t take long to figure out little girls like bad boys, so I begged mom and dad for a toy guitar and it’s been a booba-thon ever since.

What first got you into in playing music? Who were the early heroes and inspirations?

I built a portable AM radio from a kit when I was a kid. Once the parents passed out for the evening, I’d sneak out back for a smoke and tune to the Mexican X stations across the border from Houston. You’d hear a lot of Chicago Blues, R&B, and Texas artists like Lightnin’ Hopkins. It made me want to get my first guitar, a Fender Musicmaster bought on the rent/purchase plan. I couldn’t afford an amp, much less lessons, so I just rigged it up to my radio and wailed away to the classics. Elmore James became my big hero, since his trademark slide lick was about the only thing I could play. I didn’t realise the bands on the radio had a bass, so I’d just thump along on the bass strings with my thumb and brush the strings and pick out lead lines with my fingers, oblivious. I was kind of a geek in school, so while I had the beer, my inspiration was getting the chicks. Honestly, I only got into music to have a

"Tired?! I’ll sleep when I’m dead."

photos: Rosanna Tam

The origins of punk Blues are lost in the mists of time, but here in the 21st century, a bluffer really only need look back as far as the MC5 and their 1969 live debut, “Kick Out The Jams”. As long as you can reference ‘Motor City Is Burning’ in a knowing manner, then you’re on pretty safe territory.

It is also, and I cannot stress this enough, absolutely essential to have a basic working knowledge of early Captain Beefheart. Make sure you can drop in some titles from his first four albums – “Safe As Milk”, “Strictly Personal”, “Trout Mask Replica” and “Lick My Decals Off, Baby”. Remember, you don’t actually have to like it, as long as you can nod in agreement when someone starts going on about ‘The Buggy Boogie Woogie’ or ‘Gimme Dat Harp Boy’. However, never, ever mention his later albums. If you’re caught talking about “Doc At The Radar Station” or “Ice Cream For Crow”, your punk Blues credentials will be immediately withdrawn.

The next major leap forward was the arrival of The Gun Club. Their debut album, “Fire Of Love”, is the first really essential item of punk Blues, with covers of ‘Preaching The Blues’ and ‘Cool Drink of Water’, standing proudly besides classic originals like ‘Ghost On The Highway’. This is the album that had Jack White of The White Stripes going so far as to ask, "Why are these songs not taught in schools?" The later stuff is poor, but “Fire Of Love” begat a whole movement, so kudos is due. Every punk Blues band since then has sounded a little bit like The Gun Club.

The ‘90s brought the equally essential Jon Spencer Blues Explosion, and even though their power has waned, you can’t go far wrong with either “Orange” or “Now I Got Worry”. The same decade also heralded the arrival of The White Stripes, whose success remains one of those baffling mysteries.

Coming up to date, you don’t want to miss out on Belgian duo Black Box Revelation, whose “Set Your Head On Fire” album is absolutely vital, as is their live EP. Finally, over in Northern Ireland, The Bonnevilles have released one of the finest punk Blues albums in recent years with “Good Suits And Fightin’ Boots”, replete with songs like ‘Asylum Seekers Of Love’, ‘God Might Love Me (But He Doesn’t Know Me Like The Devil Does)’ and ‘The Belgians Are Coming’.

So, as long as you say “yes, the slower stuff is really MC5, and you can see where the Beefheartian influences come in, but the up tempo tunes are just so Gun Club,” about any modern day punk Blues band, you should be able to pass yourself off as a punk Blues fan, no bother. SAH

few laughs, get high and get laid, and nothing’s substantially changed over the years.

Once you realised you could actually play the guitar, what were your early musical experiences like?

I entered a talent contest at school. I took the stage with my funky Musicmaster and radio amp and proceeded to mutilate every slide lick I knew in this distorted, stream-ofconsciousness spectacle. When I finished, there was this stunned silence, followed by a smattering of applause. I started getting invited to parties, though, where I’d bring my rig and jam to whatever was playing on the stereo. Eventually, I paid off the guitar and bought an old Silvertone amp, which had a channel labelled ‘mic’, where I inserted one of those cheap harmonica mics. Since I never had much luck copying tunes off the radio, I’d just make stuff up based on various Blues styles and ‘rehearse’ in the garage. I’d do my Elmo number, a Howlin’ Wolf type tune, and what have you. Some neighbourhood longhairs heard the racket and started sitting in on drums and bass. We called it Plynth, after a Jeff Beck number.

Nice to know you were tearing up a storm, even then... What came after that?

Say you love early Captain Beefheart!

Plynth started doing the usual underage gigs, at parties and dances, until we got this slot opening for the midnight flick at the theatre. We’d do a set while the night owls filtered in, then the “Rocky Horror Show”, or “Texas Chainsaw Massacre”, or whatever would run, then we’d play a late set after the movie. We started getting gigs outside the theatre at what I call “the good, the bad and the fugly,” coffee houses, restaurants, dive bars - you name it. We got an agent who booked us up and down the Atlantic seaboard from Baltimore to Miami and points between. We were in Fort Lauderdale when the lads got homesick and left. I stayed.

What were you doing when you weren’t playing with Plynth? I’m assuming, of course, that howling at the moon wasn’t paying the bills...

Stranded, I pawned my rig and scored some weight, which I unloaded a joint, nickel and dime bag at a time to the kids on Spring Break. I still dabble now and then.

When did you first realise that a one-man-band was where it was at?

When I got my guitar and amp out of hock, I was getting by moving contraband, so I focused more on just doing gigs in

joints I liked, which were the coffee houses, punk and rockabilly venues. I sort of soaked up the Blues-punk thing by osmosis being on the bill with bands of that ilk. Running vocals and guitar through an overdriven tube amp only added to the sonic assault to the senses.

How did you first get tapped for the public broadcasting programme “Blues Slide Guitar Workshop”?

I settled in Miami and got a gig giving slide lessons to kids at the University of Miami Jazz Studies department. Being both students and musicians made for a flaky mix, to say the least, and they often wouldn’t show for their lesson. So, I started getting them to pay in advance, so when they’d miss a class, I’d just record from a student who did show up and mail the cassette to them. Pretty soon I had a box full of lesson tapes and figured I could sell dupes on the local cable TV network, who had this bulletin board which ran between shows on the Public Broadcasting channel. When I called, they said they were developing a guitar instruction show and would I be interested? We

taped twelve shows the first season, featuring interviews with members of Jimmy Buffet’s band, The Mavericks and other local hotshots. The series went nationwide on the satellite feed, so we did a second season and called it quits.

You’ve also put out a line of instructional video tapes. How did that happen?

The TV show spun off a couple of instruction videos, which are now out of print, but they show up on eBay now and then. “Tape & Slide”, an entry level cassette tape and brass slide, is in stores and on the Musician’s Friend website.

“Always Never” was my introduction to Alex Gomez, but did you release any albums prior?

The TV show led to a showcase at Blues Stock in Memphis. I signed with Bluetone Records and recorded “Slidin’ Down The Delta” in Mississippi, with members of the Bobby Rush band, Blue Mountain and others. The label’s located in France, so I did a European tour behind the CD’s release. When I got back to the States, I went back to my solo act, since managing musicians is like herding cats - only cats don’t get arrested!

Do you get to do much live work? And are you allowed over state lines?

I work what I call the ‘trippy triangle’ from Houston to Austin to New Orleans. Crossing into Louisiana is less like crossing state lines than a border crossing into the third world, post-Katrina, but the outskirts of New Orleans is still pretty much intact. It’s like I always say, “the good, the bad and the fugly.”

On latest album “Outdoor Kitchen”, there still seems to be a load of songs about drinking, drugs and women of the night. Aren’t you tired yet?

Tired?! I’ll sleep when I’m dead. Or at least until my mind’s making promises my body can’t keep. Till then, I suppose, I’ll keep writing what unfolds each night I step out, changing names to protect the not-so-innocent.

Any truth to the rumour that you give your songs new titles to fool people into buying them again?

With so many fine depression-era Bluesmen to lift riffs from - Tommy Johnson, Kokomo Arnold, and what have you - it’s really just one long plagiarized tune doled out on the instalment plan. I’m not trying to re-invent the wheel, just dress it up in chrome mags and whitewalls.

If there any children reading this, which would you recommend trying first - drinking, drugs, bad sex or playing the guitar?

I’d been there and done that by my mid-teens, so I’d say the guitar is truly a gateway to drink, drugs and bad, in a good way, sex. I need it all to create something credible. Truth is stranger than fiction.

And what comes next? Are you allowed out of state yet?

I’m working on the new CD, “Love Sex & Drugs”, the latest chapter in a never-ending saga called life on the mean streets of hell. Houston is so vast you need a passport to cross town. I manage to stay in and out of trouble within the confines of the Lone Star state. Like we say, “American by birth, Texan by the grace of God.” SAH

aul Jones’ musical career is already well documented, having enjoyed significant pop success with Manfred Mann in the ‘60s and a long and distinguished career with The Blues Band since the late-70s. His long tenure with the BBC, presenting The Paul Jones Show, the only national Blues music programme, has also helped establish him as arguably the most recognisable name in contemporary British Blues – certainly the fondest with international touring outfits.

Yet despite his many commitments, Paul has found time to record his first solo album in over thirty years - “Starting All Over Again” seeing Paul line-up with a string of notable performers, with the likes of Eric Clapton and Percy Sledge lending support.

Whilst it’s common for Paul to offer support and exposure for Blues artists promoting their latest release, for once, he can accept a little help…

BM: How long has The Paul Jones Show ran on BBC Radio 2? Paul: We did a three pilot programmes in ’85, and then the show started in earnest in about April ’86 – so we’re well past the twenty year mark.

Did you ever conceive you would be doing it this long?

Yes. I usually assume that everything’s going to last forever…

Has the “listen again” facility opened the show up to those much further afield?

Yes. Further afield usually means the US in this context, but we’ve heard from listeners in Europe, Australia and, more surprisingly, places like India, too.

Does it surprise you that there is still only one English national Blues radio show?

It ought to surprise us, but does it? It’s actually more important to celebrate, and support, those local Blues radio shows that we have got.

Were you an avid listener to Alexis Korner’s Blues show when it was on the BBC?

Not as much as you might think. I’ve always worked a full week, and this leaves very little time for listening to the radio - and even less for watching TV. I did step in for Alexis in 1983, when we were both working for the World Service of the BBC, and I had to take over some shows he’d been working on.

How did that go?

I knew Alexis was ill, but not how seriously. If it had, for one moment, occurred to me that he might die within a few months, I know I’d have found the very idea of taking over his programme extremely daunting. But it was near the end of a series, I think, so I had to do only two or three shows, and the producer was quite relaxed about it all. One good thing that came out of it, for me, was that he had some artists booked for sessions, and thus I encountered the music of Paul Millns and Ruby Turner.

As Eric Clapton has been called an “Armani Bluesman,” you yourself have been attributed as being a “champagne Blueser.” Have you a response to the label?

B.B. King’s probably a “champagne Blueser” - whether he drinks it or not. I seldom do myself. And the last time I saw Muddy Waters alive, he was riding in a Rolls Royce. I mean, who’d want to kick a ball around the “rec” with some mates, rather than play in the premier league?

Do you think it becomes difficult for established artists, and those that have made a comfortable living from the Blues, to truly capture the essence of the music?

Look, music - including the Blues - is art. There are great artists and not-so-great artists. The great ones are often

"If we don’t support it ourselves, why do we imagine somebody else is going to do it for us?"

more successful than the rest. Does success endanger the quality of their art? No. No more than failure does.

How do you go about choosing the acts you profile on your show, and those you bring on air as guests/to perform?

First of all, Paul Long and I like them, or, in some cases, I like one track on a CD, which is otherwise undistinguished. I usually remember to point out on air that my playing this one track does not constitute a recommendation to buy the album - I don’t want listeners to waste their money! Secondly, there may be a journalistic reason to include a certain artist; most obviously, for example, news of a health-threat, or even a death – or simply that such and such a musician is touring the UK. Thirdly, I may just be responding to a wave of enthusiasm in our mail. As I have said in the past - and hope never to need to say again - I am ready to be influenced by whatever people ask me to play, but requests for me not to play something will soon hit the bin.

What have you particularly learnt or experienced by hosting the show?

I’m constantly learning so much. To pick out one thing: not to be narrow-minded about what is, or isn’t, Blues. Imagine classical music having stopped after Mozart!

Do you think your show has a duty to break more acts, and play it a little less safe?

Almost every week we hear from listeners thanking us for introducing them to this or that artist they hadn’t heard of. But here’s a question: if musicians aren’t plying their trade, how will I know about them? Some bands do send us CDs they’ve made, and we do our best to listen to as many as possible, but most of our listeners want to know about people they can obtain recordings of, or go out and see live. Both The Blues Band and my radio-show are currently encouraging Oli Brown in his career – and who knew who Eric Bibb or Eva Cassidy, among a good many others, were before I started playing them on the radio?

Any chance of the beeb allowing you to cover The Blues Foundation’s Blues awards in Memphis, as it covers the SXSW in Austin?

We did do so a couple of times. Why don’t you get onto them about it?

What are your feelings on organisations like The Blues Foundation? Do you feel there’s a danger it’s only creating more of a clique for this industry?

I’ve commented more than once in the past that the W.C.Handy Awards had an over-familiar look from year to year, but more recently - and with their name-change - they do seem to be a bit more

With various band projects, TV presenting, acting work and his ever popular BBC radio show, it’s little surprise that Paul Jones has taken over thirty years to release a new solo album.

“We recorded the album, for the most part, last April (2008), because that was the first occasion we had a chance to do it,” admitted the DJ.

Unsurprisingly, given his exhaustive schedule, the album consists of mainly covers, which were worked out with producer Carla Olson and executive producer Saul Davis. “We'd only just agreed the list between us before we started laying down the tracks,” recalled Jones, “but even then, there were discussions going on in the car on the way to the studio each day.”

Even if the interpretations took a little working out, Paul was clear about what he wanted to say when it came to the originals: “There's a line in ‘Choose Or Cop Out’ which says, ‘Everything you've done took a decision,’” highlighted Paul.

“The fact that we are obliged to take responsibility for our actions is something which has been exercising my brain for some time now - at least in part because I used not to. Even when we choose just to accept what goes on around or above us that in itself is a decision.”

Paul was quick to emphasise the contribution of the production team – “You need to know that Carla Olson Saul Davis are responsible for everyone who's on the albumincluding me” – and the impact of a certain “God,” “I was there when Eric Clapton put his guitar on, and that was a day I shall remember for a good long time.

“On ‘Choose Or Cop Out’ Eric Clapton's playing is thrilling!”

Paul went on to draw attention to other favourites on the new collection, “I have good reasons to like each of them... ‘Lover To Cry’ because it does some interesting stuff with the Blues form; ‘Gratefully Blue’ because it's a typically wonderful Eric Bibb song - and Mike T did some special things with the chords; and ‘When He Comes’ because it genuinely was a seat-of-the-pants job, and Mikael rose to the occasion magnificently. Oh, and ‘Big Blue Diamonds’ because I was so happy and honoured to be invited to sing with Percy Sledge in the first place, and doubly so to be allowed to 'borrow' the track back again for this album!”

Whilst Paul will have no shame in using his flagship radio show to promote his new collection – “I shan't discriminate against myself, any more than against anyone else” – there was little anticipation ahead of the album’s release, “As for my expectations, I guess it's hard to have any in such, err, exciting times as these. My hope is simply that people will enjoy it.” DH

adventurous, including, for instance, some UK names.

The Blues world is not yet big enough to get blasé about any organisation doing what it can to further this music; they should all be getting our encouragement. Given more of a budget, is there anything you would like to do involving your radio show?

Send me on next year’s Blues Cruise - please!

Standout memories from your career?

Of course, sitting in with Alexis and Blues Incorporated –and then getting together with the other Manfreds to follow in Blues Inc’s footsteps was all pretty exciting.

There are many cherished moments, from interviewing Memphis Slim for a student magazine when I was 18 - and recording/filming with him when I was 48 - through recording with Percy Sledge to doing our Christmas special programme with the great Pee Wee Ellis and Zoot Money.

Are you a die-hard collector of recordings or memorabilia? Not really; in fact, I’ve sometimes regretted not being able

to put my hands on some artefact which might have recalled an entire era for me. I’ve tended not to care much about future nostalgia.

Are you surprised by the amount of UK Blues publications around today, and do you think they best serve the musicians?

I’m delighted rather than surprised. But I don’t know about “best serve” us. You’re mainly in existence for the benefit of enthusiasts rather than musicians, surely? But we get spin-off benefits, such as notification of our product-releases, giglistings and so on – and a lot of musicians read them from cover to cover.

Do you miss acting?

Nah, I do plenty of that at the gigs.

Is there room to act performing the Blues?

Lonnie Johnson said, “Don’t assume that I am always the person in the song; I am an artist.” Otherwise, how could one ever sing a song written by someone else? There need be no contradiction between honesty and sincerity and the telling of the story that lies at the heart of what you’re singing – and, anyway, he’s a bad actor who can’t portray his character without honesty and sincerity.

What would it take to bring about a wider interest in Blues music in the UK?

Supporting any and every visiting Blues artist, and the promoters who bring them in, is extremely important. I think many promoters have become timid in this era of staying-home-and-watchingthe-big-digital-screen.

Media institutions such as the BBC are more supportive of other niche music fields, but in the main ignore the Blues and its influence. Why do you think the Blues is almost frowned upon today?

We all - musicians and singers, editors and writers, promoters and publicists, record-companies and media people, critics and fans - need to look at what’s happening with these other categories of music and learn. How good is our work? What would make people want it? Are we promoting it wisely? Is its image attractive? If we don’t support it ourselves, why do we imagine somebody else is going to do it for us?

As you have travelled fairly extensively as a Blues performer, do you think there is anything we can learn from the way things are organised and structured abroad? Yes, best not copy those countries where smoking is permitted in places where musicians are required to perform. That way we can survive long enough to enjoy the better times just around the corner.

Are you also inundated with the perennial question from foreign artists, “Can you help get us over there”?

Yes! I tell you what; you keep writing about them, and I’ll keep playing their records. Something will happen! BH&DH

hillip Fankhauser proves there is much more to the wonderful country of Switzerland than mountains, cuckoo clocks, chocolate, cheese and the occasional yodel.

After serving his musical apprenticeship in Europe, he was to take up residence in Harlem and become the vocalist in the legendary Johnny Copeland’s band – an experience he put to good use when returning home, developing a style which has given him unprecedented chart success for a Blues artist (and sold out major venues!).

Hailed as “Switzerland’s answer to Van Morrison”, Blues Matters! feels honoured to be given time with such a major player…

BM: How did a young Swiss lad, born in the ‘60s, get bitten by the Blues bug?

Phillip: I hate to admit that at first I listened to bands like The Sweet, Bay City Rollers and so on. The Beatles were part of me, as were some songs by The Rolling Stones and I was very big on Elvis Presley. Then my brother gave me an album by piano pioneer Sunnyland Slim in 1975 and that was it. I was literally “born all over” and I was only 11 years old. There was something in that deep, dark, rich tone of Sunnyland’s voice, the way he touched the keys – I literally heard him breathe through the loudspeakers. I knew that what I just heard was me, my soul, my heartbeat.

Was there a thriving Blues scene in Switzerland when you were growing up?

Not really, and there is none today. At least not a local Blues scene. However, in the late-70s and early-80s there were literally dozens of great Blues concerts. The legendary

American Folk Blues Festival came to Zurich almost every year. Albert King was there, B.B. King, Buddy Guy, Albert Collins, Robert Cray, Junior Wells, Johnny Copeland, Memphis Slim and, of course, there’s Montreux where I saw Willie Dixon, Stevie Ray Vaughan, Luther Johnson, John Lee Hooker and many, many more. Nowadays we also have the likes off the Lucerne Blues Festival, Piazza Blues in Bellinzona and the Blues Festival in Basel.

Even in your early career, you seem to have had the opportunity to meet and play with some of the greats. What kind of impact did that have on you?

It was a heaven sent gift. From an early age, I was able to understand that this Blues music is far deeper and more important than just three chords and fast guitar solos. The heart and soul of the music, the stories, the destinies and the people behind every Blues song is what I was interested in. Muddy Waters’ story is a different one than Eric Clapton’s. Johnny Copeland’s trials and tribulations were very different from Blind Lemon Jefferson’s. It’s their backgrounds and personal circumstances that formed their expression, their way of singing, playing and feeling this music called the Blues. So yes, to answer your question, I do what I do today just because I had the chance of a lifetime to sit next to these wonderful people who took the time and had the patience to share some of their knowledge, some of their philosophy, parts of their life story with me.

Being asked to join Johnny Copeland’s band seems to have been a pivotal moment in your career...

In the early-90s, I managed my own little band called the Checkerboard Blues Band. I received a call from Willy Leiser Montreux, asking me if I’d have the time to book a few shows for Johnny Copeland and the Calvin Owens band in Switzerland. Of course, I jumped at the chance to work so closely with my idol. So that is how I started to get

“It’s easy for me to understand that the UK would have difficulties in importing a white, middle-aged Swiss guy to perform the Blues. That just does not seem right.”

photos: Claudine Howald

close to Johnny. Later he came back to Switzerland to perform as a guest with me and my band. In early 1994, he invited me to join him and his band for a month on a US tour. At the end of that month, I knew that this was it - this is what I wanted to do. I returned home to Switzerland, sold all my belongingsbesides the guitars - and just a few weeks later I emigrated to the US to join Johnny and his band. I stayed with him until his untimely death in July of 1997. I miss the man a lot!

Did his choosing a European vocalist raise any eyebrows in the US?

Oh, yes, you bet! Funnily enough, I was well accepted by the black community. They welcomed me from the start. Obviously thinking it was cool for a white

Swiss guy to move to Harlem. White folks, for the most part, looked at me with suspicion, “Why is this white dude on the same stage as ‘our idol’?”

After several years in the US, you returned home to Switzerland. There seems to have been a change to your style since then...

Yes, indeed. Before moving to the US, I had a somewhat watered down and romantic perception of the Blues. After my time with Johnny and all the great people around him, my outlook broadened quite a bit. I learned about O.V. Wright, Latimore, Joe Tex, Bobby “Blue” Bland, Johnnie Taylor, Hank Williams Sr., and many more. It was all Blues. There was so much soul in their music. More importantly, these songs and these artists all had messages in their music. It was not all about three chords, or harp solos, it was about touching somebody’s heart. So, today I have all these influences in me. I combine the hard core Blues feel of Muddy Waters with the slickness of Johnny Adams and within my own capabilities and parameters; I make Philipp Fankhauser out of it.

Would it be right to say that over the last few years you have truly developed your own voice?

Yes, I have become very comfortable with myself. A great part of that is the band that literally surrounds me. I have found four enormously talented musicians that make me sound good on stage, understand the music and understand what I am trying to accomplish.

“Love Man Riding” had lots of acclaim. Must be gratifying...

Oh, it’s wonderful. We have been in the official Swiss pop charts for eighteen weeks. That is unheard of for a Blues musician – besides, of course, B.B. King and Clapton’s “Riding With The King” album. Being a Blues musician in a country where Blues is considered a niche, it’s amusing to all of a sudden sell more records than a whole bunch of pop and rock artists that the media considers to be so much more famous and mainstream than that Fankhauser guy. All of a sudden, we have sold out shows in 600–1000 capacity halls, and that is truly gratifying - and certainly helps to adequately pay my musicians and staff!

Although the new album is well grounded in the Blues, there is quite a strong mainstream feel. Was this a deliberate move to widen your appeal?

Yes and no. The previous album, “Watching From The Safe Side”, was the beginning of that development. I came in with song ideas and sketches, and through the influence of my band’s musicality, the great Dennis Walker as producer and, in part, because of my unorthodox approach to songwriting, the album came to life. This is what pretty much happened with this new album, “Love Man Riding”. We had the same approach as with “Watching”, but we were even less prepared. As a matter of fact, some of the songs were written or completed while we were in the studio. But I will admit that we - especially Walker - made a few choices, like inserting a sax solo instead of a screaming guitar solo that made it far easier for a radio station to pick up a song. I find this legitimate becaus,e at the end of the day, this is our beloved job, and everyone wants to be successful at their job.

Do you have any favourite moments on the album?

‘I Got A Love’ and ‘One Of Them’ are favourites; they were

Johnny “Clyde” Copeland may not be generally regarded as one of the great names of the Blues, but he was a great Bluesman.

Although born in Louisiana, Johnny’s spiritual home was Houston, where he was inspired as a young man by local heroes Johnny “Guitar” Watson, Clarence “Gatemouth” Brown and T-Bone Walker.

Copeland would go on to play and record with many of the Blues’ elite - he was always highly regarded by his contemporaries - but, for many years, commercial success eluded him. Like many before him, he let opportunities slip away. He co-wrote ‘Further On Up The Road’ with Joe Medwick, who sold the rights without Johnny receiving either payment or writing credit. What a pension plan that could have provided! Eventually his justified position as a major talent started to be recognised.

In 1981, his album “Copeland Special” earned him a W.C. Handy award. Then in 1985, Alligator Records teamed Johnny with Albert Collins and Robert Cray. This grouping created one of the finest guitar collaborations in the history of recorded Blues, with the album "Showdown!" It was another huge success, earning both Handy and GRAMMY Awards. These successes did not propel Johnny into the upper echelons but did ensure that, in his remaining years, he maintained a comfortable position, gaining plaudits wherever he appeared.

Regarded as one of the genre’s real gentlemen, he was never one to bad mouth others, and, in fact, would always play down his own abilities - happy to acknowledge the role of friends and colleagues in his development.

Sadly, as his star was seen to rise, his health deteriorated. It seems rather ironic that such a big hearted generous man should be undone by a congenital heart defect.

Throughout a sustained period of illness, he continued to record and perform. After suffering several heart attacks, he was fitted with a Left Ventricular Assist Device (L-VAD). Eventually, though, a transplant was deemed the only solution. His manager, Holly Bullamore, was quoted as saying that "they can't find a heart big enough for him."

Johnny underwent transplant surgery on 1st January 1997. Just four months later, he returned to the stage. Unfortunately, following complications, Johnny would leave the stage on 23rd July 1997. He was 60. TR

both first takers and my vocals are the pilots. Dennis Walker pulled ‘One Of Them’ out of his pocket while we were sitting around the studio. All you could hear was Alan Mirikitani, a.k.a. B.B Chung King, play guitar and sing on the demo. We listened to it twice, and then made a rehearsal pass - I read the lyrics and sang. We didn’t know that the tape was rolling. That was it!

Is this the material that we could expect to hear at a live show?

Yes, we pretty much perform material from the last two albums and a few from previous recordings, like ‘Members Only’ from 1995 or Solomon Burke’s ‘Down In The Valley’. Quite a few Johnny Copeland songs are found in our live repertoire as well. He is still my number one songwriter. Did you know he wrote ‘Further On Up The Road’ and sold it to Don Robey back in 1954? He was 17 years old and that was a big mistake. Johnny could probably have lived of that royalty cheque the rest of his life!

In the UK it is very difficult for Blues artists to get exposure. How do you find different countries react to your music?

While I do not have to prove myself anymore in Switzerland, it’s easy for me to understand that the UK would have difficulties in importing a white, middle-aged Swiss guy to perform the Blues. That just does not seem right. Chocolate, watches and cheese? Yes. A sporadic yodeller? Okay. But a Blues singer? I don’t think so.

You are often referred to as Switzerland’s Van Morrison. How do you feel about such a comparison?

That is, of course, an honour and it pleases me. Although I don’t think that it is really true. Even though I admire Van Morrison a lot, I have not been a great follower of his and, therefore, I don’t have a major collection of his work, so I’m not particularly influenced by him. I’ve been compared to Joe Cocker; that’s cool and at the same time it’s not. Would I like to be Joe Cocker? Yes! I’d be touring the world.

Now that you are such an established star in your own right, do you find that young musicians come to you for advice and inspiration?

My experience is that young people are mostly afraid to approach me, because I am such a “big” star. That’s a pity, because being a star is not my reality. But yes, every once in a while it happens, and I love to share my thoughts and experiences just like Johnny and so many more did with me. After all, it’s about tradition and tradition is just that: delivering information from one generation to the next. Most of the traditional information I carry within myself is Johnny Copeland’s.

What was the worst piece of advice you received as an emerging artist?

The worst advice was maybe from my guitar teacher when I was 10 years old. He refused to see me after two lessons, he told my mum that I had no musical talent whatsoever and to please find another hobby for her son, so I never went back and never took another lesson. TR

(from left) Albert Collins, Robert Cray and Johnny Copeland.

heffield punk-Blues outfit Chicken Legs Weaver have enjoyed critical acclaim and industry support for a number of years now. With the likes of Johnny Dowd and Richard Hawley providing production assistance and influential journalist/DJ Mark Lamarr stating, "They should make Cream ashamed of calling themselves a power trio,” you’d have thought Andy Weaver, Mik Glaisher and Jane Howden would have more to show for their efforts than several festival appearances.

With frustration at the lack of commercial success, the band’s industrious leader Andy Weaver (“Chicken Legs”) has upped sticks and decamped to London. Now based in the country’s capital, Andy hopes the ease of performing solo will allow for better exposure and increase the outfit’s profile to a level he and many insiders feel deserving for such an electrifying performer. Fingers crossed this feature helps a little also…

BM: The band has been around for quite a while and has gone through a few changes. Can you tell us the story so far?

Andy: I started out on my own many years ago after being inspired by many great solo Blues artistes from the ‘20s and ‘30s. Guys like Blind Lemon Jefferson, King Solomon Hill and Charlie Patton. Then I formed a band in order to make a bigger noise and capture some of the syncopation that I couldn’t produce on my own. Various members came and went, whilst I maintained the overall focus and scope of the band’s material.

In 2002, an underground American journalist by the name of Byron Coley released some live material on Ecstatic Yod Records, a small, vinyl-only label that he part owns with Thurston Moore of Sonic Youth. “Wishbone Hands” eventually surfaced in the Spring of 2005 in collaboration with Nigel Cross’s Shagrat label, featuring sleeve artwork by Billy Childish and liner notes by Mick Farren. As a band, Chicken Legs then started looking for

someone who would be able to capture our raw, uncompromising sound in the studio.

When we supported the amazing Johnny Dowd Band at The Barfly in Sheffield, Johnny expressed an interest in producing what he called the “Chicken album”. The result was “Nowhere”, which includes a track co-written with alt country hero Jim White and was released on Riverside Records in early 2007. Later that year, we recorded our second album “Silk Ripped Dress” in the Yellow Arch Studios Sheffield, and then travelled to France to appear at the Garde’n Blues Festival in Marseille for the second time.

In early 2008, we featured as live guests on Mark Lamarr’s “God’s Jukebox” show.

Over the years, there has been a wealth of critical acclaim without you making a major breakthrough. Is this hard to deal with or do the plaudits help to keep you going? It’s hard to deal with AND it helps to keep me going. I can’t give it up; it’s in the blood, you see.

The drummer has a punk background, the bass player was a rocker and you are a Bluesman. What does each bring to the party?

I don’t think Mik would agree that his background is punk, as he always viewed punk as being about musicians who can’t play very well! He’s actually more into jazz drumming. Jane probably would determine her own background as being in the gothic mode of rock.

We all bring something quite different musically, but there is an unstated rule about the music and style of Chicken Legs Weaver, which kind of dictates what is required.

It is not an easy job to describe you musically. Knowing how the industry likes to categorise acts, if you were to build your own pigeon-hole, how would you label it?

Psyche Folkabilly Blues!

Now you have created your own label, how would you sell it to a new listener?

Chicken Legs Weaver: (from left) Jane Howden, Mik Glaisher and Andy Weaver.

Well, it’s a raw and sensitive, melodic, hypnotic sound, with its roots in folk music, but undeniably urban. I’d say we’re somewhere in between Tom Waits and The 22-20s.

It’s incredible the number of major acts who hail the Blues as their inspiration. With this thought in mind, why do you think there seems to be such reluctance by mainstream radio and TV to embrace the Blues?

I really don’t know. I think it might just be that the media in the UK are so obsessed with image, and the idea that pop music is generally safe that they won’t give much time to anything that is in opposition to “the mainstream”. I also think that a lot of music lovers view the Blues as a form that has become passé. Young people - who the mass media are always trying to appeal to - don’t generally get turned on by “rootsy” music, and I think the radio/TV guys need to work harder to sell it in an easily accessible way to new audiences.

The Blues has many faces. You seem to have turned towards a more earthy, almost primitive rawness, whilst capturing a drive and energy that many a mainstream act would relish. How did you find your sound?

By listening to Charlie Patton, Howlin' Wolf and Fred McDowell on full blast and imagining what it would sound like if it came from suburban Britain in present times.

In the past couple of years, quite a few bands clearly rooted in the Blues, have managed to make it into the charts. With your rocky edge, do you see an opportunity to attract a wider audience?

Yes! It’s just a question of time.

I would have thought that you have the kind of band that any festival organiser looking for something a little bit different would love to add to their line up. Have you had any joy in that direction?

Yeah, we’ve done loads of festivals, and they’ve been very successful; France, Belgium...oh, Leicester Blues Festival last year, too.

It took some time to get the first album issued. The new album, “The Silk Ripped Dress”, has followed relatively quickly. Does this now mean you are now on a roll?

Maybe… We’re always writing new material. Things have changed a bit now I’m based in the south, as its tough getting together.

Do you have any favourite moments on the album?

Yes, ‘John The Revelator’ and the title track.

Richard Hawley plays on and produces ‘Monday Man’. How did that come about?

He’s been a friend of mine for years; I told him we were looking for someone to produce some new songs, and he said he was up for it. He’s a good man like that, always willing to help out his mates.

Does having a name on the album get you any extra attention in the media?

No, not really. We live in an age where people will stick more with what they know rather than take any risks!

If you had the opportunity to have a couple of guests on your next recording, who would you chose?

Apart from Johnny Dowd, the greatest white songwriter alive… Son Of Dave, for some groovy, Bluesy harp playing, and Polly Harvey, because I love her voice and her versatility

The band have been stalwarts of the Sheffield scene for around ten years. Now that you have found a house in the capital, what impact do you see this having career wise?

It means that I have to concentrate on gigging solo. It has been tough for a long-time, in the sense that very often we don’t get offered enough money to be able to afford to travel to shows. I found it excruciating dealing with promoters who would barely offer enough for us to pay our petrol, let alone beer and chips! I know I can kick ass on my own, and I’m going out there to prove it. It’s always been the way with art of true integrity, not many people ever manage to make a decent living if they’ve truly stayed out of the mainstream

Getting gigs is never easy. How do you pursue live work? Do you use a manager or agent, or is it all down to your own efforts?

One of Chicken Legs Weaver’s most notable supporters over the years has been the incomparable Johnny Dowd, who was so impressed with an early live show that he offered to take the reigns when the band came to recording their debut.

“They're a great band!” exclaimed the songwriter. “Good players, great songs and lyrics. Nice people.

“I felt I could provide a studio with a good down-home vibe where they would be comfortable and could do what was needed to be done. And, of course, they paid me. I'm real pleased with the way the album turned out.

Johnny Dowd is touted as “the great songwriters of his generation,” by those ‘in the know’, a proclamation he wasn’t set to disagree with. “A song can come from anywhere. A conversation overheard, TV, past experiences, a rhyme, a riff, or chord progression…” Dowd began to reveal. “I'm never really trying to say anything personal about myself even though I write mostly in the first person. I guess there is a John Dowd who drives a truck and a Johnny Dowd who plays the guitar. I think maybe my lyrics come from a dialog between those two people. A monologue with two voices.”

Despite enjoying critical success, that has seen him likened to the ‘holy trinity’ (Tom Waits, Nick Caves and Captain Beefheart), Dowd’s music has yet to achieve comparable commercial success ten years into his career.

“Honestly, I'm surprised I'm as well known – or notorious - as I am,” insisted Dowd. “I got a late start in music, so the best may be ahead. I hope so. I've always wanted to be famous.

“A couple of my songs have been recorded by musicians even more obscure than myself! I would love for a pop star to record one of my songs. Please.”

However, Dowd suggested his ambitions weren’t so grand when he added, “I'm still standing, but would like to be remembered as a guy who did it his way - like Frank Sinatra - and was moderately successful…and a nice person.”

As the interview wound down with Dowd hailing Sun Ra as the artist that does “everything with music that I'd like to do,” the songwriter did reveal that February 2010 should bring new album "Monkey Shines” – “I'm also working on an album of R&B style cover tunes. And, of course, I continue to pursue a career in tap dancing.” DH

In the past, we’ve had managers and bookers, but after a while people move on, and sometimes I think you just need to take control of it yourself. It’s difficult to justify paying people to work for you in a market that allows little in the way of remuneration. So, now I’m doing it myself... and enjoying it, too, actually.

Do you think the current economic situation is making it harder to get bookings, and is it having an effect on the fees?

I don’t know for sure. I guess it’s affecting the viability of some venues to keep going. In terms of fees, there’s never really been any consistency between one place and another anyway. You have some good nights and some not so good.

You have what seems like an advantage by having some great reviews, even from the national press. Do you have to provide potential promoters with a CV and a demo, or do you find, even now, that you could be asked to audition?

No! I rarely find that anything much works except word of mouth. If a promoter is told by someone they trust to put you on, they will. If they don’t know you already, they don’t take a blind bit of notice of stuff

that you send them. It definitely helps to have good press, but I think they have to have seen it for themselves.

Is there any advice you could offer to aspiring musicians? Work hard - harder than you ever worked at anything - and be good to people. The more people like you, the more success you are likely to have. I know some artists live by the belief that you have to step on people to get where you are going, but I think that stands a bigger chance of backfiring on you badly.

Do you keep a scrapbook or diary?

I try. It’s getting a bit hard to keep up with that now after all these years!

Will the other members of the band move to London?

No. Although the band in essence has NOT split up, I think it’s unlikely we’ll play together for some time. I’m working solo exclusively now, albeit with a similar feel and much of the same material. It makes sense on a number of levelsfinancial, pragmatic and artistic.

Will you be looking to establish yourself solely in the south, or can we hope to see you on tour around the whole country?

We’ll see. TR

Johnny Dowd: a future A-lister?

photo: Kat Dalton

ew mainland European Blues players enjoy international status – despite this magazine’s continuing proclamations that many of the more interesting releases of recent years have emanated from territories within the continent.

Ana Popovic has made decent inroads in recent years, and Hans Theesink continues to plug away respectably, but you’d struggle to bring many other names to mind… However, Slidin’ Slim, a.k.a. Anders Landelius, has perked up ears on both sides of the Atlantic with recent album “One Man Riot” (subsequently featuring on the bill of a major US Blues festival and touring with exRolling Stone Mick Taylor).

Coming to the guitar relatively late in life, and immersing himself in the sounds of traditional Blues - following a background as a punk singer - Anders has mastered slide playing, and gives a modern update to the Delta Blues he holds so dear…

What led to a career in music?

Anders: I was fortunate enough to discover my parents’ record collection early on, and I fell in love with the sound of ‘50s rock’n’roll, from the likes of Fats Domino, Chuck Berry, Jerry Lee Lewis and, of course, Elvis Presley, as a 45 year old. I started to fool around with guitar and piano at the same time, and I guess that the dream of being an artist/musician started to grow. Although it was punk that made me realise that music could be my future. To discover bands like the Ramones, The Clash and Dead Kennedys, and the whole Swedish Blues scene, changed my life totally. It felt like a natural thing to start to play.

I guess not many kids your age were listening to punk and Blues music at the time…

I never liked school much, and had some problems fitting in with “normal” kids, so the punk community was the right place

for me, even if I was a bit too young to really be a part of it.

I started to fool around with different bands during my teens, but nothing much happened. I spent most of my free time rehearsing in basements in my home town, dreaming about the “big break”, going from one band to the other trying different musical styles.

So, there was no other route you were looking to go down, other than to become a musician…

In my late teens, I left my hometown and started to move around in search for a future as a musician. I remember it was hard to realise just how hard it was to “make it” as a musician and, at the same time, take care of the bills and trying to learn how to become an adult.

In the early-90s, I went through some tough times, and I almost gave up on music. With a bunch of “thanks, but no thanks” letters from record labels, I felt like it was no use to keep the dream alive. As a last resort, I decided to try to learn to play guitar - I was first and foremost a singer before - and ended up taking some lessons from one of the leading Blues guitarist in Sweden at that time. That was it! It was like a religious experience. In just a few weeks, I discovered Son House, Big Joe Williams, Robert Johnson and many more, and it felt so right.

During the next three years, I spent all my free time playing country Blues, reading everything I could find about the Blues and listening to everything I could find.

Did you never feel like doing straight punk Blues with the background you had?

Yeah, sure…but I am so deep into Delta Blues, so I don’t want to stray too far away from the roots… I’m also a sucker for a great song; and I really don’t want to limit my possibilities to create music to just one kind of style. I prefer to let the influence of punk show in certain songs, just like my love for ‘60s soul and country could be heard in my music, too.

Somewhere along the line. I hope I might be able to create music that could be recognised as “Slidin’ Slim music”. Who knows, if we don’t get rid of this f**king right-wing

"It is very important for me keep playing the traditional Blues, but it is also really important to keep developing."

government in Sweden at the next election, I might feel forced to produce an angry punk Blues CD just to get my opinions out there!

So when did you take on the moniker Slidin’ Slim… In 1994, I took the name Slidin’ Slim and started to play live. In 1995, I quit my day job and started to play Blues full-time. At that time, there were not many musicians that played country Blues in Sweden, so I got booked at Blues festivals and Blues clubs directly. To get experience, and to pay my bills, I played on the streets, at private parties, weddings and funerals, but always the Blues.

You studied Music Production. Was this in order to put your own music together in the studio?

I’ve been into home recording since the mid80s, so it has been a natural part of my life as a musician, really. I started out using these cheap small 4-track cassette recorders, doing simple “bedroom” recordings at home, but, to be honest, the strongest reason for me to go to school again was that I had a day job I couldn’t stand. Studies seemed like a good way out, but it turned out to be nothing like that. I couldn’t stand to look at music like some kind of science. For me, music is all about soul and telling the truth, so I just lasted for a few months. I didn’t like school as a kid and it was no better as an adult. But the good thing about these few months was that I met Niels Nielsen.

Why solo?

The solo playing and the acoustic Blues has always been the backbone of my playing but, over the years, I’ve also played in several bands doing just about every traditional Blues style there is, from Chicago Blues to R&B and Jump Blues.

It has always been hard to make any money with bands, so I always end up solo.

Tell us about songwriting…

During a trip to the Rawa Blues Festival in Katowice, Poland in 1997, I was asked by my local agent why I didn’t write any of my own songs. During the rather long trip home, I thought about it, and decided to give it a try. I found out that what came out wasn’t pure Blues, but a mix of all the music I’ve listened to over the years. Punk was certainly there but also country and soul. I guess that influences like Buddy Miller, Chris Whitley, and Johnny Cash could be heard among the more obvious classic country Blues and modern Blues masters, like John Hammond and others. I also found a lot of inspiration from my own rather turbulent life, as well as from favourite writers, like Charles Bukowski and John Fante.

Over the next few years, I continued to tour all over Sweden, recording demo tapes almost every year, and just tried to get better and better. In

In recent years, thanks to the likes of The Fried Okra Band and Tim Lothar, our readers have become more familiar with talented Blues artists currently plying their trade within the Scandinavian countries, but the scene has been burgeoning for many years in Slidin’ Slim’s home country of Sweden. “In the mid-90s, the Blues scene exploded with several Swedish world class bands and artists, new festivals and Blues societies from north to south every year,” said Anders. “For a young fanatic Blues freak like me, it was awesome!

Alongside countries like Finland and Norway, Sweden can boast some of the biggest international Blues festivals –“Åmåls Bluesfestival, Mönsterås Bluesfestival and Östersunds Bluesfestival brings the very best in Blues/soul and roots music every year” – and have been able to attract the kind of names too often noticeable for their absence at British events. “I’ve been fortunate to hear artists like T-Model Ford, James Harman, Louisiana Red, Robert Belfour, Duke Robillard, James Hunter, John Mooney, Kim Wilson, Lazy Lester, and others.”

With such high calibre artists visiting Swedish shores for many years, it’s little surprise there’s a number of talented acts from the Nordic country impressing critics and fans alike.

“The King of Swedish Blues and soul is without a doubt Sven Zetterberg,” insisted the slide player. “Another really great band is Knock-Out Greg And Blue Weather. They do that West Coast swing style just as good as Little Charlie & The Nightcats. Another amazing act I must mention is Harmonica Henry & The Bluesrockers. World class harp in the style of Little Walter and modern legends like Rick Estrin.

“All in all, I believe that the standard of Swedish Blues is pretty high and no matter if you like acoustic Blues, Chicago Blues, Bluesrock or punk Blues, you can find really good stuff, including Homesick Mac, Bluebirds, Jump 4 Joy, Mr. Bo & The Voodooers, Gumbo…

However, the Blues is marginalised by the music media/industry in Sweden as much as here. “It’s only on rare occasions that you will see Blues/soul and roots music on television,” revealed Anders. “It is just as bad when it comes to radio.

“It is quite hard to get noticed by a mainstream audience. The big record labels, and even the smaller ones, show no interest in Blues music whatsoever, even if it’s updated and modern.” DH

Top Swedish Blues artist: Homesick Mac.

2004, I finally felt ready to release a recording with a majority of original songs - “Ten Long Years”, recorded together with piano player Big Fred. The CD received great reviews and airplay all over the world. Even if the recording was rather traditional, I tried to be as personal as possible.

More gigs followed and things became really hectic, until, in 2005, I released a live recording “One Man, A Whole Lotta Blues”. More great reviews and even more gigs followed in Sweden, Denmark, Finland and the Netherlands. My song ‘Brand New Face’ made it to the finals in an International Song Contest in Finland! Sure felt great to receive some recognition as a songwriter!

And more recently we have “One Man Riot”…

During the fall of 2006; I started the process of writing songs for a new CD. This time I really wanted to dig deep

and write from my heart, without any safety net at all. To tell my very own story and, hopefully, create a kind of Blues that listeners could feel was for real and totally honest. To write about things I’ve been through over the years was hard – ‘Somebody Wish That I Was Dead’ is a true story - but I couldn’t do it any other way.

When I decided to let the young producer, Niels Nielsen, take care of the recording of the CD, things felt totally right. Without a doubt he was the right man for the job, because had no experience of Blues music.

I wanted to create a CD with strong roots in the Delta, personal lyrics, but with a fresh and exciting sound. To just copy the Blues legends from the ‘30s, ‘40s and ‘50s, or my Fat Possum heroes felt like a waste of time.

But the Fat Possum influence is prominent…

Like many Blues musicians, it is very important for me to keep playing the traditional Blues. The music of Son House, Robert Johnson and Charlie Patton will always be the backbone of my music, but it is also really important to keep developing the Blues. For me, as a songwriter, it would be pointless just trying to copy old Delta Blues songs. I need to write songs about my own life, using the tools that living here and now provide for me.

“One Man Riot” is certainly a recording that is a big step towards becoming the artist and musician I wanna be, and the influence of wonderful musicians like RL, T-Model Ford and Cedell Davis continue to be a strong source of inspiration.

How did you get signed to Nine Mile?

When the US label Nine Mile Records heard some of the new material, they offered me a deal. It was great to find a great label that wanted to support me and my music.

You sound a whole more akin to American acts on your CDs, which is I guess why Nine Mile were interested... How have you found your music fares in the US?

Well, I think my music has been very well received in the States, so far, and that means a lot to me. Of course, I can’t get away from the fact that I am playing a kind of music that was developed in the USA and I am from Sweden. These days, it is just as easy to do your homework listening, reading and absorbing the Blues, no matter where you live in the world.

I guess it is hard to get recognition in the global market being from Sweden, because a lot of people still want their Blues to come from the US, and that you need to be born and raised in the US to be able to play the Blues right; which, of course, is just a lot of bulls**t. What you need to be able to become a good Blues musician is to have the ability to bring your soul across to the listener and connect with them. Nothing else matters.

You said you got booked real easy when you first started out playing Blues in Sweden. How has the album been supported within Sweden?

These days, it is hard to sell records through the stores, so most of the sales go down at gigs, where I can sell quite a lot. After almost fourteen years of touring in Sweden, I’ve slowly built a small following, but I am never quite sure how many that will turn up just for me and not for the beer. There are a lot of places that book Blues, and people go no matter who the artist is. Most of the time cold beer and Blues music is a good way to spend your weekend! BH

"If we don’t get rid of this right-wing government, I might feel forced to produce an angry punk Blues CD."

ome things in life you just don’t forget; your first day at school, your first kiss and, if you are reading this magazine, your first taste of the Blues. It was 1989, I was a young rocker in ripped jeans, who wore his mullet proudly and had the popular Bluesrock albums of the era, including Stevie Ray Vaughn, Robery Cray and Jeff Healey. So, while John Lee Hooker’s “The Healer” wasn’t strictly my first Blues record, it was the one that hooked me (sorry, couldn’t help it!).

Back then, Carlos Santana was less the collaborating prostitute that he has become, and there has been no collaboration of his since that can touch the genre hopping song that opens the album (‘Baby Lee’). With Chester Thompson’s keyboards creating its haunting vibe, and Santana’s gorgeous stabs of searing guitar, it’s John Lee’s unmistakable vocals that takes the song to a higher level. He adlibs as only he can.

Next up is ‘I’m In The Mood’ with Bonnie Raitt. The pair musically undress each other. Raitt and Hooker (then already a septuagenarian in a time before Viagra) create an erotic heat that has the potency to melt your speakers. ‘Baby Lee’ is as warm and likable as Robert Cray’s contribution to it. Canned Heat, an entirely different entity from the band that made 1970’s “Hooker ‘N Heat” such a milestone record, still back him admirably,

as do Los Lobos, George Thorogood and his old mate Charlie Musselwhite. However, it’s the three closing tracks that are the most potent.

Unlike 1971’s “Endless Boogie”, when enough guitarists were roped in to form a small army, producer Roy Rodgers puts Hooker centre stage in an intimate setting and captures his magic. Remember this was in the era when record production was more excessive than the Space Shuttle budget. Fairlight programming, infernal keyboards and overdubs to airbrush out the fact that there wasn’t a proper song or real emotion beneath.

I remember in the darkness of my bedroom, hearing Hooker’s voice. It was like he was there in the room; my new best friend with a lifetime of music, emotion and experience to impart to me. There’s raw yearning on ‘Dreaming Of You’ – a song about lost love - and the mesmerising ‘Rocking Chair’. When he tells you, with the knowledge of a man who’s been there and done that, that there’s ‘No Substitute’ for love, you believe him. On occasion, it can still make me cry.

Some say the Blues is lonely and morose music, but Hooker’s summation that “Blues is the healer” is a much more accurate description of what this music can do for you. He may have recorded better albums (“Don’t Turn Me From Your Door”, for example) but this is the one that turned me onto the old Delta Blues artists. It’s a love affair, unlike that first kiss (sorry, Morag, or was it Pamela?!), that will endure. DJ

A FAVOURITE BLUES ALBUM?

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

SINCE I’VE BEEN LOVING YOU

Led Zeppelin

This was one of the tunes that made me want to play the electric guitar. I remember buying “Led Zeppelin III” and then spending hours trying to learn what Jimmy Page was doing on this. For me, it’s got all the aspects of his playing that I love - the aggressive fast stuff he does so well, and also some of the sweetest and most Bluesy passages you’ll ever hear. Some killer Hammond on there, too, and I love the way Robert Plant sings - it sounds like it’s tearing him up.

RED HOUSE

Jimi Hendrix

I love playing this tune live. I think its one of the greatest songs Hendrix wrote; it’s so simple, but the groove and feel is so ‘on it’ and sly. The intro sets the whole song up perfectly. The conversation going on between his vocals and guitar playing, in the verses, is mind-blowingthe solo is something else altogether! I love the last line, too - proper cheeky!

PRIDE AND JOY

Stevie Ray Vaughan

This tune sums Stevie up for me. I can never get bored of this tune, and it’s another that’s great to play live. The shuffle feel that they’re all laying down is so tight, and the lyrics and vibe behind it is great ‘cos it’s a happy song - and a real

“We lived in a tiny one-bedroom place,” said Marcus. “Despite the fact that there was no space, the big old hi-fi thing they bought had a microphone you could plug in and sing-along to, so there are tapes of a little me singing along with Joe Cocker, Janis Joplin, Hendrix...”. To see how these artists have influenced Marcus’ own output, tell us: Which popular US Blues guitarist did Marcus support in July 2008?

Marcus Bonfanti released his debut solo album, “Hard Times”, via The Guitar Label at the end of 2008. The album sees the young Londoner create a distinctive sound, although doffing a cap to the great Blues he grew up listening to.

aggressive one, too. The compin he does through the verses is amazing and just drives the tune - makes you wanna dance!

NOBODY'S FAULT BUT MINE

Sister Rosetta Tharpe

Kind of a Blues-gospel crossover here, but the Sister is one hell of a guitar player - electric and acoustic. She’s acoustic on this one, and sounds like Robert Johnson without the devil vibe. This is the perfect Sunday morning record; just sit back, listen and don’t try and work out what she’s up to, ‘cos it’ll blow your mind. She has so much soul and feeling - she just sounds happy.

(I’M YOUR) HOOCHIE COOCHIE MAN

Muddy Waters

This tune is one of the filthiest Blues tunes I’ve ever heard - the lyrics, the groove and dirty harp all link together to create a real sexy dirty vibe. This was one of the first tunes I learnt to play, and I still play it now - you can really let go on this one. The lyrics to this tune are fantastic also; Muddy shows he can tell a story or two, as well as make the girls scream – genius!

BACK DOOR MAN

Howlin’ Wolf

This is another song that is real filthy in every aspect; I love the guitars in this tune, they just creep along and play little bits here and there, but never in each other’s way.

MY BLEEDING HEART

Elmore James

I got hold of this track on a free CD, on the front of a music magazine, and since then I’ve got more and more into Elmore, his slide playing is great - every slide player since has elements of him in their style. The horns on this tune are great, and the slide licks between the vocal lines are a definite influence that Hendrix then took on.

LET THE GOOD TIMES ROLL

Dr John

This is another party Blues tune. I love the way Dr John sings this tune - and the whole vibe sounds like there’s an amazing party going on in the studio. The Blues is such an emotive style -

it is known for being sad and lamenting, but this tune shows that the Blues can make you feel as happy as it can blue.

OH, PRETTY WOMAN

Albert King

This track has backing from Booker T & The MG’s and The Memphis Horns, and they lay down a dirty groove for the man to do his thing over. I love the lyrics as well; they’re very real and his solo is one chorus long. He says everything he needs to in those twelve bars!

PICK UP ON MY MOJO

Johnny Winter

This is another Blues-rock crossover tune, and I love the sound of his guitar on this track - it’s so big and nasty! The playing of the rhythm section is so aggressive and tight, too, and mixed with the slide and gritty vocals, it’s fighting music for sure. It’s the track to put on before you go out for a good time. MB

Marcus Bonfanti hopes for easier times.

KARIMA FRANCIS

“I wanna tell you a story/About a girl who spread her words out before me…,” the opening line of Karima Francis’ debut tells you everything about the next 42 minutes; the afflictions caused by relationships and a vocal fragility that packs a weighty emotional punch. It’s on the stripped back numbers, like the title track, where Karima’s distraught vocals are at their most captivating and heartrending, disguising lyrical inadequacies to move the listener whether they’ve quite grasped the songs content, given Karima’s unique intonation, or not, and subsiding when she sings “…I love you/Because you/You try to hide those wings behind you more” (‘Chasing The Morning Light’). Her voice will likely be an acquired taste, perhaps recognised with a rockier, upbeat band number preceding each aching ballad, any one of which could be a potential chart mainstay, particularly ‘Oh Laura’ - the weakest track on the collection, but borrowing an intro from James Blunt and a chorus structure from KT Tunstall is perhaps a trusted formula for success, if some critical bile. However, the Manchester-based singer-songwriter has garnered much of the press’ focus on her curly black ball of hair (compared to that of a young Dylan), skinny frame and sexual inclination – hopefully set to change given her show stealing performance on Jools Holland recently – and whilst our media’s early obsession with her personality and private life brings to mind a certain Ms. Winehouse, Karima does fall short of her mantle given the lack of candid detail in her lyrics. Saying that, Karima’s vocal purity elevates her far above the many pretenders that have enjoyed chart success in recent years. Even if this doesn’t become a best-seller, I suspect Karima has more interesting stories yet to tell.

Darren Howells

GERRY LANE Meloneras Blues

gerrylane.net

Now this is a slightly odd one, as it goes from brilliant to dull, and back again. However, there are enough good tunes to make it worth checking out. So, let’s concentrate on the good stuff. Mr Lane comes from West Cork in Ireland, something that occasionally pops up in tunes like ‘Livin’ On The Line’, although these days you’ll find him plying his trade in the 19th Hole Bar in the Meloneras area of Gran Canaria - hence the title of the album. He’s got a bit of a pedigree, having played

with musicians such as Rory Gallagher, Brian May, Neil Murray and Cozy Powell, even contributing a couple of songs to the latters “The Drums Are Back” album. These days, he’s basically operating in a fairly conventional Blues-rock mode, with more than a few nods to the world of American southern rock, sounding remarkably like Bruce Brookshire, vocalist with southern rockers Doc Holliday. Which is a good thing, especially when he wraps his strong, earthy voice around songs as good as ‘Hip Grinding Blues’ and ‘A Man Without The Blues Is A Man Without Soul’. On the down side, the slow Blues are, without exception, dull. A real shame, as this came very close to being fantastic. But, as a self-written, produced, performed and released album, it more than passes muster.

Stuart A Hamilton

BUCKWHEAT ZYDECO Lay Your Burden Down Alligator

This is Buckwheat’s Santana album, his “Supernatural”. Far removed from a lot of his earlier zydeco work, this sees him venturing into the world of Led Zeppelin, Bruce Springsteen, Captain Beefheart and Gov’t Mule. It’s his Alligator debut, so maybe they’re looking for a crossover hit, which would explain the song selection and the producer – Steve Berlin of Los Lobos. To be fair, Buckwheat Zydeco does contribute five songs of his own, but it’s his versions of ‘When The Levee Breaks’, Springsteen’s ‘Back In Your Arms’ and Gov’t Mules ‘Lay Your Burden Down’ that people will be looking at first. Well, with the qualified exception of the latter, which sees Warren Haynes playing guitar, it’s some of the wilder cards that come off best. ‘The Wrong Side’, written by JJ Grey, is one of the highlights, capturing, as it does, enough of the zydeco spirit and with some tasty guitar from Sonny Landreth. Unlike the diversion into reggae on ‘Let Your Yeah Be Yeah’, which should be avoided at all cost. ‘Too Much Time’ also works well. The original Captain Beefheart version was a love letter to the sounds of Stax - in the hands of Buckwheat Zydeco, it has more soul than ever. This is the kind of album that gives crossover a good name, but don’t come looking for any pure zydeco sounds.

Stuart A Hamilton

THE DEANS

The Album

Moonsleeves

Third album from this young Irish band - first all-original albumwho are already veterans of the road. Although billed as Blues-

NORTH MISSISSIPPI ALLSTARS

Do It Like We Used To Do: Live ‘96-08’

Songs Of The South

It’s hard to believe that these guys have been on the scene for over ten years; it only seemed like yesterday that their debut album was released to such critical adulation. Well, with over a decade behind them, they have decided to release this 3CD/DVD set of live material, from the beginning to the present. The band’s releases thus far have, to be honest, been patchy, from the excellent “Shake Hands With Shorty” and “Phantom 51” to the disappointing “Polaris”, but this set is probably the best the band have issued. Running chronologically, the first disc has the band’s trademark hypnotic, electric hill country sound that can get a little repetitive, at times, but can also entrance. Rarities such as Fred McDowell’s ‘I’m In Jail’ and Jimmy Reed’s ‘Hey Hey Baby’ are covered, as well as excellent originals, such as ‘Sugartown’ and a fabulous run through ‘Be So Glad’, which is not marred like the original by the horrible rapping (it’s there, but barely audible). Easily the highlight, though, is the medley of ‘Po Black Maddie/Skinny Woman’ from Bonnaroo’s 2004 festival, with RL Burnside and an assortment of Mississippi Blues players. The track twists and turns, and is just relentless from start to finish. The second disc is even better, and you can hear the growth in Luther Dickinson’s playing. He does his best Hendrix impression on ‘Hear My Train A Comin’’, but lays some real sweet acoustic stuff down with the beautiful instrumental ‘Goin’ Home’. There is plenty of jamming on this set, with extended versions of many album tracks. The DVD feature is a history of the band and the people that influenced them. The Dickinson brothers’ parents talk about them growing up, but it is their musical journey that gets most exposure. It features archive footage of the band and other Mississippi legends, such as Fred McDowell, RL Burnside and Otha Turner. The bonus material features four videos from the ’07 Bonnaroo Festival, as well as other complete footage. The stage is where this band really lays it down, and this superb set confirms this beyond any doubt.

Andrew Baldwin

rock, there is a large rock’n’roll/rockabilly element, often mixed with boogie. At times, this does have a strong Rory Gallagher influence, with a modern production. The bass runs both a decent riff and rhythm, while the guitar solos smoothly and deftly. As a genuine three-piece, with few overdubs, this is raw and honest. From Delta Blues to hard rock’n’roll, the music is foot tapping throughout. Even when the rhythm takes an offbeat, it’s good. Some tracks are more up-tempo than others, and there is a touch of Cream and Peter Green, just check out ‘Colour Of Loneliness’. ‘Jugband Rag’ takes the acoustic route, some nice harmonica, too. ‘Wrong Time Wrong Place’ mixes dark new wave Blues-rock with Alex Harvey’s storytelling and mid-80s gothic. Consistent and enjoyable.

Joe Geesin

MEMO GONZALEZ & THE BLUESCASTERS

Texas born, German resident Memo and his band have hit new heights with their latest twelve track offering. They have added a sprinkling of soul and funk to their Blues inspired shuffle, swing and rock rhythms. Twelve cracking tracks, with most of the credits shared between Memo and his truly talented guitarist Kai Strauss. There is a nice mix of pace and style to the album. Mainly uptempo and guitar led, as exemplified by the fine opener ‘Bad Luck’,

the Freddie King co-write ‘Double-Eyed Whammy’ and the almost title song ‘Dynomite Nitro’, with it’s more than slightly suggestive lyrics. ‘Please Come Home’ harks back to classic ‘60s soul, whilst the version of ‘Slip Away’ is as good a bit of southern soul as I’ve heard in a long time. No slouch on the harmonica, Memo proves his chops on ‘Mary Lynn’, with it’s Jimmy Reed rhythm; jump jive on ‘D Jump’; and chromatic harp to the fore on the atmospheric ‘What’s In A Name’. Memo is a real big man, with a big voice, and, clearly, a big heart. Happy to allow Kai vocal on his self-penned ‘One Day, One Kiss, One Night’, which would have been a welcome addition to any Rockpile set list. Also, on the final track, entitled ‘Fat Boy’, he allows Kai to go head to head with guest guitarist Josh Fulero on an excellent instrumental.

Thomas Rankin

MIRANDA LOUISE A Sure Cure For The Blues

Repete

Miranda Louise has been established as a vocalist on the Nashville Blues scene for a number of years, and this CD is recorded with a variety of the local stalwart musicians, such that no two tracks have exactly the same band members. The band rotation does give a different overall feel to the CD, so you are never quite sure what to expect from each track, yet all give their backing with excellent instrumentalism. Though the band members are of such quality, it is the vocalist that is the focus, so don’t expect searing fretboard runs! It is a mixture of self-penned numbers and covers. Memphis Minnie’s ‘Me And My Chauffeur Blues’ has all the depth and feeling of the original, delivered in Miranda’s own style, with a slightly humorous edge. The title track is an upbeat swinging number, featuring the baritone vocal of Ray Miller (Jordinaires) in contrast to Miranda’s alto, producing a wonderful lively dichotomy

JOHN MARTYN Solid Air – Deluxe Edition

May You Never: The Very Best Of

Universal/Island

As is now common practice, a revered artist passes away and within months we get the classic album reissue and quickly packaged ‘best of’ - the cynical cash-in which incurs the wrath of the artist’s adoring fans for poor song selection and omissions. In fairness, “May You Never” works surprisingly well – given the strength of Martyn’s best albums are as overall pieces, not standout tracks, where listeners lose themselves in the ebb & flow. True, the song selection doesn’t show off the breadth of sounds and styles, and instrumental experimentation that can be found on “Solid Air”, for example (the ominous contemporary Blues of ‘I’d Rather Be The Devil’ or the Stax sounding ‘Dreams By The Sea’ would surely have enlightened better than following ‘Solid Air’ with ‘Bless The Weather’), and several inclusions beggar belief (the over-produced Paul Young-esque cover of ‘Over The Rainbow’ and Talvin Singh’s annoyingly beat-heavy ‘Sunshine’s Better’ remix), but for newcomers – and there are a fair few (Martyn didn’t chart with his masterpiece and enjoyed comparably modest record sales to other notable singer-songwriters) – it shows, for the first eleven tracks (of fifteen), how Martyn used his voice as such a controlling instrument (compensating, perhaps, for his lack of lyrical incisiveness); mumbled vocals on the late-night jazz of ‘Solid Air’ compounds the sense of despair; a more preach-like, powerful vocal on the prog-styled celtic folk of ‘Fairy Tale Lullaby’; and deflating with the broken delivery on ‘Couldn’t Love You More’. However, it’s his 1973 masterpiece “Solid Air” (now repackaged as a Deluxe Edition, with a second disc featuring demo versions of each track, live numbers and out takes), released when the Scottish singer was just 24, which should act as the starting point for any curiouso (quickly followed by “Grace And Danger”) - in fact, any of the nine tracks could have warranted inclusion on the ‘best of’ (four made it). A sense of grandeur to even the simplest of songs – ‘Over The Hill’ – the album moves between sombre and menacing, presenting Martyn not only as a fine folk singer of gentle tones but rock’n’roll man, too. Never needing to force his message, Martyn gives nods to the likes of Nick Drake and Skip James in producing a free-flowing, emotional tour de force that so many singer-songwriters are still struggling to emulate. Darren Howells

of textures. ‘Serious Blues’ is a marvellous Chicago style Blues, constructed around famous or infamous lines from classic Blues songs. Throughout this CD, Miranda’s vocal has good intonation and range, and for the most part captures all the emotion of a great Blues vocalist. Perhaps it is time she was given more prominence outside of Nashville.

Carol Borrington

MOODY McARDLE Fractured Soul

Silver Sky Illusions

This is the band’s debut CD, and it’s an eclectic, highly polished and well produced CD. The instrumentals are diverse and of quality. Tommy McArdle has a great vocal, which shows the ability to move from the refined and intensely emotive to a rougher, moody and demanding texture when required. The songwriting throughout is superb; it is deeply convoluted and, at times, cathartic in nature. The lyrics plunge deep into the human psychic, whether on the topic of love or other aspects of the human condition. The title track, ‘Fractured Soul’, is a mix of complex songwriting, great vocal and instrumental. The tempo rises and falls throughout, building on the lyric of a damaged soul - searching, questioning and reflecting on life. If Blues can be accepted as a feeling, as well as a musical textbook definition, then this song, in its vocal, is as Blues as it comes. ‘Get Up’ is an interesting song musically, that falls somewhere between U2 and Jethro Tull! On ‘Let It In’, lyrically, we are in the realms of Dylan and Donavon, with modern

rhythms and orchestration. ‘Road To Arrival’ is full bloodied Blues-rock in guitar, rhythm and vocal - again with complex psychological lyrics. This is a CD you don’t hang a label on!

Carol Borrington

BEN HARPER AND RELENTLESS7

White Lies For Dark Times

Virgin

It’s a new record, a new band and a new sound for the American guitarist and singer Ben Harper. The Innocent Criminals have been replaced with a new outfit, featuring Jordan Richardson on drums, Jason Mozersky on guitars and Jesse Ingalls on bass and keyboards. This is very much Ben Harper’s rock album and the opener, ‘Number With No Name’ sets out his new mission statement. It’s classic Blues-rock in the mode of The White Stripes, FREE and anyone you care to mention. The first few tracks do show that Harper is on something of a creative roll and firing on all cylinders. On ‘Up To You Now’, he delivers a superb vocal on a great track. The momentum does slip as the album progresses. For

every really rocking track, like ‘Shimmer And Shine’, there are others that frankly don’t quite cut the mustard. At times, it feels like Harper is playing the garage band card a little too strongly. This CD might be a curate’s egg, but it does show that even an artist as established as Harper is willing to experiment and stick his musical neck out. It bodes well for any sequel.

Jamie Hailstone

BIG DAVE McLEAN

Acoustic Blues: Got ’em From The Bottom

This is the latest offering from Canadian Dave McLean. It’s a trip to the Delta, to the feet of Dave’s biggest influence: Muddy Waters. Dave started playing harmonica in the ‘60s, and was given his first lesson on the guitar by John Hammond, who was a friend of Muddy Waters. John introduced Dave to Muddy. This meeting was to have a life-long influence on Dave’s music - Hammond and Waters served as mentors and friends from this point onwards. The CD is selfpenned, with the exception of songs penned by Muddy, Sonny Williamson and Lightnin’ Hopkins. It is mainly acoustic Blues and contains nineteen tracks. McLean’s vocal is raw, gritty and growling, with a touch Muddy swank.

Dave’s harp playing is emotive, with a bleating, dry rasp sound.

‘Why Do Girls Do That’ is a self-penned song on the traditional Blues theme of the pain women can cause to their guys, with wailing harp complaining in union with the vocal. ‘Louisiana Blues/Forty Four’ is a medley and tribute to Muddy Waters. Drum driven, wailing harp, percussive bass-line and sensitive slide under Dave’s vocal. It’s a freer rendition than the original but it works. ‘Comin’ Home To You’ is a heartrending song about the loneliness of the musician on-the-road and the security of having someone back home to get them through. The Blues is the hard life road, which McLean has trodden!

Carol Borrington

BLIND BRAND X Black Dog Blues

Independent Release

This is a home-produced country Blues effort and follows the path trodden by the likes of John Fahey. It is an eight track collection of all instrumentals with a folky flavour. When five of the tracks are called ‘Black Dog Blues’, you immediately get the idea of where this music is at! It’s not interested in sales or a commercial bent; it’s all about the music within. The man at the helm is RC Johnston, a.k.a. Ragtime Ralph, and apparently this is his first collection of new stuff in over twenty-five years. He plays a weather beaten resonator acoustic, where you hear every creek and pluck in his finger picking style. Most of the cuts were recorded live to a small but appreciative crowd in Canada. The majority of the music is original, but he does a nice, dark version of Bukka White’s ‘Poor Boy’. The music herein is beautifully played, and is hypnotic in its quiet simplicity - it is played from the heart, but it can get a little, well dull after a while. You certainly wouldn’t put it on to liven up a party, but as a collection of music, it will interest guitarists wanting to learn this guitar style.

Andrew Baldwin

SAFFIRE Havin’ The Last Word Alligator

Founded in the mid80s, 2009 is the 25th anniversary for this trio. Unfortunately, the ladies have decided to call time on this group, and announced that this will be their last album. Well, they have gone out on top - this final release is fun from start to finish. Over half the sixteen tracks are originals and feature, as always, the provocative, risqué and very witty lyrics that the women are known for. ‘Bald Headed Blues’ is a raw take on battling cancer with excellent, poignant lyrics, whilst ‘Nothin’ In Your House’ is a humorous take with the line, “I’d rather be hated for who I am/Than loved for what I’m not,” summing the band up beautifully. Highlight, though, is ‘Bald Eagle’ - full of double entendres and a fabulous vocal from Gaye Adegbalola - whilst ‘Too Much Butt’ is a bit more self-explanatory. I prefer Ann Rabson’s powerful voice than Andra Faye’s more country sounding efforts, but this is a good album, although much of the lyrical content will appeal more to female Blues fans.

Andrew Baldwin

DREW NELSON Dusty Road To Beulah Land Waterbug

When does the art of the acoustic singer/songwriter shift from being one that sits solely within the world of Americana/folk/roots into our world of the Blues? To a great extent, it comes down to the stories being told. Now that might seem like a straightforward thought process, but, at times, an artist blurs the boundaries. Following on from his rather tasty 2006 release, "Immigrant Son", Drew is back with a new ten-song collection, and it is a cracker. His writing is of a much higher calibre - sharper and more observant –dealing, as it does, with many of today's problems, caused in part by economic difficulties throughout the USA. In 'Highway 2' he vividly describes the land being stripped of resources for profit, leaving behind a mess for future generations to deal with. The plight of blue-collar car workers losing jobs, families moving from being middle class to living hand to mouth, and a feeling of alienation through disenfranchisement is eloquently told in 'Stranger'. Climate change, poor harvests, falling crop prices and the land being forcibly taken by greedy banks or cor-

SHEMEKIA COPELAND

“I think I’m in a great place. I think that I’m in the best place ever. I feel really good, and for me feeling good means it’s easier for me to talk about what I want to talk about without having any problems...that’s why I pour out opinions on the record.”

CONGREGATION

“I think what we do is because I’ve never had a guitar lesson in my life and Victoria’s never had a singing lesson. I think that’s what led to our own raw take.”

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porations related brilliantly in 'Farmers Lament'. These are real tales of real hardships being faced today by thousands of honest hard working folks who, through no fault of their own, are in desperate straits, and if that is not the source of good Blues then I don't know what is.

Graeme Scott

JESSICA LEA MAYFIELD With Blasphemy So Heartfelt

Old before her time seems the best way to describe Jessica. She writes bare-boned, dark, plaintive, sad and introspective songs. This offering of twelve originals was recorded over the past two years and she is still only 19. Well produced by Dan Auerbach of The Black Keys, who exercises a remarkable light touch in capturing the clear, sultry and surprisingly mature vocals. The album is a bit one paced. However, it is not without its melodic charm, even if the

COLIN LINDEN

The Columbia Years

True North

main backing is often reduced to little more than a simple strumming accompaniment. The songs are seemingly all about the problematic relationships of the writer. Songs of love and devotion, doubt and recrimination. You would imagine she is a trifle young and unfortunate, if these were to relate to multiple troublesome interludes, but, then again, overly complex to be the consequence of one romance. The mood is indicated by the titles; ‘I Can’t Lie To You, Love’, ‘Hold You Close’, ‘I’m Not Lonely Anymore’ and ‘Is This Love’. Then you look at the lyrics, “Care less about you/And I love the sound of you walking away/And I can see clearer and I’m getting closer/To finding out just who I am without you in the way.” There will be those that will marvel at the capture of such intimate feelings, and others who may pronounce it dirge-like.

Thomas Rankin

BRAVO JOHNSON The Crooked And The Straight Stone Junction

The fusion of Blues, rock and Americana has always been one that has greeted few favourably, and many with a cold glare. For these reasons, fusion has been reduced to those who already have a career built up, and therefore can take the chance; for example Bruce Springsteen or Bob Dylan. Then there’s Rick Ammurrio’s group Bravo Johnson, a home-grown

Collectively packaged under the title "The Columbia Years", this features the albums “When The Spirit Comes”, “South At Eight North At Nine”, “Through The Storm Through The Night” and “Raised By Wolves” – four releases covering Colin's output from 1987/8 through to 1997/8. So, if you are not entirely familiar with this Toronto born musician, this is a fine entry-level option for you. Throughout his career, Colin has worked with an amazing range of talent from Mississippi Blues man Sam Chatmon to Alison Krauss, Robert Plant and Delbert McClinton. Donning a production hat, he has been at the controls of Bruce Cockburn and Morgan Davis recordings, and has written extensively with Rick Danko and Garth Hudson. That is the brief history lesson over, now to the music. "When The Spirit Comes" is earliest record here, and it sounds it. As you would expect in any artist, the voice is younger, less mature, the sound a bit thinner, and the writing is perhaps simpler. The album opens with a good rocking track, 'Two Halves Of A Whole'. The catchy chorus hooks you in an almost a pop single kind of way. Actually, as you listen closely, this really is an album of pop rock. There are elements of country Byrds-esque vocals, for example, on 'Thy Will Be Done' and 'Put It In The Ground'. My favourite tracks are 'Chest Fever' and the rollicking 'No Price For Love'. Four years down the road and "South At Eight North At Nine" is recorded, and from the off the difference is clear. We have a much more Bluesy sound, smoky vocals and the inclusion off Willie Dixon's 'I Want To Be Loved', Blind Lemon Jefferson's 'Black Horse Blues', which provides the great album title lines, and Sonny Terry's 'Gonna Get On My Feet After A While'. This gives a good indication of an artist seeking wider inspiration that has worked its way into original material, like 'Positively The One', for example. The year is 1995 and "Through The Storm Through The Night" is completed and, yet again, the net of inspiration has been cast. Adding elements of gospel to the bubbling mix of pop, country and Blues, we have a much fuller, enriched sound. Eleven of the songs are Linden originals, and the writing is more concisesharper, questioning and descriptive. 'Moon Follow Me Home', 'Out Of The Wilderness', 'No Rest For The Wicked' and 'Homesick In My Own Backyard' being amongst the pick of this crop. The final album in this quartet of releases, "Raised By Wolves”, with the brass and swirling Hammond higher up in some of the mixes, completes our journey through this stage of Colin's career. All fourteen excellent, original songs here can trace their pedigree back through the ten year time span. They chart perfectly how it is vital that artists be given space to develop their skills. In these days of instant gratification and almost instant discard, we can only hope that record companies nurture their roster of acts to enable onwards to ever finer musical output.

Graeme Scott

slice of California-on-the-border rock’n’roll plated against a side of Texan fury. At times, a truth-seeking apostle, at others, a hard-drinking party animal; Rick never really makes up his mind to which direction the band is going in and, for this reason, “The Crooked And The Straight” feels less like an album and more like a collection of songs. It also clocks in at twentyseven tracks - almost an hour and a half! It never slows down, but it does become tiresome with its constant demand on the listener. With such a satisfying array of rock’n’roll, it becomes a shame that listening to it becomes a chore. For greater listening, I would recommend listening to each disc separately, with a mind not to compare them to each other. Fun might be had with Bravo Johnson’s sporadic effort.

Matthew Clarke

DON CAVALLI Cryland

Everloving

French-born Don Cavalli’s background is in various rockabilly and country groups. Unfortunately, “Cryland” provides us with his rather unique interpretation of funky ‘60s groove laden Blues, cajun/zydeco, rock‘n’roll and pop rolled into one disappointing fusion. ‘Wandering Wanderer’ and ‘Casual Worker’ are decent tracks. Not decent enough for me to want to listen to them again, however. ‘New Hollywood Babylon’ is awful, as is ‘Wonder Chairman’. Horrible thin sounding guitar tones pervade throughout, with annoying tremolo and even more annoying wah wah. You could argue that a self-certified Blues purist like me is bound to hate any attempt to contemporise the Blues, or indeed other forms of traditional music. I’m not averse to giving the Blues a revitalising shot in the arm, but “Cryland” is completely the wrong way to go about it. Sounding far more dated than the very music it draws inspi-

ration from. Frankly, the whole thing sounds like the work of some bored ‘60s pop intellect. And very few albums of this nature made it out of the ‘60s intact. It made me think of “Electric Mud” - even Muddy Waters hated it!

Davide Styles

BROTHER TYRONE

Mindbender

Independent Release

Much of this lush and soulful CD is excellent stuff. It features jazzy guitars, horns, mellow organ, and soft back-up vocals by gospel singers – in fact, some of the playing sounds like backup music for Barry White! But instead of White’s seductive rumble, we get Brother Tyrone’s seductive tenor, which echoes ’70s smoothies like Johnnie Taylor and Z.Z. Hill. The musicianship’s excellent, the singing soulful - top-notch stuff! In the second half, the album veers into Blues. ‘Old Friend’ is a horn-driven mediumtempo number, with a relaxed and Bluesy guitar lead reminiscent of B.B. King - pure Blues, very fine. But the album has its weaknesses. For one, the lyrics can turn downright banal. “There’s only a true love once in a lifetime/It matters not how hard we try,” Tyrone intones. The lyrical shortcomings are especially egregious on a song like ‘Just Because’, which relies almost entirely on the words. Tyrone rambles on about how, even if he blows up, walks out, slams the door, refuses to make love and God know

what else, his woman shouldn’t take it personally. Instead of making a ballad of it, the guy should consider counselling. The other shortcoming is length - fifteen tracks, the longest clocking in at eight and a half minutes! Excess is common in selfproduced albums. Too bad this one’s so undisciplined that such good stuff wears out its welcome by the end.

M.D. Spenser

THE ALEX DIXON BAND Rising From The Bushes

Dixon Landing

When you have the genes of the truly legendary Willie Dixon coursing through your veins, you would hope that something has rubbed off, a couple of generations down the family tree, on to you. Euterpe, daughter of Zeus and Mnemosyne, was the Goddess of music, and Willie surely was one of the Godfathers of the Blues. Alex, his grandson, has indeed got the Blues as his Muse. Willie, at the start of this album, states that "the Blues are the roots of all American music,” and who would argue against that?! This fine new album from Alex features himself on keyboards, James Gadson on drums, Gerald Johnson on bass and vocals, Alan Mirikitani on guitar and

along by thumping drums, wailing guitar and tinkling piano. David Dills shows what an excellent singer he is on the Willie Dixon original 'Down In The Bottom' and 'Still In Love With You'. Marcy, exhibiting similarities with Aretha Franklin, takes care of 'Paint You A Picture'. My favourite track on the album is the soulful 'Find A Way To Live', a great song about coming out of a failed relationship. Simple Blues and soul are on offer here, but done with real style and class. Granddad would be proud.

Graeme Scott

PAT THOMAS

His Father’s Son Broke & Hungry

Being the son of James ‘Son’ Thomas, Pat, being a painter, artist and sculptor, as well as a musician, felt compelled to keep the tradition of authentic rural Blues alive by following in his late father’s footsteps. This, his debut album, is faithful to the genre, and features him with just drummer Lee Williams for support. He doesn’t try to modernise the style, or for that matter really put himself into the music. Whilst the audio quality is fine, the actual music come across sounding like a home demo, in that Thomas, vocally, doesn’t sound particularly engaged, nor is he accomplished on his guitar. All but two of the twelve tracks are covers and standards, but they sound tired and drained of energy - there is very little spark to any of the cuts. To me, it sounds like a

Andrew Baldwin

THE REDWALLS Universal

Blues

Fargo

This is the Chicago band’s debut album, originally released in 2003. It seems to have been re-released for the European market, after the band have opened for some big names, including Oasis and The Zutons - and have since gone onto greater success in their homeland. The band are clearly inspired by early-60s rock, especially The Beatles, The Rolling Stones and Dylan, so much so that they sound like they are doing impersonations on several tracks. Opening track, ‘Colourful Revolution’ even sounds like a ‘60s song, with it’s political statement, “In it’s prime, the American mind has got nothing to say.” Next comes a trio of impressions, courtesy of vocalist Logan Baren, with ‘You’ll Never Know’ (Dylan), replete with ‘Sympathy For The Devil’ type whoo-hoo’s; ‘It’s Alright’ (Jagger); and ‘Speed Racer’ sounding like The Byrds being fronted by John Lennon. The album itself is mildly entertaining, but it just feels like they haven’t put any of themselves into the music, and are trapped by their influences. At their Bluesiest, they sound a touch like Little Barrie, especially on a cover of ZZ Top’s ‘Balinese’. It’s given with great enthusiasm, it just all sounds a little too re-hashed.

Andrew Baldwin

IAN GILLAN One Eye To Morocco

So the fifth best Deep Purple vocalist, Ian Gillan has decided to step away from his day job, and found time to put out another solo album. It‘s been a while since the last one, proper, and I’m pleased to say that this has a lot more in common with his classic Ian Gillan Band/Gillan albums, than it does most of his solo work. His early material was noted for its experimentation, and large chunks of this album go back to those roots. Sure, there are a few misfires, like the cod reggae of ’Girl Goes To Show’, but, on the whole, he’s done a pretty good job. He even has a good few cracks at the Blues, with the rollicking ’Change My Ways’ and the dense, murky ’Better Days’ particularly fine. Of course, for every person who enjoys those, there will be someone horrified by the dance rhythms of ’Deal With It’, but, hopefully, they’ll get drawn back in by the deep fried boogie of the modestly titled ’Ultimate Groove’, and the funkified ’The Sky Is Falling Down’. This is better than I ever could have hoped for, and I sense it will get more repeat plays than the last couple of Deep Purple albums. It’s out in a myriad of formats to annoy the completists, so take your pick from CD; Limited Edition vinyl replica CD, with bonus track; 12" vinyl; and gatefold 7" single (featuring two exclusive tracks, as well as the full album on CD).

Stuart A Hamilton

NELL BRYDEN Live From Iraq

157

This recording was made during Nell Bryden’s nine day tour of Iraq, where she entertained the US troops going

JERSEY BUDD Wonderlands

The Feeling

I’ve seen the future of rock’n’roll and its name is Jersey Budd. “Wonderlands” has been funded by an innovative initiative called Bandstocks, which has allowed fans to buy shares in the record, but that is not the reason why you should buy this CD – you should buy it because it rocks on almost every conceivable level. The economy might be going to hell in a handcart, but Jersey Budd has delivered a record that is as life-affirming as a cold beer on a summer’s day. The British singer-songwriter has fused the air-punching Blues-rock of Springsteen and Dylan with the optimism and swagger of Britpop. “Wonderlands” is a rare beast in that it can be compared to both “Born In The USA” and “Definitely Maybe”. Rarely have American and British musical tastes been so eloquently welded together. Tracks like ‘She Came Back’ and ‘Shotgun Times’ are a triumph. They are full of catchy choruses, great lyrics and rocking guitars. The only criticism is that at thirty-two minutes, it’s simply too short. Purists will disagree. Some of Dylan and Springsteen’s best work was just as short, but, as it stands, “Wonderlands” gives a tantalising glimpse of an artist who is ready to take on the world with nothing more than a guitar and a microphone. Remember the name, because you heard it here first!

around a few of the American military bases. She got to do quite a bit of travelling, and there is a nice little booklet which chronicles her journey, from day one to nine. All a bit selfindulgent, with references to her plane being struck by lightning, being hit by mortars during a show and photographs of helicopters, tanks, flak jackets and a handbag! Bryden is not a pure Blues player and only one of the tracks, ‘Hellhound On My Trail’, sits firmly in the genre, although her version of ‘The House Of The Rising Sun’, the best on the album, gets close. On this track, we get to hear some really gutsy vocals. There’s an Elvis track, ‘That’s All Right Mama’, which rocks a bit, too. There is a country feel on many of the songs, in particular the opener, ‘I Know You Rider’. Bryden has a good voice, with a good range, which enables her to deliver a wide range of material. Her back-

VARIOUS

The Roots Of The Byrds

The Roots Of The Black Crowes

The Roots Of Nick Cave

The Roots Of The Doors

The Roots Of The White Stripes

Snapper

These five albums work from the premise of trawling through back catalogues of the artists and finding traditional, Blues, folk, country and roots tracks that inspired them. The producers have compiled original, or very early, recordings of the songs - an aural history lesson, if you likeand by the time you have enjoyed a hundred and seven tracks, you will certainly have a good idea of what the roots were that made our artists tick. Beginning with The Byrds CD, for example, there are several Pete Seeger songs ('The Water Is Wide', 'Turn Turn Turn', 'Old Blue') sitting alongside Woody Guthrie's 'Deportee (Plane Wreck At Los Gatos)', 'Pretty Boy Floyd' and The Louvin Brothers’ 'The Christian Life'. Factor in Gene Autry singing 'Blue Canadian Rockies', Sarah Hawkes brilliant take on 'Returning Sweetheart', Blind Willie Johnson's 'John The Revelator' or Bill Monroe's 'Shady Grove', all of which reenforce the depth and age of these songs. The Blues purists amongst you will certainly enjoy The Black Crowes CD, where you will find recordings by the likes of John Lee Hooker, Son House, Furry Lewis, Sleepy John Estes and Bukka White. 'Mean Old Frisco' by Snooks Eaglin, Skip James singing 'Devil Got My Woman' or Slim Harpo's 'I Got Love If You Want It' are just three of the cuts to be found here. Nick Cave has more rock’n’roll to his roots, and so we find Carl Perkins, Big Joe Turner, Little Richard and Gene Vincent on his CD. Gospel has an impact on Nick, with tracks by Ella Jenkins ('Wade In The Water'), The Alabama Singers ('Jesus Met The Woman At The Well') and Odetta ('Another Man Done Gone') all getting an outing. There are a few surprises on The Doors collection, for example, The Shelton Brothers 'Aura Lee’; the whiskey drenched 'Alabama Song' by Bertolt Brecht; and The Viscounts instrumental 'Harlem Nocturne'. A wonderful Billie Holiday version of 'Summertime' is also included for good measure. The White Stripes are, of course, very popular, and if they introduce newcomers to our world of the Blues then that is fine by me. This last CD has some cracking tracks from Tampa Red, Robert Johnson, Leadbelly, The Carter Family, Patti Page and, yes, even James Cagney, with 'Harrigan/Yankee Doodle Dandy'. There are two further CDs available in this series, highlighting the music of Gram Parsons and Janis Joplin – I suggest you track all seven releases down.

ing band, who, because her normal crew pulled out, joined her for the tour, put in a decent performance. Given the location and facilities available, the recording is good, but for my money, the album never rises above average.

Kevin Wharton

CHARLIE PARR Roustabout

Misplaced

Charlie Parr is one of those rare breed of musicians who performs and records material that could so easily have trickled down from the Appalachians in the early part of the 20th century. Traditional mountain music mingled with piedmont-style Blues, “Roustabout”, Charlie’s seventh CD, contains twelve tracks, only three of which are non-originals. A stomping version of Blind Willie Johnson’s ‘God Moves On The Water’ being one of them. The album was recorded in “true monophonic sound,” straight to tape in various suitable locations, such as his living room and garage. His dexterity on steel guitar, banjo and twelve

string, particularly on ‘Warmin’ By The Devil’s Fire’, is evident, and is sparingly backed by eloquent harmonica, fiddle, and various percussive instruments, including washboard and “shovel & hammer”! Standout tracks include the excellent ‘Far Cry From Fargo’ and ‘Last Payday At Coal Creek’, with some wonderful Bukka White style slide. It is hard enough to steer clear of mainstream popular music these days without having to navigate around a great deal of bilge that passes as traditional folk music. Thankfully, there is an emergence of musicians who remain faithful to their art and produce work that is as authentic as one could possibly be in the modern world.

Davide Styles

PATSY MATHESON

This is Patsy’s first solo release since the break-up of Waking The Witch. Some may expect disappointment with the loss of harmonies, but Patsy does not disappoint. This is a musical tour of England, through Patsy’s perception, using lyrics to describe the journey around places and events of significance to her. It’s rooted in the folk rock tradition, whilst making more than a nodding acquaintance with the Blues throughout. She uses the emotion of the lyrics, the style of delivery and some gentle but emotive acoustic and electric guitar playing to get that feeling. ‘Play The Game’ is a gentle piece of Bluesrock, protesting over current government policies and the response of others. Patsy’s vocal has a broad range within the alto register, and is ideal for delivering this song with all the emotion you would expect from any Blues singer.

‘Precious Little Soldier’ gives a reflection on the Iraq war, delivered with gentle emotive electric guitar and Gina Dootson underpinning with backing vocals. This is Blues without a Blues format - just listen to the emotion in the last two verses! ‘Lamb To The Slaughter’, a song of the media hounding and fixation on an image they created, is sung with empathy, and as expressive as the pain portrayed by

the lyrics. This is not a CD for the purists, but if you take your Blues with an open mind, open your heart to this CD.

Carol Borrington

THE REV. JIMMIE BRATCHER

The Electric Rev.

myspace.com/jimmiebratcher

It is a short hop from gospel music to the soulful end of Blues music, and this is territory that the Reverend Jimmie Bratcher occupies confidently. He combines the twin loves of his life, namely Blues music and his saviour, Jesus Christ. Having earlier followed a higher calling, he has now returned to the Blues some twenty years on. In Serenity Hill Studios, Nashville, Tennessee, this exciting album was recorded and co-produced by Mike O’Neil and the redoubtable Jim Gaines. Bratcher penned or co-wrote ten of the thirteen tunes. He is also a tasteful guitarist, sometimes in the single note style of B.B. King (‘When The Blues Come’), and, on other occasions, the solos rock out (‘The River’), and his voice is authentically quavery and pleading. A special mention is made for Kim Morrison, whose backing vocals are magical throughout. After the suitably scene-setting ‘Call On Me’, in which he nails his religious colours to the mast, Bratcher then delivers the authentic New Orleans street march of ‘Green Bananas’. The powerful ‘Elijah’s Road’ is followed by the churchy ‘Gift Of Song’; this is typical of the sequencing, which makes this a wonderfully varied and conspicuously spiritual album. The wonderful Bluesy ode to his broken bigfinned ‘Cadillac’ is a metaphor for finding himself. The album closes with Gary Nicholson’s poignant ‘How Far Down’, complete with Dobro and harp, and a striking guitardriven arrangement of Titus Turner’s ‘Grits Ain’t Groceries’,

DAN GRANERO Can’t Stand To Lose

myspace.com/dangranero

Dan Granero embodies all that is to be admired in an Aussie: dedication and a dogged strength of purpose. His father had been a lead guitarist, too, and, from an early age, he picked up the vibrations. He became obsessed with the Blues-rock sounds of Jimi Hendrix, and the sound of the Fender Strat. He says, “I was born to play the Blues with this guitar in my hands,” and despite false starts and personal setbacks, he has given up the boring day job of air conditioning technician to get on the road - with both TV and radio backing, he may now fulfil his dreams. This album was recorded live, with no overdubs, in one day earlier this year at The Oakglen Treehouse in the Central Coast area of New South Wales. He was accompanied by his mates Lawrence Gambale (bass) and Michael Williams (drums) in the classic power rock trio format, and the production is with a light touch. Granero composed all the songs, and whereas the songs are generic and rough, that is their appeal; a typically aggressive and punchy approach to the familiar themes of triumph over adversity (‘Can’t Stand To Lose’ and ‘Hey Hey’), the Blues adventure (‘The Road’ and ‘I Hear The Blues Calling My Name’), women issues (‘Change Your Mind’) and superb slow Blues (‘My Baby’). If this recording is anything to go by, he will be great to witness live.

Noggin

PETE CUMMINS

The Brilliant Architect Sidekick

Irish musician Pete Cummins is better known for his work with his band Fleadh Cowboys, but he’s been around since the ‘60s, he’s a friend of Donovan and he's supported names like Dylan, The Pogues and The Chieftains. This is his first solo venture, and all the tracks are self-penned, with the exception of a cover of Johnny Cash’s ’Train Of Love’. This CD is fundamentally Blues, but Cummins mixes in rock, soul, folk and country. His songwriting is complex and, at times, profound, and he has a wonderful way of structuring words into fluid but intricate patterns. His vocal has great emotion and range, and he can slip from the more polished to raw vocal with ease. The instrumentals are consistent throughout the CD. Every song on this CD is lyrically, vocally and instrumentally of merit. The track ’Flowers of Baghdad’ has already found success in its own right - it has already spent seven months on Neil Young’s “Living With War” website, reaching number 30, as its highest position, and has had a great deal of airplay in San Francisco. It’s a Blues folk protest ballad, in the best ‘60s tradition, but its lyrics are in a modern context. It’s magnificently executed, with tender emotive vocal and guitar, but, at the same time, extremely questioning on the cost of the Iraq war. 'Delivery Man' is best described as quality New Orleans jump Blues. Top quality!

Carol Borrington

KILL IT KID Send Me An Angel Down

One Little Indian (single)

Listening to this Bath-based band, it’s hard not to think about the time Gomez first broke onto the music scene back in the early90s. Their mixture of indie, folk and Blues is utterly unique, and unlike anything else currently on the radio. Chris Turpin’s voice makes on immediate impact on the single’s main song. ‘Send Me An Angel Down’ is a haunting, brooding track, with a clear PJ Harvey influence. The b-side, ‘Date It The Day’, is just as strong, with Chris singing with fellow band member Stephanie Ward. It is a quintessentially English-sounding record, but with clear Americana influences. This band are definitely one to watch out for.

Jamie Hailstone

LOZ BRIDGE AND THE BOX SOCIAL Witches

myspace.com/lozbridge (EP)

The searing scepticism of Bridge’s lyrics denote a typical apathy for the workplace among the white collared, while the Marc Ribot inspired guitars licks tear through the speakers. In its wake, the Delta-inspired acoustic riff of ‘China’ warms up. At first, a song which feels rooted in metaphor, it is clear that Bridge’s ideology focuses on the 21st century workingman; a man with as much emotional strife at home as at work. ‘By The River’ becomes a parable of myth, with Bridge reflecting on his choices in a regretful state of mind. The ‘tale of caution’ approach is what the Blues is made of and the decision to lead with a banjo evokes the feverish southern states.

Matthew Clarke

KONTRABAND Monkey On My Back

myspace.com/kontrabandblues (EP)

‘Pretty Mumma’ features some nice slide Blues, some wailing harmonica, and has a real Delta Blues feel to it. ‘Bitch’ is lyrically your typical Blues-rock fare, but chugs along nicely with the harmonica at its centre, and the title track has a nice sound to it, with some excellent earthy guitar playing. Closer ‘Black Man’ has a political message to it, and questions our attitude to others who are less fortunate. It has the right sentiments, but comes across a little clichéd, however, there’s some enjoyable music on this short collection from this middle-aged Australian outfit.

Andrew Baldwin

CRAIG HUGHES

Broke, Lonely And Guilty

Channel Nowhere (EP)

Lack of money, being alone and guilty of committing a crime –enough to give anyone the deep Blues, and on this seventeenand-a-half minute EP, that is just what the Glasgow, Scotland based alt.Blues and roots singer and guitarist Craig purveys. The five songs are generally down-tempo items, and titles such as 'Everybody's Got To Cheat And Lie Sometimes' and 'He Loved Her And She Sent Him To Hell' are indicative of darker sentiments, with world-weary vocals, and a bottleneck guitar style that draws on the greats, such as Son House, Muddy Waters, Blind Willie Johnson, and others (that last-named title is almost jaunty by comparison with the other tracks). Alt.Blues lovers can indeed buy with confidence.

Norman Darwen

THE BITTERSWEETS

Goodnight, San Francisco

JEB LOY NICHOLS Parish Bar

PIERCE PETTIS That Kind Of Love

Compass

These three CDs come out of the Nashville based Compass Records label and reflect the idea that there are some musicians who defy being put in box with any individual genre. Compass Records caters for musicians producing roots and world music, but music built on innovation and creativity. “Goodnight, San Francisco” represents The Bittersweets move from their native San Francisco to the music scene of Nashville and their downsizing to a more compact trio. The CD is a creative, eclectic blend of Blues, country pop, folk and R&B. The songwriting, instrumentals, vocal and vocal harmonies are top class. Lead singer Hannah Prater is superb, a female Jon Bon Jovi crossed with Joni Mitchell, and with all the emotion of both. ‘45’ - a power rock ballad with a hint of Blues - is a song about suicide and the lyrics, vocal and instrumentals are a cross between depression and solace. ‘Tidal Waves’ sees R&B meet country –again, another impressive number. A lot of musical potential. "Parish Bar" continues this eclectic theme, but in a different vein, as Nichols mixes Blues, reggae, funk, pop, ska, R&B, country and dub to produce a concoction of genres to great effect. Nichols emotive baritone vocal matches the quality of songwritng. Tracks like ‘Satan’s Helper’, a Blues country ballad telling of the perils of whisky, are a clear demonstration of his vocal. ‘So Sad’ is a Blues, country, funk and dub number - an interesting combination, but it works! ’Whole Thing Go on’ is an instantly likable mix of R&B, reggae and pop, with wailing Blues harp and a lot of bounce. Third of the CDs, “That Kind Of Love” is again different. This time, Pettis mixes Blues, folk and country into a tapestry of life, through some profound poetical lyrics and an emotive vocal. The CD kicks off with an up-tempo breezy cover of Mark Heard’s ‘Nothing But The Wind’. Pettis shows his true Blues credentials with a stirring cover of Jesse Winchester’s ‘Talk Memphis’. ‘Lion’s Eye’ has a bossa nova beat, accompanying a storytelling vocal and country fiddle. Again, another CD of class, while floating through and crossing genres with consummate ease.

Carol Borrington

TWO DOLLAR BASH Lost River

Cannery Row

Two Dollar Bash, apart from being a memorable name for a band, is more importantly a true cooperative of talents. The band comprises Tony Rose (guitar), Matt de Harp (mandolin, harp and guitar), Mark Mulholland (banjo, mandola and guitar) and Joe Armstrong (guitar and bass). All the members sing and harmonise in a typically bluegrass/country kind of way. Significantly, all are songwriters, as well as adding their own tunes and instrumentation; there is empathetic support for each composition from fellow group members. This Scottish/Irish/French unit draws on those many ethnic influences, but has a classic North American sound, and produces an excellent blend of country and folk, with just a dash of Blues. The album was recorded in a farmhouse in the Czech Republic, and is a marvellously organic and satisfying album. These veterans of three successive visits to Austin’s South-bySouth West Festival are beginning to attract the kind of attention in the USA, which is latterly embracing this honest kind of roots music, owing nothing to studio techniques and everything to delicate touches of pure musicianship. Harking back to The Jayhawks, this is a fresh and thoroughly valid slice of Americana. Highlights include an interesting tale in Matt de

MIKE FARRIS

& THE ROSELAND RHYTHM REVUE

Shout! Live

INO/Columbia

Revival tent meetings were a particularly American phenomenon, where gospel and Blues would be mixed to devastating effect. Singer Mike Farris clearly knows this, and for his latest record, he has gone back to the roots of R&B with a live set of old spirituals, all delivered by a top notch Blues and rock band, at the legendary Station Inn in Nashville. While the recording is a little rough’n’ready, at times, it is the most passionately sung album you will hear

Harp’s ‘Pretty Boy Floyd’, and Armstrong’s title track is simply gorgeous, with its mandolin, harmonica, lap steel and electric slide guitars interweaving and flowing like the river it depicts.

Noggin

this year. Farris is on fine form throughout, and belts every song out as if his life depends on it. From the haunting Blues of ‘Devil Don’t Sleep’ to the joyous ‘Take Me’, he lets rip and holds nothing back. He has sterling support from the McCrary Sisters; whose solo spot ‘Dig A Little Deeper’ is jawdroppingly good. The gospel roots, which helped create the Blues, are there for all to hear, and the passion and intensity of this show make it one of the most impressive live albums of the year - there’s even a tambourine solo, which is worth listening to! Farris used to be the frontman of rockers Screamin’ Cheetah Wheelies but, with this release, he has clearly seen the light, and you will too - if you buy it!

Jamie Hailstone

DAVE HERRERO

Austin To Chicago

Hero

Dave Herrero started playing professionally in Florida before making a name for himself on the Austin, Texas scene. In 2004, he followed the well trodden route and relocated to Chicago. “Austin To Chicago” sees Herrero linking with longtime friend Felix Reyes, as well as another friend, ‘Kaz’ Kazanoff, to bring an album of music that links both the Texas Blues style with that of Chicago. The result is generally an honest interpretation of the Blues, albeit frequently a little rough and frayed around the edges. Herrero possesses a fine voice, as well as playing guitar. The majority of songs here are written by Reyes and Herrero, and the album opens with the old classic ‘I Don’t Believe’, an uptempo rocker. On

‘Nacogdoches’, Herrero’s vocal ability is shown to it’s finest, as he drips and feels the lyric and melody. ‘Doggie Blue’ is an acoustic Blues straight from the sidewalk, conjuring up the image of the old Bluesman playing anywhere. In contrast, ‘Leave Me Be’ is out and out Chicago Blues. ‘Jealous Kind’ is a lush type of love song, whilst ‘She’s with Another Man Tonight’ is a solid foot stomping acoustic Blues. My favourite is the reprise of ‘What Could Have Been’, where, along with Norwegian Vidar Busk, they play a psychedelic Blues in the “Electric Mud” vein. A total reworking of the melancholy Blues of the original that changes its feel and impact completely.

Merv Osborne

BUDDY GUY The Definitive Buddy Guy Shout! Factory

“The Definitive Buddy Guy”, eh? Well that’s some claim for a single CD compilation, with only seventeen tracks on offer. To be fair, it starts right back at the beginning of his recording career, in 1958 - something that will come as a surprise to those who think that his career began with “Damn Right, I've Got the Blues”. It’s also chock full of classic songs, and a healthy complement of Blues legends. You can’t really go wrong when you’ve got Otis Rush, Willie Dixon, Little Brother Montgomery, Otis Spann and Pinetop Perkins popping up hither and thither. There’s a fair dose of his collaborations with Junior Wells, on tunes like ‘Give Me My Coat and Shoes’ and ‘The Things I Used To Do’, and

room for his Friendly Chap pseudonym, when he was being stymied by Chess Records. Naturally, there are a fair number of white boys queuing up to share the limelight, so Eric Clapton turns up with a couple of Dominoes, Dr. John appears on ‘A Man Of Many Words’, and Bill Wyman and Dallas Taylor show up on ‘Checkin’ On My Baby’. Considering the huge number of records he’s released over the last fifty years, this manages to cover most periods, coming as far up-to-date as the 21st centu-

JO ANN KELLY Do It & More

Manhaton

If merciless fate hadn’t taken her from us eighteen years ago, then, with the level of interest in real, authentic Blues as high it now is, today Jo Ann Kelly would have been appearing everywhere, from Jools Holland to Glastonbury. Make no mistake; she was the Blues singer’s Blues singer – as respected for her prodigious talent in Memphis as she was on her home turf in Streatham. These tracks may have been laid down over thirty years ago, but they possess a refreshing, direct quality, so often missing in modern recordings. What always surprised Jo Ann’s followers was her eclectic approach to material. Her choice may well have been 75% durable Blues, such as ‘Black Rat Swing’ or Muddy’s ‘Can’t Be Satisfied’, both excellently performed here, yet if a song had quality, or a bit of fun attached, such as Rufus Thomas’s ‘Walking The Dog’ or Pops Staples’ ‘Swing Down Sweet Chariot’, then Jo Ann Kelly would make it her own. Both Johnny Winter and the band Canned Heat, two outfits who desperately wanted her in their line-ups (yet she turned them down), knew she possessed that rare, phenomenal power - that spiritual static which raises the hair on your neck. If you need proof, there are two monumental tracks on this sixteen song collection which embody her eternal magic; ‘Rising Sun Shine On’ and the eerily prescient ‘Death Have Mercy’. If there is a heaven to go to, and Jo Ann Kelly is up there, then I hope to God they let me in.

Roy Bainton

Shoot The Moon Right Between The Eyes

Subtitled "A Collection: Jeffrey Foucault Sings The Songs Of John Prine,” this, of course, gives you a clear pointer to what you are going to get for your money. When you have songs of this quality, they deserve to be tackled by someone with consummate playing skills and strong interpretative values. Jeffrey is just such a performer. I listened and enjoyed the subtle variations on the originals of songs such as 'The Late John Garfield Blues' and 'He Was In Heaven Before He Died', both of which will be well known to most readers. The achingly sad, gentle tale of 'Billy The Bum' is related with such supreme tenderness that you wonder if it can be repeated. That is exactly what does happen on 'Unwed Fathers', with both songs benefiting from just vocal and simple acoustic picking - just glorious stuff. Occasionally, Kris Delmhorst or Annelies Howell, both of whom bring complimentary warmth and talent to the proceedings, join Jeffrey on vocals for 'Storm Windows' and 'Hello In There' respectively. Thirteen songs of high calibre, but the standout is a gorgeous rendition of 'Speed Of The Sound Of Loneliness' - it was a close run thing, though.

Graeme Scott

DAVID GRISSOM

10,000

Feet

myspace.com/davidgrissommusic Plenty of country styled music on this CD (including a number with the up-and-coming Carolyn Wonderland on backing vocals), and other tracks recall the classic rock sound of the ‘70s and ‘80s. None of which surprises too much, as Austin, Texas based singer and guitarist David had a six-year spell with Joe Ely around twenty years ago, and he joined the John Mellencamp Band. He has also worked with The Dixie Chicks and Bob Dylan, and all these have left their mark on this album. Mind you, his CV also includes stints with Double Trouble, The Allman Brothers and Buddy Guy, and these have also contributed indirectly to the sound of this release. Take a listen to the fierce, lurching instrumental 'Sqwawk', with its raw, dirty, distorted Blues-rock guitar sound, or to another instrumental, 'Butterbean Friday', a loping Texas shuffle. And, yes, there is one further instrumental entitled 'Dover Soul', a mid-tofast tempo workout, with distant echoes of Freddy King, and some neat jazz touches. Of the vocal tracks, 'Gone And Lonesome' approaches a Blues-rock sound, a little reminiscent of ‘70s Rolling Stones. Mind you, those readers with a taste for country music, too, will find lots to enjoy here.

Norman Darwen

LAZY J AND THE DIRTY SHUFFLE Bone To Pick

myspace.com/lazyjandthedirtyshuffle

This small but perfectly formed Texan Blues band hail from the wonderfully named Harker Heights. Although this is their first CD, the group have actually been playing for seven years, and have built up a strong live reputation in their native Texas. The

THE DEREK TRUCKS BAND

Already Free

Victor

It’s early in the year, but this is going to appear on many end of year ‘best of’ lists. The band have reigned in the extended instrumentalsgone also are the Eastern flavoured gems - and created a focused soul Blues album that is a complete group effort. There is plenty of Trucks’ slide guitar on offer, as you’d expect, but it compliments rather than overwhelms the music. Dylan’s ‘Down In The Flood’ gets the Blues treatment, and it’s a cracking version - Mike Mattison never sounding better than on this swampy, funky version. A real warm, organic feeling permeates the whole set, probably due to the fact it was recorded at the guitarist’s home studio in Jacksonville, Florida. ‘Sweet Inspiration’ is a gospel Blues cover from the pens of Oldham & Penn, but their own material more than stands up to these classics. ‘Back Where I Started’ features wife Susan Tedeschi on a sweet acoustic cut, while friend Doyle Bramhall lends a hand singing ‘Maybe This Time’, which is elevated by a fine guitar outro of grace and beauty. With passion and restraint, Trucks has cemented his position as his generation’s pre-eminent guitar player. “Already Free” is destined to become a classic, and will be listened to for years to come.

band consist of J Grover on guitars and vocals, Marcus Berrios on bass and James Gettys on drums and percussion. “Bone To Pick” is a strong and unpretentious record, with plenty of funky shuffles and Bluesy rockers. J Grover is a great singer, as he proves on ‘To The Moon’. His guitar playing is none too shabby either, particularly on the rocking ‘Won’t Be The Dog’. An honourable mention should also go to David Zychek, who does the keyboards on this record. It’s pure Texas Blues, which pays its dues to folks like Albert Collins, The Fabulous Thunderbirds and Stevie Ray Vaughan. It’s got plenty of funk, too, so it’s perfect to dance to. Despite the album’s title, you definitely won’t have any bones to pick over the music.

Jamie Hailstone

THE INSOMNIACS

At Least I’m Not With You

There has been a lot of excitement and hype around this four-piece band out of Portland, Oregon, and the storming opener, with its jazzy feel, driving rhythm, cool vocals, accomplished harp break (from guest Big Al Blake) and overall professionalism could not come from anywhere other than America’s West Coast. This groove continues throughout the album, with the occasional slow Blues adding variety to the early rhythm & Blues sound of the likes of Johnny ‘Guitar’ Watson’s ‘Broke And Lonely’ and Little

Richard’s big sounding Blues-ballad ‘Directly From My Heart To You’. The originals - from the pen of leader Vyasa Dodson, whose vocals sometimes recall vintage Peter Green – are, generally, in the same mode…and yet, for me, the band doesn’t quite live up to the hype on this, their second album. There is so much good Blues coming out of California and the surroundings these days that it takes a great deal to be distinctive. This sounds a little formulaic, and, in one or two places, I did think of a sub-Little Charlie &

JIMMY CARPENTER

Toiling In Obscurity

myspace.com/jconsax

Jimmy Carpenter has been a professional musician for twenty five years now, but it was only after relocating to New Orleans in 2004 that he finally sat down and started to make his debut solo album. Having worked on so many projects, he was able to pick some of the finest musicians around for this release, and it’s a very impressive offering - jumping around between jazz, funk and fusion (fans of Tower Of Power will find a lot to enjoy here). He is a fabulous saxophonist, and tracks like ‘Sinner Street’, which has some fabulous Hammond organ from Papa John Gros, are an absolute delight. As well as self-penned material, he also throws in a few rearranged covers, with a fine version of Dr. John’s ‘Back By The River’ the best of the bunchalthough his take on The Rolling Stones’ ‘Shine A Light’ comes a close second. A lot of his saxophone tones are reminiscent of David "Fathead" Newman, but he can get rowdy when he needs to. However, Mr. Carpenter has also taken this opportunity to sing, as well as blow, and it’s safe to say that he is no great shakes as a vocalist. That aside, this is a brassy and enjoyable recording.

Stuart A Hamilton

LEFTY WILLIAMS BAND

Snake Oil

myspace.com/lefty_music

Thirteen tracks featuring the blistering guitar work of Atlanta based Lefty Williams – great stuff. Even better when you realise that Lefty is a one armed guitar player. However, on the

Andrew Baldwin

The Nite Cats. Not necessarily a bad thing at all, but maybe I had been led to expect something a little more.

Norman Darwen

evidence of this album, not just a great one armed guitar player, a great guitar player period! He also wrote all the material on the album. As with his first album, “Big Plans”, this was mixed and engineered by John Keane, who has worked with people such as REM. It is much more a reflection of Lefty’s personal experiences with, for example, the fist track, ‘Thank You’, drawing from his divorce - thanking his ex for kicking him out! The title track, ‘Snake Oil’, focuses on a favourite subject, the music industry, and refers to the twofaced suits musicians love to hate. There is also the tender ‘A little Bit Of Faith’, which he wrote for his current wife. The music on the album smoulders. He is a very fine player, a more than competent writer, and his vocals are soulful and authoritative. ‘On The Prowl’ and ‘Hey Mama’ feature fellow Atlanta Blues luminary Tinsley Ellis, and are all the better for it. A very fine album indeed!

Kevin Wharton

EDDIE C. CAMPBELL Mind Trouble

Wolf

Eddie C. Campbell is a genuine legend of the Chicago Blues scene. Born in 1939 (and still touring in 2008 with the American Blues Legends Revue), as a young man he played with a host of talents, including Howlin' Wolf, Lowell Fulson and Little Walter. He was band director with Jimmy Reed for over a decade, before moving on to work with Koko Taylor and a stint with Willie Dixon's Chicago Blues All-Stars. In 1984, he left Chicago to live and work in Europe, staying for over ten years before heading home. This album was recorded during that time, originally coming out in 1988, although the final track, ‘Please Love Me’, dates back to 1977 and was recorded in Chicago. His sound is fairly standard Chicago Blues, and, in

BOB LOG III

My Shit Is Perfect THE GUILTY HEARTS

Pearls Before Swine

Voodoo Rhythm

places, you can detect the influence that his friend and mentor, Magic Sam, had on his style. Eleven of the sixteen tracks are originals, and although they’re sturdy, you can tell why he spent most of his career leading other people’s bands. There are a handful of tracks that stand up well, with ‘Alimony’, ‘Head Clear’ (which appears in two different versions), ‘Devil’s Walk’, ‘Everything Gonna Be Alright’ and his cover of Willie Dixon’s ‘Shake For Me’ the best of the bunch. Fans of Chicago Blues will find this enjoyable, albeit inessential.

Stuart A Hamilton

JAKE LA BOTZ Sing This To Yourself

Charnel Ground

There is a subtitle, “…And Other Suggestions For A Personal Apocalypse”, to append to this CD, and in many ways you need this appellation to get the real idea of what is going on here. The Chicago born singer/actor has been influenced by the many of the great Blues musicians of the past, Honeyboy Edwards and Maxwell St Jimmy Davis, and, indeed, present. This is a deep, thoughtful outing. Using just himself on vocals and guitar, of course, leads to a minimalist feeling to the sound. Marry that to the relative darkness of the material, and it may not be easy listening for many folks. I think that titles like 'Hard

The record company has a strap line that reads, “Records To Ruin Any Party.” Although no doubt written in a humorous vein, I feel that, on the basis of these two recordings, it’s a statement that could hold a certain resonance with some. These are pure musical Marmite. Love ‘em or hate ‘em. On the right night, with the wrong crowd, these offerings could be just the dirty dancing soundtrack to backdrop something really wild. Bob is a one-man-band from Arizona who sings through a telephone receiver glued to the inside of a motorcycle helmet. The fuzzy pervert like vocals are backed by a chopping, driving, stop/start rhythm of percussion, and some almost surprisingly fine guitar work. It’s grimy, rude, crude, primitive and sexual. Which is only to be expected from a man who once employed a couple of professional ladies to provide breast percussion on a recording. Not to be dismissed as just a novelty act. Once you get past the gimmicks, there lurks a musician good enough to fill in with The Jon Spencer Blues Explosion and play with RL Burnside. It may at first seem rather strange that a group of post punk Blues psycho-billy rockers (The Guilty Hearts) from Los Angeles take their album name from the “sermon on the mount,” till you read the full quote, “Give not that which is holy unto the dogs, neither cast ye your pearls before swine, lest they trample them under their feet, and turn again and rend you.” This is a full blooded sonic assault. Sounding as if birthed in the vibrant pub rock scene of the late-70s, with a modern cutting edge they could have come from Canvey before holidaying in the sun in the USA. As is often the case dubious relationships seem to feature quite heavily as lyrical subject matter with a number of telling lines like, “Yeah, let’s get drunk/I’ll show your boyfriend he’s out of luck embarrassment was laying at my side.”

Thomas Rankin

To Love What You Kill', 'The World Ended Yesterday' and 'When Your Trouble Gets Like Mine' would be more than enough to set in motion your own trip into your darker side. It's a pity because Jake’s voice is something special, but you’d need to be selective of which tracks you listen to.

Graeme Scott

THE

JIVE ACES Recipe For Rhythm Right

Yellow suits but no yellow streak – The Jive Aces boldly announce themselves as a swing band, and, if that’s your bag, then this will keep you entertained, since it does everything it says on the tin. For non-jive fans, though, the generous tracklisting of fifteen won’t convert you. Standard covers like ‘Summertime’,’ Sway’ and ‘Fever’ perhaps lack a little imagination, and, generally, the strongest tracks are those penned by the band themselves –‘Affinity, Reality And Communication’, by vocalist and trumpet player Ian Clarkson, is a good example, accompanied by a curious sleeve note quote by L. Ron Hubbard of Scientology fame. Another Clarkson number, ’Happy All The While’ is another standout, and they fondly acknowledge their roots with the Peter Howell/Vince Hurley composition ‘London Rhythm’. ‘Up A Lazy River’ is the best of the seven cover versions – too many, given the obvious writing talent within. Smooth is the word, and

their website testimonials emphasise their reputation with the genre, and a glance at their itinerary tells you that these have a serious following from Sacramento to St Ives. No amount of urging from L. Ron Hubbard will convert me to jive, but you’d have a job stopping me dancing – it’s a polished, well produced offering that their fans will love. The final track, featuring a spirited brass section and jazz legend Acker Bilk, is ‘We’ll Meet Again’. Maybe we will, but it probably won’t be at Glastonbury in the mud.

Richard Thomas

FAMILY STYLE

Paddy’s Blues

familystyleband.com

Family Style are, as the name suggests, a family of Blues musicians from a town near Milano in Italy. The band consists of Marco and Franco Limido and cousins David Bianchi and Stefani Avenali. The CD was recorded in the local Irish bar, called Paddy Cullen’s, in their hometown of Arluno. It was recorded using basic equipment in front of the bar regulars and consists of thirteen self-penned tracks of Blues - Italian style! The sound production is really clean, yet it has a very live and fresh jam session feel, with good lyrics, vocal and instrumentation. ‘I Ain’t Breaking Down‘ is an R&B number displaying Franco's vocal - he has good register and excellent intonation. The Blues is given a new

TOM ALLALONE & THE 78S

Major Sins Pt. 1

Nettwerk

Riding on the current wave of a retro rock‘n’roll revival, Tom Allalone & The 78s are like a shot of tequila. Their music hits you right between the eyes, and leaves you standing there, begging for more. They pack more energy into each of the thirteen tracks on their debut album than most bands manage to put into an entire career. The band take the primitive rock’n’roll influences of jive, jazz and Blues, and give it plenty of 21st century attitude. The sounds might be retro, but the lyrics are definitely not. There’s plenty of biting humour on display, mixed with tales of lust, loss and late nights. Like a vintage Elvis Costello or Vincent Vincent And The Villains, their music will appeal to a wide variety of different audiences, and each song tells a great story. Allalone himself is a great frontman - just listen to him on the opener ‘Crashland’, he is issuing a rallying call for people who want to party no matter what. The mariachi horns, which crop up throughout the record, give it all an extra layer of space. On this showing, their live shows must pack one hell of a punch. This album is sexy, sleazy and magnificent. Just don’t play cards with these guys, because they look like real sharks.

Jamie Hailstone

slant in that Franco leans toward the Italian serenade method, which gives an interesting dimension to the whole. ‘Down To The Bone’ is a slow Blues number, with a feel of early-60s British Blues - Franco’s captivating vocal and Marco’s solemn and emotive guitar bemoaning lost love. ‘Mad Love (I Wanto You To Love Me)’ has the feel of B.B. King’s ‘Rock Me Baby’, but with a heavyweight Muddy Waters style harp solo and vocal prominence. The lively ‘Pub Crawl’ is also a strong favourite of locals at The Running Horse in Nottingham. Cheers, Paddy!

Carol Borrington

SEAN TAYLOR Calcutta Grove

myspace.com/seantaylorsongs

Album number three from young Sean Taylor, and it is an absolutely spellbinding piece of work - one of the finest acoustic Blues albums I’ve heard in years! Of course, I use the word ‘pleasure’ in a very loose sense, because this isn’t the cheeriest of records. Largely self-penned, bar a cover of ‘Hard Time Killing Floor Blues’ by Skip James, and the trad via Richie Havens song ‘Freedom’, this is an album of pain, anger and redemption. With the exception of some trumpet from Gemma Fuller on ‘Nightmare’, young Master Taylor takes care of everything - vocal, guitars, keyboards, percussion and harmonica –and does a bang up job on them all. He may be from North London, but there is an affinity for his music of choice that is

quite remarkable. Songs like the end of the world tale ‘Revelations’, and the diatribe against those who abuse their power, ‘Buried Alive’, are songs that take you by the throat and don’t let go. The power of his performance is belied by the gentleness of some of the music and, especially, the vocals, but the dichotomy is a large part of what makes this so compelling.

Stuart A Hamilton

JOHN ALEXANDER Rain For Sale

johnalexander.info

Alexander started out as a classical guitarist, before succumbing to his love for Blues, folk and country music. He has been influenced in his musical upbringing by the likes of Robert Johnson, John Martyn and Bob Dylan, and these certainly inform the styles on this CD. He is a native Scot, who draws inspiration for these tunes from his extensive travels in the USA, and residence in both Christchurch, New Zealand and subsequent return to Scotland. In his own notes, he says that this album was recorded “in an idyllic setting in an old church on the autumnal shores of Loch Torridon and the outlook from my second storey sandstone tenement flat in the southside of Glasgow.” His husky and mournful vocals fit well with the acoustic guitars that he employs to accompany him. There is also more than a hint of his northern Celtic roots in his impeccably played and produced songs. Unfortunately, some tunes lack the bite and attack that a fuller backing would surely have given them. The opening ‘Making Waves’ promises much, with some superb slide, and the lyrics are strong and Bluesy, The second cut, ‘Skin’ is gritty, too, but, after that, much of what follows is more folk oriented, and not as powerful as the words would justify.

Noggin

L.R.PHOENIX & MR. MO’HELL Wrecked

myspace.com/lrphoenix

Rough and ready Blues from North Karelia in Finland. With a sound bordering on punk Blues, expat Leighton Phoenix and his Finnish drum buddy Mika Vauhkonen, a.k.a. Mr Mo’Hell, have come up with a rather enjoyable set of Mississippi Blues, which won’t seem strange to anyone who enjoyed the work of RL Burnside. Mr. Phoenix is the creative force here, having written all the tunes, as well as playing guitar and singing. Well, I say singing, but it’s got more in common with the howl of a wounded wildebeest. But, when you’re dealing with music like this, you’re not really looking for silky smooth tones. However, he more than makes up for it with wild and wicked assaults on his guitar. He also plays some nice harmonica on the excellent album opener ‘Wrecked’. Elsewhere, it’s 'Coat And Hat' and the more laid-back ‘Red Haired Girl’ that grab the attention. There’s not a great deal of variety on offer, as the duo crash their way through songs like ‘My Leaving’ and ‘Whole Night Long’, but when it’s as much about vibe and rhythm as anything else, then it doesn’t really matter - especially when the ten tracks on offer only take up thirty three minutes. Fans of RL and Otha Turner could do worse than give this a chance.

Stuart A Hamilton

Born in Memphis in 1967, Charlie Wood is a talented and respected singer, keyboardist and songwriter whose work blends elements of Blues, jazz, soul and R&B. For fifteen years, he had a nightly residence at Memphis’ Kings Palace Cafe on Beale Street, during which time he played with such legends as B.B. King and Rufus Thomas, and, in 1990, Charlie toured with Albert King. “Flutter And Wow” blends Charlie’s influences into seven original songs, augmented by covers of works by influences such as Elvis Costello, Paul Simon, Tom Waits and Leonard CohenCohen’s ‘Everybody Knows’ proving to be one of the CD’s highlights. Elsewhere, I liked ‘What You Will’ and the New Orleans inspired ‘Doin The Blah Blah Blah’. There is some fine playing throughout and Charlie is joined by some equally talented musicians, especially Billy Gibson on harmonica. “Flutter And Wow” is a nice collection of tunes expertly performed, but it is just a little too laid-back to carry any serious substance.

Davide Styles

FLATTOP TOM

Don't Cheat The Feet

Palamar

This is the fourth CD from Flattop Tom & His Jump Cats, an eight-piece band from California, who have set out to keep the

BOB MALONE Born Too Late Ain’t What You Know

Delta Moon

fine traditions of jump Blues alive and kicking. The band have been on the go since 1992, with Flattop Tom taking care of vocals and harmonica (as well as being a professional swing dancer), and while his gruff vocals aren’t the greatest, they actually suit the style of music on offer. However, he is a fabulous harmonica player, and it’s a treat when he gives it a good blow. The album is split fairly equally between originals and covers, with nine of the nineteen songs brand new. If this is your sort of thing, then you won’t find anything not to enjoy, as the horn section blast their way through tunes like ‘Bump Bounce Boogie’, ‘Hey Babba Rebop’, ‘Boogie 'Till The Break of Day’ and the delightfully titled ‘I'm Your Plumber, Baby’. One for the Big Bad Voodoo Daddy’s fans to enjoy.

Stuart A Hamilton

THE PAUL GARNER BAND What Colour Will You See Progressive Roots

It’s always a pleasure when you hit upon a CD that takes you by total surprise, especially when it’s home grown talent. The Paul Garner Band are a young four-piece band from London, and, on this, their debut release, they show an incredible maturity, with a unique and refreshing approach to the Blues. Their sound is clean and crisp, and the analogue production quality shines through at every moment, with great instrumental separation. The quality of musicianship is mightily apparent from the off, with heavy doses of fantastic Hammond organ interspersed with Paul Garners excellent

The two CDs are by New Jersey singer, pianist and songwriter Bob Malone. “Born Too Late” was released in 2006 and consists of twelve tracks - all self-penned. His vocal is low, raw and gravelly, with good intonation, and he is a master of the A-Z of the ivories, with a real sensitive touch. His lyrics are well structured and often of complex nature. This CD is a mix of jazz, Blues, pop, rock, country and folk. ‘Nasty Little Town’ is a funky Blues/jazz number and, in typical New Jersey tradition of songwriting as a social commentary, it’s a put down of Hollywood and its society. A good CD, if a little heavy on the jazz side. "Ain’t What You Know" is Malone’s latest offering and features guest appearances by Lee Sklar (Jackson Brown, James ), Marty Rifkin (Bruce Springsteen, Tom Petty ) and Mike Baird (Journey, Bob Dylan, Joe Cocker ). It is a very different CD to "Born Too Late", leaning more to the commercial market, which is not a criticism, because the music and lyrical quality remain constant. It kicks off with an impressive rock/soul number, ‘Why Not Me’. The bouncy pop ballad has a strong Dylan-esque feel. The title track is boogie woogie and shows what an eclectic and quality musician he is. The call and response between lap steel and piano, with rhythm supplied by brass and tight drumming, make this a class track. The cover of The Faces’ ’Stay With Me is a precision innovation into a Bluesrocker. With a boogie woogie piano solo. Malone has raised this song to new musical heights - it’s a cracker!

Carol Borrington

THE ALEXIS P. SUTER BAND

Just Another Fool Hipbone

One of the great joys in my life is the southern rock music of the ‘70s, music that was rooted in the Blues, tinged with gospel and soul, songs that told tales of life, living and love. You get all this and more on “Just Another Fool”. I wasn’t in the least bit surprised to learn that Ms Suter solos with New York’s Illumination and Total Praise gospel choirs, as her powerful vocals captivate you from the off. However, the collaborators she has surrounded herself with are just as big a part of the sound as she is, especially the backing and harmony vocals of Vicki Bell, Linda Pino and Glenn Turner. On the largely original material, the band swoop, swirl and surround her, ranging from Blues to soul to the Santana like swing of ‘Hole That I’m In’. The Gerry Goffin/Barry Goldberg penned deep soul ballad ‘Imagination’ is stunning, wiping away all memory of the Gladys Knight version. Elsewhere, ‘Climbin’ On Up The Mountain’ is an inspirational opener, and the cover of Big Maybelle's ‘Pretty Good Love’ rights a funky Blues riff all the way home. This CD is my new best friend.

stinging Lead Guitar breaks and solos, all held together by great double bass grooves. Despite having an overall funky jazz feel to it, the collection of songs incorporates a variety of styles, all with first class songwriting and arrangements. Of the eleven tracks featured, nine are originals, plus two good ol’ Blues standards delivered in a way you’ve never heard them before. Although born in England, Paul grew up in New Zealand and only moved back in 2005, since then he has found himself in demand, playing throughout the UK and Europe with some of the UK’s top bands, as well as supporting Jools Holland and Kenny Wayne Shepherd. On the strength of this CD, I think he’ll be retracing those steps, but this time with his own band.

Steve Hoare

CHRISTOPHER REES Devil’s Bridge Red Eye

Originally from Llanelli, Wales, singer-songwriter Rees found his musical calling during a trip across America, and certainly this set bears heavy traces of Americana, which is only to be expected given Christopher’s admiration for a whole host of Blues and country musicians. His music here bears traces of rocking Blues, rockabilly, the sounds of the gospel revival tent, mountain hoe-downs, ages-old Appalachian murder ballads, and those cod-folk numbers like ‘Ghost Riders In The Sky’ –though Christopher is a rugged individualist, so specific influences are difficult to pinpoint on these twelve original compositions. Rees’ use of banjo, in both solo and band contexts, makes a refreshing change, and immediately marks him out as a distinctive musician. His warm voice, intelligent compositions and frequent journeys to the dark side – try ‘Prescott’s Confession’, ‘Hangman’s Tree’ or, particularly, the vengeful aspects of ‘Shadows In The Night’ – should appeal to all those who appreciate intelligent Americana.

Norman Darwen

FORREST McDONALD A Decade Of Blues

World Talent

Not too well known to the regular Blues fan, McDonald was the man who played the guitar solo on Bob Seger’s massive hit ‘Old Time Rock And Roll’. He has also played with Blues legends John Lee Hooker, Johnny Winter and Charlie Musslewhite, amongst others. This is a compilation disc featuring eighteen tracks from 97-07, most are with his band, but there are two cuts with his wife on vocals. McDonald proves himself to be a very fluid and versatile guitarist, and there is plenty of rocking music, from boogie to southern rock to Chicago Blues. Most of the highlights tend to come from the “Colorblind” album, especially a fine slow Blues on ‘Blues In The Basement’, which also features a fine vocal courtesy of Andrew Black. In fact, the other main vocalist, Raymond Victor also possesses an excellent gritty voice, and lets it loose on Jimmy Witherspoon’s ‘Time Getting Tougher Than Tough’, amongst others. Most of the tracks are originals, but there are a few traditional numbers, as well, and whilst the songs are far from remarkable, the musicianship is top notch.

Andrew Baldwin

GATHERING Legends OF Folk Rock

Hypertension

The Gathering‘s a who’s who of music: Richard Kemp, Ray Jackson, Doug Morter, Clive Bunker, Jerry Donahue and daughter Kristina. The quality of musicians on this CD, the vocal, instrumentals and production are exactly what you expect - top class! The music is firmly rooted in the Blues, but also folk, country and rock, with the genres and decades they represent synthesized for a new era. No longer callow youth, but mature musical craftsmen, using the tools of innovation and creativity, and weaving a kaleidoscope of musical shades from older base colours - ‘False Hands Across The Table’ is an ageless, poignant anti-war song, which could have been recorded in the ‘60s with equal relevance. The lyrics are an indictment of the failure of humanity to learn from history. The classic Lindisfarne song ‘Lady Eleanor’ features layers of vocal harmonies, flawlessly woven under a haunting lead vocal, as is the texturing in the instrumental, with Blues, rock, folk and country

Stuart A Hamilton

blending. ‘I Don’t Want’ is swamp Blues guitar by Donahue, which has some great phrasing and inflections, immaculately conveying true Blues, and supporting Jackson’s pristine Blues harp. ‘Deep In The Darkest Night’ showcases Kristina’s vocal, as she takes on this Maddy Prior classic with aplomb. This CD is the past, the present and the good.

Carol Borrington

watch out for an appearance by legendary DJ ‘Whispering’ Bob Harris. Pete Brown might have spent most of his working life as a backroom boy, but this record shows he is more than capable of being in the spotlight. Let’s hope it doesn’t take him another twenty years to record the follow-up!

Jamie Hailstone

CUT IN THE HILL GANG Cut Down

Stag-O-Lee

To describe this as a classy affair would be a gross understatement. Pete Brown is the son of guitarist Joe Brown, and the brother of one of the greatest singers in the world, Sam Brown. Pete himself has spent twenty years engineering everyone from Sade to George Harrison. He has also managed to produce records by a host of artists, including his old man and sister. Quite why it took him this long to make his debut is a mystery, because this is a record full of funky back porch music, which exudes warmth and charm. Both Joe and Sam Brown lend a hand, but Pete is the real star, handling the mixture of original songs and well-chosen covers, including some by Nick Lowe, Allen Toussaint and Lowell George, with ease. His guitar playing is excellent throughout, particularly on the closer ‘Smell Of You’. The cocktail of folk, rock and Blues get better with every listen, and

I know nothing truthful about this trio of renegade musicians who apparently hail from Kentucky. Their website gives no accurate detail at all, just a rambling obituary in the style of the Old West and the Dalton gang. It appears to have been laid down between 2006 and 2007, though (and features ex-Soledad Brother Johnny Walker on vocals). This is rough’n’ready, has shades of a punk attitude, borders on the anarchic side of rock'n'roll, but has a certain Blues kick to it. Twelve tracks comprise the album, and it opens up with 'Soul To Waste', a noisy thrashy sound with heavy distortion. 'Get It In You', the second track, just repeats the one title phrase throughout the first part of the song, before a bit of a jam ensues in the middle. The outro reverts again to the same phrase, and another jam. So, I guess you have to make up your own mind what it is that you have to get in you. It reminded me

of early Cream jamming, but only vaguely. 'Jivin' Sister Fanny' is kind of fun, as is 'Meant To Be Mean'.

Graeme Scott

This a live recording at The Empty Glass café, a legend of a venue of the Charleston music scene - legends have played there, and legends have been made there for decades! This is a double CD with a wide variety of Blues orientated material boiled down into twenty-eight hot tracks reminiscent of The Allman Brothers Band. There is a picture of the band in the inside sleeve - four hairy bikers - and an instruction to “PLAY IT LOUD!” Paints the picture perfectly. The show is tremendous, featuring the band’s raw song-orientated approach to music, with shades of Muddy Waters, John Mayall and Stevie Ray Vaughan. It blisters along with fine interplay between Otis Thomas on guitar and Ace Anderson on harmonica, in particular. Vocals are solid and match the high energy instrumentation perfectly. There are a number of good old standards in the show, including ‘Polk Salad Annie’, a lively version of the Stones’ Not Fade Away’, Muddy’s ‘Mojo Working’ and ‘High Heel Sneakers’. This is a well executed show with some great stuff.

Kevin Wharton

MAN

GONE

MISSING

Beyond Desolate

myspace.com/mangonemissing

It says on the back of this album that it “works best when listened to alone, late at night,” and I brook no argument with

that. It is a collection of desperately sad songs, sung in a deeply mournful way, and it is quite wonderful. The enigmatic Man Gone Missing lays waste to the idea that it is only if you live in the Deep South of America that you can really identify with, and feel, the Blues. This album is aptly titled, and so far past desolate that it has to be time for it to turn around and come back from the very edge of despair. Man Gone Missing has written and arranged ten tracks for this album, and recorded them in a church in the heart of rural Perthshire, Scotland. The acoustic quality of the recordings is quite excellent, just vocal and guitar, and I hope that the physical setting went some way to offsetting the bleakness of the songs. The sparse, beautiful bleakness of 'Lost Without You', 'Trouble', 'Apathy', 'It Never Comes' and the titular 'Desolation' work their way inside you. They may not be from the Delta, but, my goodness, they owe every gut-wrenching bit of sadness to that area. This is a brilliant debut album, and I heartily recommend it to you.

Graeme Scott

GURF MORLIX

Last Exit To Happyland Rootball

Gurf Morlix’s roots are in Buffalo, New York but most of his forty year career has been spent in Austin, Texas. You can put Bob Dylan, Bonnie Raitt, The Small Faces and Rolling Stones high on the list of artists Gurf has played with during his career. Morlix is like a one-man musical operation - singer, songwriter, producer and, if it’s got strings, he plays it. This means, with the exception of drums and some guest vocalists, this whole CD is the work of Morlix from beginning to end. The CD is almost a second volume to “Diamonds To Dust”, which was inspired by a dying friend. The concept of death appears in this CD, but, perhaps, without the same intensity. The CD opens with ‘One More Second’, a Blues-rock number in which Morlix reveals his deep, gritty vocal, and its ability to takes his lyrics and build them into stories and characters - it features some highly commendable instrumental accompaniment, which adds texture and colour to the lyrics. ‘Walkin’ To New Orleans’ has gospel added to his Blues narrative of Hurricane Katrina.

BILLY BOY ARNOLD/JOHN PRIMER/BILLY BRANCH/LURRIE BELL

Chicago Blues: A Living History

Raisin’

Not a straight-forward documentary, this double CD set is the brainchild of producer/harpman Matthew Skoller. The idea was to pay tribute to the past, present and future of the Windy City Blues using “four of the greatest traditionalists of this music,” men who embody the link between the past and the future (men only, as women have not been genuine innovators within this music, Matt opines). The two discs are split respectively between the periods 1940 to 1955 and 1955 to the present, with a classic track selected to represent a musical innovation or evolution. Each man was then encouraged to interpret his chosen numbers in his own style, and the results are Chy-town Blues at its best. Listen to Billy Boy totally at home on his mentor Sonny Boy Williamson I’s ‘My Little Machine’ or Lurrie Bell so intense on Otis Rush’s ’My Love Will Never Die’ – but really, any of the twenty one tracks can be picked at random. The backing musicians include such justifiably highly-respected names as guitar great Billy Flynn, drummer Kenny Smith, and bassist Felton Crews, and there are special guests, most notably young-ish singer/ guitarist Carlos Johnson. The packaging is lavish, and the whole set is a labour of love for all concerned. It is also a complete success.

Norman Darwen

Lyrics, vocal and instruments bonded to one aim, to graphically relay the pain of Katrina, its cost in human lives and a blow at the heart of music. ‘Crossroads’ is a Blues and country ballad, captivating in its simplicity, with an interesting slant on the Robert Johnson legend!

Carol Borrington

RAY WYLIE HUBBARD

Ray Wylie Hubbard was born in Oklahoma and raised in Oak Cliff, Dallas, Texas. Along with the likes of Willie Nelson and Waylon Jennings, Ray is part of the inspirational and rich tapestry of musicians that the Lone Star State has produced. Much of his career was shrouded by alcohol and drug addiction, but after cleaning up in 1987,

KYLA BROX Grey Sky Blue Pigskin

It’s almost impossible to pigeonhole the music that Kyla Brox has produced on “Grey Sky Blue”, other than to say that it is seriously mature and considered. Her styles range freely across the musical spectrum, but, on all tracks, the outstanding feature is her superb voice. Her ability to create deeply personal, yet openly accessible songs is a true talent and, although there are often dark periods on the surface in her songs, the overall feel is one of happiness and joy. This is very much reflective music, to sit and enjoy, listen and ponder over the lyricbest played late at night. Opening with ‘All Breaking Down’, a powerful song about relationships and their problems. ‘Say You Do’ is a lighter song, with Kyla playing flute. On ‘Kasbah’, her melody and harmonies are quite exquisite on what is possibly the most beautiful song on the album. The power and raw edge of her voice surface in ‘Cramp Your Style’, and it is noticeable that nowhere on this album, even with a song such as this, is the backing or production overdone, allowing the performer to shine. Humour appears in ‘Shaken & Stirred’, with innuendo and double entendres to the fore over a pulsating beat. Not an easy album to get into from the outset, but worth it in the long run.

Merv Osborne

you can apparently find littered across southern America! Hypnotic rhythms, woven with swampy electric guitar riffs and dirty slide, punctuate a collection of mean brooding songs, inspired by love, religion, redemption and damnation. There is some good playing throughout, particularly the guitar work from Gurf Morlix and Seth James, and Ray himself adds some great playing - particularly the slide on the outstanding ‘Polecat’, with Ray pulling out some great Muddy Waters’ licks. Other highlights include ‘Old Guitar’ and ‘Live And Die Rock And Roll’. The real problem with “Snake Farm” is that it is just a little too hypnotic and borders on monotony. There is very little change in tempo throughout and one brooding mantra simply blends into the next. And Ray’s voice just lacks the variation and range to hold the listener’s interest.

Davide Styles

MARTY CHRISTIAN Underground Blues

myspace.com/martychristian

This is real back to the roots, Delta inspired acoustic Blues. Ten originals and a mighty fine cover of Chester Burnett’s ‘Bluebird’. High quality guitar work and a growling but soulful Louisiana swamp soaked vocal, which you don’t really expect from a Cleveland boy. This is pretty much a stripped down affair, featuring just Marty and his guitar, with the exception of the lively opener, ‘Piney Wood Boogie’, and the emotionally charged ‘Sentimental Blues’, which feature the classy harmonica work of regular collaborator Andy Cornett. In the main, the tracks are well paced and lively, giving more than adequate opportunity for Marty to show off his guitar virtuosity. However, I feel that it is on the three slow Blues numbers - ‘Last Bus To Memphis’, ‘What Kind Of Fool Am I’ and Deep Blue Sea’ - that the album hits its heights. On these tracks, the quality of the vocals is allowed to take centre stage. Then, just to underline how good his guitar work is, there is the exceptionally intricate instrumental ‘Underground Groove’. Whereas, certainly, you could argue there is not much new on offer here, it must be said that the overall standard is such that this album would make a welcome addition to most collections.

Thomas Rankin

POPA CHUBBY WITH GALEA Vicious Country

DixieFrog

Popa Chubby is the stage name of Ted Horowitz, a New Yorker who is an electric Blues singer and guitarist. Galea is his wife, bass guitarist, singer and co-songwriter. Popa Chubby’s been playing since the age of 6, and performed with numerous bands before finally settling with the current make-up of his band. Popa Chubby’s music comes out of his experience in the tough streets of New York, where Blues sits side by side with rock, country, rap and hip hop. He combines the roots of the Blues with the melting pot of US social and musical cultures. Popa Chubby and Galea, in the preface of the liner notes, say that they were driven to produce this CD by standing in the same place as Elvis at Sun Studios in Memphis. The CD is a mixture of self-penned and cover numbers

THE YARDBIRDS

Heart Full Of Soul Over Under Sideways Down MITCH RYDER How I Spent My Vacation Naked But Not Dead CHRIS SPEDDING One Step Ahead Of The Blues

VARIOUS Songs From The Invisible Republic Repertoire

The Yardbirds were part of the British Invasion of the early-60s, and were instrumental in the white Blues Boom, having Eric Clapton, Jeff Beck and Jimmy Page come through their ranks. The discography is as convoluted as the family tree, and the two albums show that well. When Beck replaced Clapton, the “For Your Love” compilation was put out in the US, featuring many singles, b-sides and EP tracks, and the “Heart Full Of Soul” LP was the Canadian repackage. Several tracks show Beck’s experimentation, taking the sound in a more psychedelic direction. That said, ‘I Ain’t Got You’ stands out, and ‘Got To Hurry’ is a solid Blues instrumental. Echoey production makes Relf’s vocals weaker than they were, but he has good range, and the harmonica works well, too. With rhythm guitarist Chris Dreja still learning the bass, Jimmy Page came in to replace the departed SamwellSmith, and “Over Under Sideways Down” - here the Canadian issue varying from the USA release by a couple of tracks - was a repackage of “Roger The Engineer”. This is a more solid and cohesive Blues-rock album. Fans will have all the tracks already, but they are two Blues classics well packaged in their foreign formats. Repertoire’s reissue campaign continues with two Mitch Ryder albums. After a lengthy and successful career, both solo and with The Detroit Wheels, which sometimes took his gruff Blues in a soul direction (think Little Richard meets James Brown), these two albums are touch more energetic and new wave. 1979’s “How I Spend My Vacation” opens solid, powerful and fast, and ‘Dance Ourselves To Death’ hints at Alex Harvey’s ‘Swampsnake’, with a Roger Chapman feel to Ryder’s vocals. It’s very much an in-yer-face start, which swings to the acoustic sound of ‘Passions Wheel’. A good mix of electric and acoustic strumming, with the guitar solo at the country end of The Allman Brothers Band. The styles on the album also encompass the funky pop of Wild Cherry. The following year’s “Naked But Not Dear” starts off more melodic, with a hard up-front period-pop edge to Blues/pub rock. There’s smoothness to the Blues of ‘Ain’t Nobody White’ that nods at the heavy end of Chris Rea. Neither album is too consistent, but there’s enough there to enjoy. Chris Spedding’s “One Step Ahead Of The Blues” is a 2002 Belgium only Blues album from the renowned singer/guitarist, here repackaged with bonus tracks and sleevenotes from Spedding himself. The album is at the easy end of the Blues, with husky vocals and some good guitar work. There’s an even mix of strumming, riffs and solos, and some interesting bass lines along the way, too. Gentle Blues-rock with a hard and harsh guitar sound, enjoyably so. “Songs From The Invisible Republic” is a double CD of music that influenced Bob Dylan. Any excuse to market a Blues compilation, but with music by Woodie Guthrie, Muddy Waters, Leadbelly, Robert Johnson, B.B. King et al. Well annotated, there are some Blues classics, if a couple of turkeys and irrelevances thrown in, but some older tracks worth checking out.

Joe Geesin

and contains two live videos, featuring Gene Vincent’s/Tex Davis’s, ‘Race With The Devil’, and Charles and Ira Louvin’s gospel version crossed with Hank Williams 111’s upbeat ‘Satan Is Real/ Straight To Hell’. ‘Six Days On The Road’ has that that feel of a Meatloaf performance from “The Rocky Horror Show” - a deep throated, mean, tough rock’n’roll number in the early tradition of the genre. ‘Break Me Down’ is a real taste of Popa and the band in hot electric Blues trend –dark, moody vocals and a howling guitar, with good fretwork and lot of feeling. Very much, early Sun Studios!

Carol Borrington

DANNY BRYANT’S REDEYEBAND Watching You!

Continental Blue Heaven

2009 sees Danny Bryant’s RedEyeBand celebrate their tenth anniversary with the re-release of their Blues Matters! debut CD, which brought the guitarist’s talents to the attention of the Blues world. It follows-up on last year’s success with “Black And White”, which acquired high praise across the music press, and from fans all over Europe. The music on this rerelease is all self-penned by Danny. The continues on page 112

Last Of The Great Mississippi Delta Bluesmen: Live In Dallas

The Blue Shoe Project

You might think the title of this album is a bit of an exaggeration, until, that is, you find out who the four Blues men are that this recording features. David ‘Honeyboy’ Edwards, Pinetop Perkins, Henry James Townsend and Robert Lockwood Jr. to be precise - now the title is very apt! Indeed, the latter two mentioned have since left us to go the great Blues jam in the sky. This was recorded back in October 2004, and was a very special evening for those involved. It has since gone on to win a GRAMMY for Best Traditional Blues album, and not only is this a historical document, it’s also a fun and enjoyable listen. The ages involved ranged from 89-94 and, occasionally, they sound it, but you can hear they had a great time, too. Perkins is the highlight for me, with some excellent boogie Blues, sounding half his age on ‘Kansas City’ and ‘Got My Mojo Workin’’. For some reason, the audio quality on the Edwards cuts is not as good as the other three, but he sounds in excellent form, with just himself for company. The other three are accompanied by their bands, with Lockwood playing some fabulous Blues on ‘Got To Find Me A Woman’, and a relaxed and almost tender reading of ‘See See Rider Blues’.

Andrew Baldwin

55 Years Of Blues

Delmark

Delmark (previously Delmar) is one of the oldest independent record labels in America, and has been instrumental in introducing groundbreaking jazz and Blues for over fifty years. Founder Bob Koester is also regarded as one of America’s top Blues and jazz archivists. So, to celebrate the shop and label’s 50th anniversary, we get this two disc (CD and DVD) collection. The audio CD features seventeen tracks, sampling the label’s archive. Many of the tracks, recording quality aside, could be placed any time in the label’s archive, such is the universal sound of the Blues here. Tracks from the ‘50s to the ‘00s mix hard Blues-rock with more funky or jazzier numbers. Junior Wells, Detroit Jr, Otis Rush and Magic Sam standout, but they’re all good tracks. Plenty of harsh guitar, rock’n’roll piano and soul touches make for a good listen. The DVD is just as good, with ten live tracks from the archive. Of note is the twelve minute ‘My Head Is Bald’ by Tail Dragger. A good label representative of traditional Blues, and well annotated, too, with history and sleeve notes.

Joe Geesin

Murder, Theft And Devilish Deals Righteous

One hates to be pedantic, but the front and back of the liner notes, and the back of the CD case has the title thus: ‘Murder, Theft and Devislish Deals’. If that’s not some arcane way of spelling ‘Devilish’ then the same gremlin who added the line ‘Speacial thanks to Dave Henderson’ has been at work. If spelling isn’t a high priority at Righteous, then thankfully music is. As the title states, these twenty-three murder, theft and devi(s)lish deals are classic cuts by classic artists, which include Woody Guthrie’s ‘Vigilante Man’ and ‘Cocaine Blues’, and offerings about outlaws, killers, general bad eggs and ne’erdo-wells, from such legends as Leadbelly, The Carter Family, Blind Willie McTell, Furry Lewis, Robert Johnson and Mississippi John Hurt. All the heroes and villains of Americana parade through this collection - Jesse James, Cole Younger, John Hardy, Billy The Kid and Stack O’Lee. The less familiar artists involved, such as John Jacob Niles, Edward L. Crain (a.k.a. The Texas Cowboy) and Bascom Lamar Lunsford only add to the conviction that the deep heritage of the American folk and Blues tradition will continue to surprise and amaze us for generations to come. Anyone interested in great folk Blues, shot through with terrific storytelling by masters of the craft, will have to buy this collection. It’s devislishly good.

Roy Bainton

When Girls Do It

Broadside/Cherry Red

Twenty-eight Blues tracks, all recorded during a superb Blues decade - the late-50s to the late-60s – what’s not to like? This compilation has a healthy history, too. It began as a Red Lightnin’ Records album in 1971, and now, courtesy of Cherry Red/Broadside, it’s gone through the digital re-mastering process, courtesy of Tim Turan. It has an original, cheeky, ‘60s type fetish-flavoured cover, and the music is as varied and interesting as anything the big wide world of the Blues has to offer. For example, take TV Slim’s fabulous spoken lyric on ‘Don’t Knock The Blues’, with its peculiar pizzicato violin backing, or Donny Jacobs with the atmospheric, laidback ‘Street Walkin’ Woman’. There’s no shortage of stars here, too. Buddy Guy is on fine form with ‘Hard But It’s Fair’, and there’s a rockin’ ‘Down And Out’ from Ike Turner’s Kings Of Rhythm, two tracks from the mighty Jimmy McCracklin and two by the legendary Junior Wells. Mix all this with the pleasant surprises emanating from the more obscure artists involved – such as ‘Suicide Blues’ by Little Oscar Stricklin and Mr. Bo’s ‘If Trouble Was Money’ - and it becomes obvious that this CD is a real jewel box. A superb collection of ‘50s and ‘60s gemsBlues rarely gets much better than this!

Roy Bainton

A Tribute To The Legendary Blues Mandolin Man: James ‘Yank’ Rachell

Yanksville

How many Blues mandolin players can you name? Okay, well, Brownsville, Tennessee born ‘Yank’ Rachell was one of the greatest of this admittedly small select band, having been accompanist of choice for the legendary Sleepy John Estes back in the ‘20s and ‘30s, and again following John’s rediscovery, in addition to having his own solo career (Yank also discovered John Lee ‘Sonny Boy’ Williamson). He died in 1997. This tribute project is based in Yank’s adopted hometown of Indianapolis and includes reworkings of many of his songs, and those he was involved with over the years. Artists who are represented here include John Sebastian (whose stock is definitely rising in the Blues world these days), Andra Faye (of Saffire fame), Rich DelGrosso, Peter Rowan, Mike Seeger, Orville Johnson, Tim Duffy, and many others. These are not over-reverent copies – some stick close to Yank’s style, but others are electric, with sax and Hammond B-3 cropping up (and for the radical, listen to ‘Cigarette Blues’). Sadly, Yank’s grand-daughter Sheena, who sings on the album, has been diagnosed with a lung disease, and a portion of the royalties will go towards her expenses. So, a good cause - and good music!

Norman Darwen

The Rough Guide To Blues Revival

Rough Guide/World Music Network

You have to hand it to whoever compiled this compilation - they clearly have impeccable taste! As an introduction to new and rising Blues stars, this is pretty much faultless. The first disc has an impressive cast list, including JJ Grey & Mofro, Robben Ford and Eugene ‘Hideaway’ Bridges. Most of the tracks have come from releases over the last couple of years, and there genuinely isn’t a duff tune amongst them. Regular readers may own a couple of them, but it’s perfect for ‘Blues virgins’. The package also includes a bonus CD of tracks by Malian Bluesman Samba Toure, which will be of interest to aficionados. A former student of the legendary Ali Farka Toure (who himself recorded with Ry Cooder and Taj Mahal), Samba is a stunning world musician and Bluesman of the highest order. The bonus CD is stylistically very different to the compilation disc, but Samba is a tremendous singer in his own right, and anyone who loves world music or the Blues will find this disc a real treasure. This is a compilation with no filler, just plenty of killer tunes. I commend it to the house!

Jamie Hailstone

Highlights From The History Of Rhythm & Blues 1925-1942

Rhythm & Blues

This exhilarating compilation covers the period (almost) from when the Blues were first recorded until Billboard magazine inaugurated its first sales chart for black music, the Harlem Hit Parade. It runs from a rough and rhythmic

field holler to the smooth tones of Lionel Hampton’s vibraphone, and encompasses, along the way, developments central to modern music: the introduction of slide guitar, the invention of the walking bass, the development of boogie woogie piano and the advent of swing. This album is a distillation of a 4CD set; as such, it’s an exceptionally strong collection, each of the twentry-five tracks a discovery - a joy. The liner notes are worth the price in themselves; well-written and entertaining, they detail not only the history of each artist, but the context of each song. We hear John Lee “Sonny Boy” Williamson pioneered the single-note lead on harmonica; Tampa Red introduced the guitar-piano Blues combo; Jimmie Rodgers mixed Blues and country in a way later taken up by Ray Charles and others. Great names appear: Robert Johnson, Bessie Smith, Cab Calloway, Count Basie... A number of these songs remain famous, too: 1929’s ‘Roll And Tumble Blues’ has been recorded most recently by Seasick Steve; and 1940’s ‘Don’t You Lie To Me’ was covered by the Stones. But some of the best stuff is more obscure: Arthur “Big Boy” Cruddup’s ‘Mean Ol’ Frisco’ is a treat, as is ‘I’d Rather Drink Muddy Water’ from The Cats And The Fiddle. The most recent song on the album was recorded more than sixty-five years ago, but this is no dusty exercise in musicology. This is creative, vibrant music. Even today, it quickens the pulse.

M.D. Spenser

Roots Of Rhythm & Blues: A Tribute To The Robert Johnson Era SPV/Blue

In 1991, Robert Johnson – who died in 1938 – was the best-selling Blues artist and a GRAMMY award winner. In Washington, DC, that year's Smithsonian Folklife Festival commemorated the man and his times – hence this album. Of the main artists, Robert Jr. Lockwood was Johnson's step-son, and Johnny 'Ned' Shines (as he is called here), David 'Honeyboy' Edwards and Henry Townsend played with him. All these four turn in commendable performances. Also present are Mississippi Blues artists Jessie Mae Hemphill and Lonnie Pitchford, who died far too young. Of the other performers, solo singer David Savage – ex-Parchman Farm – is a moving performer, the duo of Cephas & Wiggins are excellent as always, and the programming does gospel harmonica veteran Elder Roma Wilson no favours (his fine train piece should not have been put alongside the youthful energy of Phil Wiggins!).

To put the music into its wider context – as the title demands – a railroad gang and a gospel group also perform, and Shines demonstrates street vendor cries. The fine singer/guitarist Toshi Reagon is the daughter of Bernice Reagon (of Sweet Honey In The Rock fame), and frequent UK visitor Kent DuChaine crops up on slide guitar behind Shines. It all makes for a totally fascinating release.

Norman Darwen

VARIOUS The Blues Box

Storyville

In the late-50s, and through the decade that followed, many Blues musicians, then in the twilight of their careers, found a new and unexpected audience many miles from home. It is true that at around the same time, these musicians had found an equally unexpected white audience a lot closer to home. But there can be no underestimating the influence of the performances of musicians, such as Big Bill Broonzy, on European audiences, both from musical and cultural perspectives. Indeed, Big Bill was one of the first visitors to European shores, performing in Britain in the early-50s. In 1962, German promoters, Horst Lippmann and Fritz Rau, launched a Blues tour featuring as many Blues legends as they could get access to. The following year, British promoters, realising the potential of this Blues package, booked a performance at London’s Fairfield Halls, with a line-up that included Memphis Slim, Sonny Boy Williamson, Big Joe Williams, Lonnie Johnson and Victoria Spivey. Thereafter, the American Folk Blues Festivals rolled through Europe every year until 1972. “The Blues Box” from Storyville presents studio and live recordings from eighteen of the musicians that visited Europe during this period, many of whom were part of the festival package. Most of the artists were recorded in Copenhagen, and include Lonnie Johnson, Otis Spann, Roosevelt Sykes, Big Joe Williams, Sleepy John Estes, Sonny Boy Williamson, Sonny Terry and Brownie McGhee and Memphis Slim. Extensive collections can sometimes be exhausting, and without listening to a note from this one, seven CDs and one DVD may seem a little daunting. But, from the first moments of Lonnie Johnson’s ‘Tomorrow Night’, this collection proves to be exceptional. Inevitably, there are some performances which standout. On CD1, Lonnie Johnson (exquisite performances of ‘See See Rider’) is backed by Otis Spann’s beautiful piano work, before Spann provides eight tracks of his own, including ‘Good Morning Mr. Blues’. A masterful vocal performance from Sippie Wallace is the highlight of CD3. And an intimate and extraordinary live performance from Big Bill Broonzy on CD5, recorded in Copenhagen in 1956, is the gem of the entire collection - Big Bill builds a rapport with his audience between performances of songs from his extensive repertoire, including ‘Careless Love’, ‘Take This Hammer’ and ‘Sixteen Tons’. The sound quality is outstanding; the booklet is nearly as good as the music, with detailed recording information for each disc, excellent biographical information on each artist and some beautiful black & white photographs. On top of all that, there is a bonus DVD, featuring seven artists, including Champion Jack Dupree, Sonny Boy Williamson and Robert Lockwood Jnr. Overall, this is an immensely enjoyable collection - and highly recommended.

Davide Styles

CD opens with the unrestrained ‘Watching You’, which shows all the characteristic influence of his mentor Walter Trout, as Danny’s emotive ridden vocal drives the lyric through, with fired-up guitar and instrumental class. The guitar work, with its fluid fretwork, great sustain and feel wails throughout, underlining every dot and comma of the lyrics. ‘Since You’ve Gone’, is a driving Blues-rock ballad, with piercing guitar riffs, percussive bass and drums, and a vocal full of loss and anguish, as if Danny is living every minute of the pain. ‘Living In Lion’s Den’ is a contrast to the first three tracks. It is more in the Bon Jovi Blues-rock ballad mode. Still full of that vocal and instrumental pain and guts, but portraying a gentler side of the musician, with slower passionate guitar riffs echoing the pain. Happy anniversary, boys!

Carol Borrington

BOB LEVIS Barstool Blues

Big Paw

What a pleasant change to find that a long serving backing musician is being given the spotlight. Bob Levis is admired the world over for the work he has done with “name” musicians over the last thirty years, and is viewed by many as one of the greatest rhythm guitarists in the Chicago Blues tradition. He has worked with such luminaries as Otis Rush and Lonnie Brooks, and has held the spot in the house band of the Kingston Mines club in Chicago for the past seventeen years. Executive Producer Mark Thompson has long admired Levis, and came to realise that not only is he a consummate rhythm player but also an exciting lead player, and it was he that encouraged him to step into the spotlight. “Barstool Blues” possesses that quality of feeling as if it had been recorded in a club, even though it is a studio recording. Surrounded by many of his favourite musicians, and enlisting the great Lonnie Brooks on one track, the whole albums rolls in the great Chicago fashion. All but one of the songs played are covers. Opening with Otis Rush’s ‘It Takes Time’, this sets the tone for the rest of the album, as Levis, supported by different vocal-

ists, guitarists and harmonica players, rips up the notes. Best tracks are ‘I’m Coming Down With The Blues’, with Larry Pendleton’s strong vocals, and ‘Blues Before Sunrise’, with Steve Ditzell playing some great slide guitar behind Levis. A quality release to be played late at night.

Merv Osborne

JJ CALE Roll On

Because

60-year-old JJ Cale is as ubiquitous to country Blues as any other living Blues great is to other forms. He is, of course, internationally recognised as one of the finest exponents of the so-called Tulsa Sound, and has received many plaudits for the celebrated Clapton hits ‘After Midnight’ and ‘Cocaine’. He was born John W Cale in Oklahoma City, and has contrived to combine a fairly successful music career with relative obscurity, despite his own success and songwriting of unadulterated quality, like ‘Cajun Moon’ (Poco). Back from his GRAMMY awarded collaboration with Clapton, “The Road To Escondido”, and sometimes criticised for a somewhat formulaic approach to his writing, this album is as fresh and alluring as anything he has done in the past. The understated guitar riffs and fills, adventurous instrumentation, vocal multi-tracking and organic flavourings are at the very top echelons of Blues music. Everything is completed with such dextrous subtlety that it is only by making a deliberate decision to step aside from the otherwise frenetic pace of life, and with repeated playings, that the true value of this classy album emerges. The grooves are there from the start, with the jazzy ‘Who Knew’ to the appropriately titled ‘Bring Down The Curtain’. Everything in between is a pure joy. It’s just a pity that the title track, another workout with Clapton, is allowed to fade out.

Noggin

KIM SIMMONDS Out Of The Blue Panache

Wales-born Simmonds may have relocated to the USA a long time ago, but his guitar prowess hasn’t changed. “Out Of The Blue” is his latest solo acoustic album (his first was 1997’s “Solitaire”) and it’s honest and raw - centred around Simmonds’ vocals and acoustic guitar. There’s finesse to the sound, bolstered by Mark Doyle’s keyboards, bass and percussion; this adds a fullness of sound without being intrusive. This is at the singer/songwriter/ folk end of Blues, a stark contrast to the rock out Blues of Savoy Brown, which I guess is the intention. The vocal harmonies work well, and Kim’s voice is rich, deep and smooth. The overdubs are mixed well, too, with many tracks, like ‘North Country Town’, featuring two interweaving acoustic riffs, while others have a riff or solo over strumming. ‘Heart To Fill’ is a piano led track that does break up the pace. The album is nice, but may be too gentle for the average Blues fan.

Joe Geesin

TD LIND Call Me Sinner Tall Tale

From the UK to Paris, New York, LA and beyond, Lind has travelled the world on his musical learning curve. He’s a singer and

SIR OLIVER MALLY Love Is A Devil SIR OLIVER MALLY/MARTIN GASSELSBERGER So What? If…

Ats

This Austrian singer/songwriter is also the leader of Blues Distillery, but he leaves his band at home for these two albums of laid-back, mellow, folk Blues. Mally is an accomplished guitarist and very good lyricist, and the two combine on the former to great effect. It’s a beautifully recorded album; you hear his breathing, and it feels as if he could be in the room with you. Except for piano on one track, and washboard on another, it’s just him and his acoustic guitar singing songs about love - won and lost. It was originally released three years ago, and is an unassuming album that is full of sweet melodies on mostly original tunes. With ‘Billy’, he gives us a history lesson on Billy The Kid, as well as some nice acoustic picking, and sets a scene in our minds eye. He gives a fresh reading to AC/DC’s often covered ‘It’s A Long Way To The Top’, and offers up some country Blues on ‘Lovin’ Blues’. His 2008 release, with pianist Gasselsberger, is more of the same, if even more understated and relaxed. It’s a touch more on the jazz side of things, but is no less enjoyable. Instrumentally, the album is a little more filled out with an accordion, giving it a warm feeling. The two do a nice cover of ‘My Old Friend The Blues’ by Steve Earle, who Mally is clearly inspired by. The best track is probably ‘Another Sad Goodbye’ - a heartbreaking song about losing a loved one that features some excellent piano playing.

Andrew Baldwin

ALVIN JETT AND THE PHAT NOIZ BLUES BAND

Honey Bowl

TOMMY MCCOY & LUCKY PETERSON

Lay My Demons Down

RICK MOORE

Better Off With The Blues

TEXAS SLIM

Driving Blues

SWEET SUZI & THE BLUES EXPERIENCE

Unbroken

RUFUS HUFF

Rufus Huff

Blues Boulevard

Rob Tognoni’s new “2010db” is a proper rock record, with plenty of guitars amped up to 11 - and beyond! The highlights include a truly barnstorming cover of ‘San Francisco (Be Sure To Wear Flowers In Your Hair)’, which was originally a hit for Scott McKenzie back in 1967. The pairing of singer/guitarist Tommy McCoy and Hammond B3 player Lucky Peterson on the album “Lay My Demons Down” is an inspired one. Both are veterans of the music scene - and class musicians! The interplay between them both is excellent, and the whole album has a nice organic feel to it. Alvin Jett And The Phat Noiz Blues Band keep the St. Louis Blues tradition going with their CD “Honey Bowl”. The band pack a mighty punch, with plenty of bar-room funk, soul and Blues. Alvin’s guitar work is excellent, but an honourable mention should to go sax player Frank Bauer. ‘Lay My Burden Down’ is a great Blues track, and there’s some nice humour on display, particularly on ‘3Minute Man’. Rick Moore’s “Better Off With The Blues” is pure swamp Blues, and the record features a host of well-known faces, including Wayne Jackson from the Memphis Horns and Jimmy Hall. The strong Memphis influence means the album is never anything less than 100% funky and, with seventeen tracks, you certainly get your money’s worth. Lovers of southern rock will be in bayou heaven. Texas Slim’s “Driving Blues” does exactly what it says on the tin. It’s electric Texan Blues, which, just this once, doesn’t rip off Stevie Ray Vaughan! Texas Slim has a blistering technique, and this CD really does rock. It’s a little rough’n’ready, which is exactly what you want. Highlights include the jaunty shuffle of ‘Coffee Shop Girl’ and ‘Funky Love’. It’s fresh, unpretentious and a welcome respite from some other Blues-rock releases out there at the moment. Singer Sweet Suzi gives a powerhouse of a performance on “Unbroken”. Backed by the Blues Experience Band, she delivers a record of covers and originals. Suzi carries on the fine tradition of female Blues singers, like Koko Taylor and Etta James, with her powerful and sultry voice. Her cover of ‘I’d Rather Go Blind’ is a thing of beauty. She even manages to inject some life into The Band’s warhorse ‘The Weight’, with a soulful cover which wouldn’t disgrace the likes of Sharon Jones And The Dap-Kings. Blues-rockers Rufus Huff crank up the Marshall amplifiers for some no-nonsense boogie on their self-titled CD. The Kentucky-based quartet are named after Bluesmen Whistlin’ Rufus and Luther Huff, and rock out in the best traditions of Cream, Led Zeppelin and ZZ Top. Guitarist Greg Martin, who used to be with the Kentucky Headhunters, knows his stuff and keeps things rocking. Their lead singer Jarod England is also a screechingly good singer. It’s definitely another one for the Southern rock fans out there.

Jamie Hailstone

songwriter whose music is an eclectic mix of Blues, country, folk and pop, and all ten tracks on the CD are self-penned or in collaboration with others. “Call Me Sinner” comes now as the follow-up to his 2007 debut CD “Let’s Get Lost”. The inspiration came from a disturbance with the way society was becoming obsessed with political correctness and overstructure in LA. The title track is an up-tempo Blues, rock and country composition, and the lyrics are very much in the ‘60s structure of protest music, but taking on 21st cen-

tury issues - delving into the concept of the ‘nanny state’ mentality. The instrumentals are bouncy and reinforce Lind’s solid vocals, with its cheeky cynical overtones. ‘Miss Friday Night’ ends the CD; it’s a Blues bouncy ballad with a taste of gospel to the whole, and is probably the most explicit Blues song on the CD. There’s no doubting Lind’s vocal and songwriting talents, but you get the feeling that Lind is still searching for his signature sound.

Carol Borrington

JAMES

HINKLE Some Day

Blue Lights

James Hinkle is a Blues guitarist/singer/songwriter out of Fort Worth Texas, and such credentials suggest a promise which is realised on this excellent release. He was first influenced by genuine veterans like U. P. Wilson and Doyle Bramhall I, and later absorbed the Austin Blues scene at Antone’s, where he witnessed greats like Buddy Guy, Albert Collins and Albert King. Then came a long list of his side-man and band duties; noteworthy amongst which was a stint accompanying Marcia Ballthe instrumental ‘I Have No Idea’’, on this album, seems like it’s written for her. This CD has thirteen tracks of entirely self or co-written tunes of the highest quality and great variety. There is an intoxicating meld of styles, from the straight ahead Blues of ‘Fall Of A Lifetime’ to New Orleans jazz, funk (‘Remember Me Baby’) and zydeco – think Jon Cleary, Delbert McClinton, Tab Benoit, and too many others to mention. Throughout these, and other styles, the backing is absolutely superb, and the

MATT SCHOFIELD Heads Tails & Aces Nugene

This is the first offering from Matt Schofield and his new band. The CD is vocally and instrumentally superb throughout, showcasing the best of this 21st century Blues generation, as they mature towards the zenith of creative skills. The CD kicks off with a rock, Blues and jazz mix, ‘What I Wanna Hear’ - Matt and guitar feeding in the Blues, while keys feed in the jazz to a perfect synthesis. ‘Betting Man’ is without rampant extravagance or blistering fretboard runs, yet sees Matt take us on a tour of what you can do with a guitar in the right hands! Matt is not just the ‘right hands’, he is also perfectly correct in his emotive delivery - a guitarist of whom the UK can proclaim as a worthy leader of the Blues genre for our times! Blues ballad, ‘We Wage War’ is a timeless comment of the hopelessness of war. A deeply emotive pain-ridden vocal is taken over by an equally exquisitely expressive guitar solo that takes us to the heart of war’s callous waste and destruction – something, as a species, we never seem to learn the lesson of. ‘Lay It Down’ is nearly nine minutes of laid-back Blues, chilled to perfection - a drugless de-stress for modern times. This is definitely Matt’s best CD to date, and one for the modern Blues connoisseur’s collection.

Your Eyes Last Night’ has irresistible swing and some ace acoustic picking, too. This is highly recommended.

THE RADIO KINGS

The Radio Kings

CoraZong

Noggin

Carol Borrington

The Boston based Radio Kings have been on the go since 1991. Very much reminiscent of The Fabulous Thunderbirds, they are fronted by Michael Dinallo and Brian Templeton, and return with eleven new songs on their first record in over ten years. “The Radio Kings” includes seven new songs written by Dinallo and Templeton. There is a wide variety on the album, opening with the fabulous ‘Can’t Keep A Good Man Down’, which, if you closed your eyes, you would think was The Band. Next is a Dion-like ‘60s pop rendition, ‘Donna’, then they get Bluesier on ‘The Moanin’ Blues’ and ‘Watch The Trains Roll By’. Last on the album, but certainly not least, ‘I’m Not Trippin’’ is a Roy Orbison-style ballad. O.V. Wright’s ‘You’re Gonna Make Me Cry’ finishes the collection. The classic Blues and soul songs on this album go back to the band’s earliest days. With this album, The Radio Kings update their ongoing credentials, making for a fine quality listen.

Kevin Wharton

MR “H”

Yesterday Was A Lonely Place But I’m Lonelier Today

Barium Villa

Andrew Harris, a.k.a. Mr “H”, is a Welsh singer/songwriter and folk musician. His road to this point has been long and winding; he was born fifty years ago in Beulah in mid-Wales, and after two years spent studying piano from age 5, sadly his parents split up and this has had an understandably emotional and character-forming effect upon him. He also studied singing, and his aunt introduced him to many ‘60s and ‘70s singles bands. Later, in his pre-teens, this musical education was augmented by folk, Blues and jazz artists, notably Woody Guthrie and Big Bill Broonzy. After devoting himself to bringing up his family in an intentionally settled environment, he has now begun to record a few of the many songs in his locker. This album is an album of acoustic folk songs, mostly set to the accompaniment of his own guitar, with occasional other instrumentation by John David. There are some genuine delights, like the wistful ‘Hippies In The Sky’ and ‘Tom Cat Blues’, with the intriguing point of trivia that this employs the very same snare drum employed in Dave Edmunds’ hit ‘I Hear You Knockin’! Elsewhere, a painful, emotional legacy surfaces on songs like ‘Birds In The Sky’ and ‘My Heart It Bleeds’. Noggin

REV. GARY DAVIS

Live At Gerde’s Folk City February, 1962

Stefan Grossman’s Guitar Workshop

Anyone with the slightest interest in acoustic guitar Blues will probably buy this regardless of what I write. Reverend Gary

JON ALLEN Dead Mans Suit

Monologue

For some unfathomable reason, the “in sound” of 2009 appears to be circa 1972. Jon Allen is the latest Brit to set up his stall and name check the likes of Bob Dylan, vintage Eric Clapton and James Taylor. The good news is that “Dead Mans Suit” is an astonishingly spot-on slice of vintage rock Blues. It genuinely does sound like a forgotten gem, which has been unearthed from the Warner’s vaults. Jon’s voice and songwriting are superb. He really has studied the all time masters of the genre, and knows their tricks off by heart. The track ‘Going Home’ will be familiar to many, as it has already been used as a soundtrack to a Land Rover ad. There are some real summer tunes on this record, including ‘Down By The River’, and the luscious ‘In Your Light’. A special mention has to go Rich Milner’s Hammond organ playing, which really is tremendous. This might be a retro slice of rock Blues, but it’s anything but a rip off. This is heartfelt music, played by people who know and respect the Blues. Jon Allen is clearly a name to look out for. We haven’t heard the last of this young man.

Jamie Hailstone

Davis is one of the music’s true legends, and inspired a legion of followers; it is fair to state that he is responsible for the whole ‘acoustic Blues virtuoso’ movement, headed by the likes of Stefan Grossman and Woody Mann. They are both former pupils of Gary’s, and, over one week in 1962, Stefan taped the music that makes up this 3CD set (over 160 minutes long) on a two track tape machine at the renowned New York club. Many Blues artists would not be able to sustain interest over three CDs straight, but Davis is an exception – and an exceptional talent. His guitar picking is phenomenal, and even though he was in his mid-sixties when this was made, there are very few mistakes. His material is a mix of gospel (“holy Blues”, as he sometimes called them), older spirituals, Blues, rags, folksongs and older popular songs, delivered in a powerful hollering voice. He can be heard talking to the audience – even giving out his address and phone number for prospective pupils –and performing requests. There are examples, too, of his rural harmonica playing, and a couple of numbers with The New World Singers. The whole set is wonderful!

Norman Darwen

BROTHERS OF THE SOUTHLAND Brothers Of The Southland

Zoho Roots

Southern rock fans please form an orderly queue! This is your lucky day. They don’t get much more rocking and much more southern than this. The Brothers are a who’s who of the genre, with such luminaries as Jimmy Hall on vocals, Jay Boy Adams on guitars and Steve Gorman on drums. Interestingly, it also stars Bo Rice, who came second in the 2005 series of “American Idol”. Quite what Simon Cowell would make of this is anyone’s guess, but fans of acts like Lynyrd Skynyrd are in for a treat. It’s all heads down, southern fried boogie, played with the minimum of fuss. The only problem is that some of the tracks don’t just lean on the genre’s clichés, they pretty knock them other and demolish them. It doesn’t artistically break any new ground, but then southern rock can be pretty derivative by its very nature. This CD is best enjoyed in a loud bar, with plenty of beer and some chicken wings. If you were hoping for 7/8 jazz solos and an exploration of existentialism and the limits of post-modernism, then you should probably look elsewhere.

Jamie Hailstone

KING EARL BOOGIE BAND Loaded & Live

Angel Air

Emerging from the ashes of Mungo Jerry in 1972, the King Earl Boogie Band was founded by Paul King and Colin Earl (still providing keyboards and vocals). Over the years, the personnel changed quite a bit before they settled on their current line-up, which is fronted by the inimitable Dave Peabody, with ex Status Quo drummer John Coghlan back in the engine room. Being live, the album is crammed full of obvious crowd pleasers, and many an old faithful. Rock versions of ‘Who Do You Love?’ and ‘Rollin And Tumblin’’ sit alongside ‘Matchbox’, ‘Slow Down’ (both of which were covered by The Beatles!), ‘Marie Marie’ and the call and response of ‘What’d I Say’. The Blues gets its share on ‘Rambling On My Mind’, ‘Going To The Dance’ and the instrumental ‘Blue Slate Slide’. Even after all these years, hints of Mungo linger. ‘Money To Burn’ could sit alongside ‘Baby Jump’, ‘Big Road’ with ‘In The Summertime’, whilst ‘Jelly Roll Baker’ would keep good company with ‘Have A Whiff/Drink On Me’. This is a band that clearly has a lot of fun when it takes to stage, and I’m sure that live they would provide great entertainment. In the main, this collection works very well, however, as with many live albums, on a couple of tracks, there is an element of “you had to be there.”

Thomas Rankin

JEFF DALE AND THE SOUTH WOODLAWNERS

Blues From The South Side Of My Soul

Pro Sho Bidness

This is the Chicago native’s first album for twenty years, after disappearing from the scene back in the late-80s. This is good old Chicago Blues, as you’d expect, played with guts and feeling. The album is quite brief, at less than forty minutes, but it’s

an enjoyable romp nonetheless. The albums eleven tracks are all originals and feature harp, piano, saxophone and trumpet, as well as Dale’s guitar. The title track is a well-written rocking Blues, whilst the trumpet driven ‘Alabama Lovin’’ is an uptempo, funky cut, with a nice snatch of electric guitar. ‘Nothin’ But The Blues’ is a good slow number, with the narrator wishing his woman nothing but trouble, and featuring another fine, if too short, solo. ‘Grown Ass Man’ is a warning to the ladies not to mess with the band, as these are “real men” and won’t be acting like children in the bedroom. Dale doesn’t have the best voice in the world - he has a limited range, and his vocals seem forced at times - but his guitar playing is enjoyable and compliments rather than overpowers the set of songs.

Andrew Baldwin

WASHBOARD CHAZ BLUES TRIO

Washboard Chaz Leary has achieved international recognition, and has become widely respected for his honest musical ability and performance. Originally from New York, Chaz built his reputation after moving to New Orleans, where he has since played with artists such as Bonnie Raitt and John Hammond. “Mix It Up” is a veritable treat of fifteen highly enjoyable acoustic Blues romps. Apart from that is the melancholic, but equally

enjoyable ‘Summers Gone’ and ‘Mother Died’. There are some excellent cover versions of songs by Skip James’ (‘I’m So Glad’), Bukka White (‘Special Streamline’) and Furry Lewis (‘Falling Down Blues’), which transport the listener back in time to the halcyon recording days of pre-war acoustic Blues. Elsewhere, standout tracks include the excellent ‘Sailor Blues’ and ‘1st Shot Got Him’. Chaz is accompanied by excellent harmonica from Andy J. Forest and Roberto Luti on steel guitar. The trio blending seamlessly. What is particularly refreshing about this CD is its honesty and lack of pretence. Highly recommend to all acoustic Blues enthusiasts.

Davide Styles

BABAJACK The Maker

myspace.com/babajack

Bit of a curate’s egg here. BabaJack are Trevor Steger and Becky Tate, and, on first listen, this sounds as much like a folk album as a Blues outing. To their credit, all the material is original. One or two of the more acoustic tracks, such as ‘Coming Home’, put you in mind of a couple of buskers standing outside a major department store on a Saturday afternoon. Becky has a very nice voice, yet I wouldn’t call it Bluesy. And yet…yet – there are some jaunty little productions among the ten compositions which promise something more. Steger is a pretty good harp player, and when the duo decide to let rip, they do it in style. On ‘Daddy’s Gone’, there’s some moody slide guitar, and ‘The Lady Baby Stomp’ suggests they’re pretty entertaining in a live session - Becky’s vocals are pretty good here, too. All in all, this is intimate, acoustic folk club Blues, suggesting a good night out should they come down your way.

Roy Bainton

KURT CRANDALL Get Wrong With Me YesterYear

This is the follow-up to the 2004 album “True Story”, and it sees Kurt Crandall continuing to offer up what he describes as “Chicago Blues/West Coast swing/Kansas City jump” - pretty vast claim, but one that isn’t actually that far off the mark. He’s an excellent Blues harp player, and, while his vocals are competent rather than exceptional, his mellow tones suit the retro feel of the music. It’s mainly original material, the best of which are the hard driving ‘Annie’ and his duet with the 91- year-old Kansas City jazz singer Myra Taylor, ‘Get Wrong With Me’. However, I’m not sure it was wise to open with two cover tunes in the shape of Lucky Millinder’s ‘Shorty’s Got To Go’ and Snooky Pryor’s ‘Boogie Fool’, as they do cast a shadow over some of the original songs. Elsewhere, there’s a nice instrumental turn on ‘Gourmet Ice’ and two other excellent covers – Sonny Boy Williamson II’s ‘Dissatisfied’ and Willie Dixon’s ‘Spider In My Stew’ – which give him plenty room to do what he does best; honking on his harp. The rest of the band provide excellent backing and seem completely in sync with the style he’s offering up, especially some of the guitar work from Karl Angerer. As a whole, this was a very enjoyable offering. Stuart A Hamilton

WESTSIDE ANDY/MEL FORD BAND

Alley Cat

False Dog

“Westside” Andy Linderman and Mel Ford have played together for many years - the former is a dynamic harp player, the latter is an accomplished Blues guitar man. This album is basically the studio version of what has been their live set for a few years. Much credit must also go to songwriter, keyboard player and singer Jimmy Voegeli, whose piano and organ really fatten out the sound. This is a true show band, who know how to rock and boogie in the manner of the Fabulous Thunderbirds. The three frontmen are backed up by a truly solid rhythm section, and the pace is relentless. Westside Andy tackles Kim Wilson’s tune ‘She’s Hot’ with true abandon, but everything else is written by one or other of the band members. So, though the stylings are familiar, the freshness of the tunes and sheer joy of red hot rhythm & Blues is what makes this album so good. Each song is arranged to give opportunity and space for the principle instruments to fill in or solo, with all the ability that only fourteen years of road testing can deliver. Take, for just one example, Mel Ford’s ‘Jobless Recovery’, with its languid vocals, staccato piano chords, harp fills, fluid guitar, and the line, “They call it laissez faire economics/I call it the race to the bottom”! A fine example of good time Blues.

Noggin

RICK FOWLER Back On My Good Foot

Jammates

Georgia resident Rick Fowler pulls no punches on this fine Blues-rock album. It is aptly titled, suggesting some sort of

LITTLE WALTER

The Complete Chess Masters (1950-1967)

Hip-O Select

This 2009 5CD digipak release has comprehensive liner notes précised from “Blues With A Feeling – The Little Walter Story”, and provides exhaustive coverage of Walter Jacobs’ Chess recording history. There are 125 tracks spread across eighteen years of recording, but a quarter of these are alternative versions. Jacobs was born in Marksville, Louisiana, circa 1928-1930. His parents split up before he was born, and he was raised during infancy by his extended paternal family. He first took up the harmonica at a mere 8 years old. His childhood was disrupted when he was abruptly shifted off to New Orleans at age 11. Not long after this move, he commenced the life to which he was destined, that of a working and travelling musician. As a teenager, he was to be found in Chicago in the company of all the greats, and was styled as “Little Walter – Wonder Harmonica King”. Seminal figures, such as Jimmy Rogers, Willy Dixon and Muddy Waters, loomed large in his musical education. It was not long before he had his own band, and despite Chess’ somewhat conservative approach to recording, he was, for some years, among the hottest Bluesmen in town, combining both live and chart success. Sadly, his predilection for hard living and violence caught up with him, and by the time he died after a fight 1968, he had become something of a spent force. However, his musical significance cannot be over-estimated. He took the harmonica, theretofore a simple, humble acoustic instrument, used principally for accompaniment, and transformed it; firstly into a legitimate soloist’s instrument, and secondly through amplification coaxed it into producing an extraordinarily big “horn” sound. His skill and pioneering significance is quite simply beyond compare, and virtually all those who have followed in the genre have paid homage to his inventiveness, style and songwriting. His vocals lack the power and character of some of his peers, but there was no equal to his prowess on the harp. An absolute master, particularly of the pithy jump Blues or moving slow Blues instrumentals, this collection trawls the songs and tunes chronologically, and serves to further enhance the reputation of the man described by Hound Dog Taylor thus, “Little Walter, that’s it, and that’s all of it, brother.”

recovery, or perhaps returning to something he does best. His best is very good: a superior riff-based collection of songs, which combine lyrical maturity and attitude in equal measure. This veteran of many local bands, and opening act for many a Stateside star, has accumulated a wealth of experience and know-how, and has produced an emotionally credible recording. There is a complete lack of pretension to his work, and though he is clearly influenced by English rock of the ‘60s and ‘70s, there is an originality and substance to his work. Mention must be made of his fine band; apart from his own excellent guitar playing and strong vocals, he is backed up by a sympathetic group of musicians, especially the brilliant Hammond organ virtuoso Tim “Drawbar” White. Fowler supported a local charity benefit to raise awareness of Tourette's syndrome, and even enlisted the recently retired Bill Berry (REM) in that enterprise, and he drums on ‘Road To Nowhere’. I was struck by the clever paradox, “She makes me feel so much better/I look forward to feeling bad” in the slow Blues ‘Feel So Much Better’. Elsewhere, he covers Savoy Brown’s ‘Hellbound Train’, which thematically fits the mood, and is a worthy conclusion.

Noggin

ZORA YOUNG Sunnyland

Airway

Blues vocalist Zora Young has Blues deep in her genetic code, with Howlin’ Wolf in her family tree. “Sunnyland” is a tribute to the pianist Albert Laundrew, a.k.a Sunnyland Slim, who she worked in collaboration with. Considered one of the most influential Blues pianists, Sunnyland Slim was famous for his heavy basslines, or vamping chords with his left hand and tremolos

with his right. Zora is joined on the CD by legendary guitarist Hubert Sumlin, who also worked with Sunnyland Slim. The CD kicks off with ‘Bad Track Record’, a piano driven Chicago Blues number, with Zora’s vocal driving home her classic Blues lyrics - like the best old school Blues mamas!

‘Travelin’ Light’ is a Blues ballad that opens with the familiar guitar strains of Sumlin, as Zora’s plush velvet vocal moves seamlessly into a classy Blues number. In the instrumental, Sumlin mirrors the piano with a deft touch only the greats can produce. ‘Sunnyland’, the title track, is an instrumental, with Barrelhouse Chuck firing into a demonstration of Chicago Blues piano. The pupil taking on the baton and running with it for the master! The guitar picks up the riff, mirrors and passes it to a sexy saxophone jive, only to be grabbed by the bass for deep percussive riffs, before they all join into a celebration of Sunnyland!

Carol Borrington

ROCCO DELUCA AND THE BURDEN Mercy

Ironworks

This is an interesting album for a number of reasons. Not only is Rocco signed to Kiefer Sutherland’s (yes, that Kiefer Sutherland!) record label – the “24” star is also their biggest

fan and manager. None other than Daniel Lanois, who has worked his voodoo magic on U2, Bob Dylan and the Neville Brothers, has produced this second album by Rocco, who plays the dobro and sings like a very young Robert Plant. Rocco also has some fairly impeccable Blues credentials, having opened for John Lee Hooker and Taj Mahal when he was younger. Clearly, someone like Daniel Lanois isn’t going to do a bad record. The lushness of his production suits Rocco’s eerie and haunting falsetto voice. Occasionally, it sounds like Keane with balls, which can only ever be a good thing. It’s stirring stuff, and the listener really has to sit down and concentrate. There has been some controversy about this album’s release in the States, which has been to do with some of his band’s involvement, but whatever the creative problems, it is a staggering record. Rocco has a great voice and Kiefer Sutherland obviously has impeccable taste.

Jamie Hailstone

BEOWULF KINGSLEY

Arphus Schmarphus Horkus Porkus

Reptile House

A mix of Beefheartian Blues, lo-fi alt country, creepy late night jazz and some funky New Orleans gumbo. Utterly mad and quite delightful! To be fair, some folks will mark this up as one of the worst albums ever, but the ardent few who love it, will really love it! Beowulf Kingsley, a.k.a. Todd Perkins, has an interesting history that stretches back to the ‘60s, when he performed with the Shultz Food Band (a performance art outfit that started out actually playing food), before stints in psychiatric institutions, playing bass for the likes of Snooky Pryor and Michael Katon, and my first encounter with him in psychedelic outfit The Flexible Flyers. The dreadfully titled "Arphus Schmarphus Horkus Porkus" is awash with good tunes, weird lyrics and some excellent performances, be it the Captain Beefheart like 'Hoodoo Stick', the wrong-in-oh-so-many-ways 'Naked', the rocking Blues of 'One Born Every Minute' or the Dr John funk of 'Lectric Chair'. The vocals take some getting used to, but if people can put up with the atonal rumblings of Tom Waits, then they shouldn't have any trouble here. I was still undecided on whether I loved this or hated it, but when I read that Beowulf Kingsley guaranteed this album "not to stain clothing or to explode at inopportune times,” it made my decision a whole lot easier.

Stuart A Hamilton

THE ANSWER Everyday Demons

Albert

Ladies and gentlemen, are you ready to rawk? The Answer are, and it’s time to break out the tight jeans, leather jackets and get ready to head bang like it was 1987 all over again. The Irish rock band, comprising of Cormac Neeson, Paul Mahon, Micky Waters and James Heatley do rock in every sense of the word, paying homage to greats like Led Zeppelin and AC/DC with a thundering collection of tunes. This music is best enjoyed in the loudest possible setting.

SHEMEKIA COPELAND Never Going Back Telarc

A little more than a decade on from taking the Blues world by storm, the daughter of Texas guitar legend Johnny Copeland takes a slightly different direction as she changes labels, moving from Alligator to Telarc and releasing her fifth album. Don’t worry, though, things just got even better! There is a great variety to this set, as Shemekia really shows off the range of her voice and her repertoire. She can tackle jazz with a sublime, cool version of Joni Mitchell’s ‘Black Crow’; contemporary-sounding funk with the sassy ‘Limousine’; even a gospel styled number. Some of the tracks resist categorization – is ‘Sounds Like The Devil’ rock, soul or Blues? Actually, it combines all three, and is a wonderful opener – and similar comments can be made of several other tracks. This is a truly modern Blues sound, and one that I hope Shemekia will explore further. Of course, the traditional sound is not neglected either – Percy Mayfield’s ‘River’s Invitation’ is given a fine, strutting treatment unlike any other, whilst ‘Dirty Water’ has a swamp feel. To complete what is her best album yet, she references her father’s legacy with a down-home version of her dad’s composition ‘Circumstances’.

Cormac is a superb frontman, screaming and pleading like a younger Robert Plant. The rest of the band are firing on all cylinders, particularly on the amazing ‘Why’d You Change Your Mind’ –which is a real standout track. The pace on this CD never lets up. It’s full-blooded heavy rock and it’s no wonder that AC/DC picked them as an opening act for their “Black Ice” world tour. Angus Young and the boys had better watch out, because it looks like The Answer are gunning for their title as the toughest and most rocking band on the planet.

Jamie Hailstone

STEVE MEDNICK Sunset At The North Pole

stevemednick.com

The album title is a line from the protest song ‘Fragments’, and is Mednick’s melancholy reflection on the realities of global warning - typical of the wordy social commentary and reflective observations that dominate this album.

VARIOUS

Indian Reservation Blues And More JESUS VOLT

Hallelujah Motherf**kers!

LITTLE PINK ANDERSON

Sittin’ Here Singing The Blues

J.J. MILTEAU Soul Conversation

DUKE ROBILLARD

Duke’s Box: The Blues And More…

DixieFrog

The 3CD box set, “Indian Reservation Blues And More”, is for me one of the most important releases in years, in terms of exposing the music of a culture. The “ And More” part of the title tells it all, and whether it’s Blues, rock, folk, jazz or hip hop, it’s here with a slightly different slant. The power of words in ‘Indian List’; the angst in ‘Good Ol’ Amerikka’; or ‘There’s A Train’, an uplifting song that echoes love; Sandy Scofield’s beautiful voice on ‘Layla’s Lullaby (Kawapimtim)’; or ‘Witchi Tai To’, creating a mystical world that mixes jazz and native sound, all make this an excellent release. Jesus Volt are a revelation. Their sound is dirty and distorted, yet their approach is fresh and entertaining. ‘I Won’t Get Down’ is a microcosm of sound and styles that piques one’s interest, and this French four-piece approach their Blues very much in the nu-Blues style - listen to ‘Mannish Boy’ and ‘John The Revelator’ for proof of that. Whilst ‘Jig Up And Down’ had me trapped, the hypnotic and mantra-like sound pulled me right in. Little Pink Anderson is as far removed from Jesus Volt and “Indian Reservation ” as it’s possible to get. Maintaining the legacy of his father Pink Anderson, Alvin “Little Pink” tours, performing and singing those folk and country Blues songs that his father made famous. He is both an honest and accomplished musician, sounding completely relaxed, and needing no additional musicians or tricks to portray his trade. Best tracks on the album are both original compositions. ‘I Just Want To Go’, a moving melody with very sympathetic acoustic accompaniment, and the title track, ‘Sitting Here Singing The Blues’ - angry vocal style and some great fingerpicking work on the guitar. J.J. Milteau’s “Soul Conversation” is an excellent comparison between pace and serenity. Opening with ‘Wooosh!’, a harmonica instrumental, the band then meander through some extremely soulful renditions of Blues, soul, rock and folk songs, both original and covers. I found the interaction between vocals and harmonica moving. ‘It’s So Real’ is a song whose lyrics are very true to life, whilst their version of the Jagger/Richards classic ‘You Can’t Always Get What You Want’ is a refreshing slant. DixieFrog have put together a 3CD box set of Duke Robillard’s music from the last twenty years (“Duke’s Box: The Blues And More ”), incorporating work he undertook for the Stony Plain label. For Duke, it represents a diverse cross section of the three main stylistic categories: Blues, jump/swing ands Blues-rock. Included are four previously unreleased bonus tracks, although his work with Sunny And Her Joy Boys grated a little on these ears. From the opener, ‘I Still Love You Baby’, his easy, relaxed manner takes over. ‘The Return Of Duke’s Mood’, ’Midnite Cannonball’, and ‘Real Live Wire’ standout as examples of his stylistic range.

Mednick, a practicing lawyer and mature musician, is devoted to his art, and was inspired into this vocation by Bob Dylan and the British invasion groups of the ‘60s. Remarkably, the road song ‘Freewheelin’’ sounds like Bob Dylan meets The Beatles! The whole album has a relaxed groove, and the production by Eddie Seville is understated. There are unusually long pauses between the tracks, which give you time to reflect on each song. This is poetry set to song, and sometimes the music seems too incidental to the message. This is not helped by Mednick’s reedy vocals. Having said that, there is something rather appealing and touching about an evidently educated man searching for

answers and truth in an increasingly confused and conflicted society. He has written all the songs himself, and another music critic has likened him to a cross between Mark Knopfler and Warren Zevon, with a dash of Bruce Springsteen. Mendick

adds his own brief commentary to each song in the liner notes, and these give a further insight into the man and his message. At the end of this long album, I was left feeling somewhat depressed; it sure makes you think, but you won’t be tapping your feet.

Noggin

ROMI MAYES

Romi has been around, and building a fine reputation for a few years now, however, I’m sure this is the one to elevate her to a far wider audience - this is just a cracking album! She has surrounded herself with a band who underpin her sharp observant lyrics with a kind of grungy rockin' Blues sound that ideally marry those lyrics with her vocals and guitar playing. Of course, she has been guided upwards, once again, by having award-winning producer Gurf Morlix onboard, and his playing is a bonus, as well. As you listen, you get the feeling that he could even have been playing live with Romi. The songs themselves deal with life bordering towards the seedy, and the road. 'Hard Road', which is oddly soft, sweet almost, but when she turns dirty on 'Somethin' Going On', 'Tire Marks' or the title track, that is where this album kicks into something special. This is very assured.

Graeme Scott

DELTA SPIRIT Ode To Sunshine Rounder

It’s hard to know exactly where the current vogue for ‘70s retro rock and Blues came from, but this San Diego band are the latest in a long line. “Ode To Sunshine” is a gloriously old fash-

MIKE SPONZA & JOYCE YUILLE Fo' Sho & A Hole Lot 'Mo!

Sponza

ioned record, complete with the sound of a dodgy upright piano on several tracks, which swaggers along nicely. Like a party where everyone has had too much to drink, but not too much to get angry, it reeks on bonhomie and good vibrations. The rabble rousing ‘People C’mon’ is a classic slice of retro rock, which could have appeared on any ‘70s record by the Stones, Dylan or Springsteen. The whole CD was reportedly recorded in a cabin deep in the Californian desert, and it’s hard to think of a band more in tune with the relaxed vibe of the US state. Like a warped hybrid of various Beach Boys and Raconteurs, Delta Spirit are a band focused on their own sound. It’s a ragged mixture of different types of Americana, but the group pull it off. If you are looking for a good record to listen to while barbecuing this summer, then go buy “Ode To Sunshine”.

Jamie Hailstone

ROGER CHAPMAN Hide Go Seek Hypertension

The former Family man and Streetwalker has had a long and varied solo career, and thirty years on from his first solo release, we get this lavishly presented double CD, encompassing demos, outtakes, lost gems and alternate versions. And that’s where this is a bit of a missed opportunity. First off, twenty-eight tracks, two hours of music, digipak and glossy booklet, but individual track information is notable by its glaring absence. For a release like this, you really do need a page or two telling you which year, album, session or something that each track is taken from. The music is, of course, up to Chapman’s usual high standards. By the time he went solo, he had moved on from the prog of Family and AOR/Blues of Streetwalkers. It largely fluctuates between the extremes of rock and pop, with movements in and out of Blues and other influences – ‘Naked Hearts’, for example, adds a Celtic touch.

Cliché-free Italian Blues guitarist Mike Sponza is too modest – or maybe he is very canny. This CD is “just” to give an example of the kind of music he and American Blues/jazz/gospel singer Joyce Yuille purvey across Europe on a regular basis – and it is wonderful! This is not just because Mike is restrained and always tasteful, nor merely because Joyce's voice is sultry, sensuous, strong and subtle. The material is drawn from the repertoires of the likes of Sam Cooke, Stax soul-Blues singer Johnnie Taylor, Prince, Curtis Mayfield, The Rolling Stones – Mike's vocal leading on 'You Can't Always Get What You Want' - and Al Green (or, as it is 'Let's Stay Together', I guess it could be from Tina Turner), with standards like 'Swing Low Sweet Chariot' and 'Fever', and all are reinterpreted and revamped. Mike's versatile guitar, the excellent organ cushion of Michele Bonivento and rock-solid drumming by Moreno Buttinar create a soulful, classy, cool but driving sound. If this is indeed “just” an average set from these two, let's hope that more of the world will get to hear and see them in action soon!

Norman Darwen

The music throughout suits his vibrato voice, the production and recording is good and it’s hard to tell what is an alternate or demo version - hence my gripe about track info. Name musicians appearing include Micky Moody (Whitesnake), Bobby Tench (Jeff Beck, Streetwalkers…), Gary Twigg, Jamie Moses, Boz Burrel and Alvin Lee. A lovely package that has quite literally glossed over the bare facts.

Joe Geesin

STUDEBAKER JOHN Waiting On The Sun…

Avanti

Mr “Studebaker John” Grimaldi is now well into double figures for album releases, and, once again, is joined by the Hawks for another huge slice of rocking Blues with a message. Coming in at over seventy-seven minutes, he never skimps on quantity nor compromises in quality. He has established his niche, as both a gifted songwriter and producer, as well as an impressive lead guitarist and harmonica player. The opening ‘Down At The Bottom’ clocks in at over eight minutes, and its relentless beat and heavy percussion has a terrific groove. Tracks like ‘She Just Won’t Roll’ and ‘Partner In Crime’ have great derivative riffs, which, without being truly original, have that irresistible dancing beat of traditional rhythm & Blues. ‘Natural Born Boogie’ is introduced by some spectacular harmonica runs. The tour de force of this album is the amazing and confessional near-twelve-minute ‘Follow Your Soul’ - full of sensuous percussive rhythms, fuzzy guitar riffs and swelling organ, all topped off with some fabulous extended lead guitar work throughout the song - especially the final solo, which climaxes for over two minutes. The album closes with the title track, which combines a late-60s message

and feel to pulsating effect. Studebaker John has all the style and panache of the car that is his adopted name.

Noggin

RY COODER

The UFO Has Landed Rhino

Despite his instrumental prowess, Ry Cooder always seems to be destined to be the ‘musician’s musician’ – adored by his peers, but ignored by the public at large. This thirty-four track anthology, which was put together by his son, Joachim, shows just what a wide ranging and influential career his been. There’s no sign of the Stones’ ‘Honky Tonk Women’ - Cooder is reportedly the man who came up with the famous riff, which was then ‘borrowed’ by Keith Richards – but there’s a good selection of songs from his solo career. And what a career it has been! From the atmospheric soundtrack to Walter Hill’s movie “Southern Comfort” to the jaunty cover of the Elvis Presley song ‘Little Sister’, Cooder has never been anything less than a tireless champion of American roots music. Although he is more famous as a slide guitarist, he spent much of the ‘70s bringing obscure folk tunes, like ‘Jesus On The Mainline’ and ‘On A Monday’, to greater attention. He was also an early champion of John Hiatt, and his soundtrack to “Paris, Texas” has spawned a thousand imita-

tors. Sadly, there’s no room for his Little Village phase, which saw him team up with Nick Lowe, John Hiatt and Jim Keltner for one solitary album, or the Buena Vista Social Club, but if you are looking for an introduction to one of the greatest guitarists of the last forty years, then you should start here. They really don’t make them like Ry Cooder anymore!

Jamie Hailstone

EDDIE KIRKLAND Booty Blues

Eddie Kirkland moved from Jamaica to Alabama at 2 years old and by 12 was performing with the Sugar Girls Medicine Show. He later teamed up with John Lee Hooker, for nearly eight years, and in the ‘60s became Otis Redding’s bandleader. The one thing that strikes you throughout this CD is Eddie’s career long passion for the Blues, and his music flows out in torrents of musical ecstasy. His vocal is deep velvet, full of feeling and honesty. There are no guitar gymnastics on the CD, but the music is founded on solid good Blues through its entirety. ‘How Sweet It Is’ has wonderful echoes of his Otis Redding days. ‘Miss You’ is funk but with more class than the trendier stuff you often hear churned out today. ‘Make Love To Your Brain’ is Chicago Blues pigmented with R&B and injection moulded around swamp Blues in an inter-

OMAR KENT DYKES

Big Town Playboy LOUISIANA RED Back To The Black Bayou

Ruf

esting delivery style. ‘Small Town Girl’ has a vocal reverb painting great memories of the music of Savoy Brown in the late-60s. ‘Big T.V.’ is funky twelve-bar Blues, with a touch of soul provided by the vocal - good stuff! This CD is musically temporarily unfixed, and the last track, ‘I Got A Problem With The Devil', shows this off to a tee. It finishes with Blues but underpinned with hip hop style scratching. The Blues doesn’t grow old; it just keeps growing with time

Carol Borrington

ALBERTA CROSS

The Thief & The Heartbreaker

Ark

This is one those hidden musical treasures, whose quality has been overlooked because of a music world bent on stereotyping music in the race for the quick buck and fame. The CD is more of an extended EP, consisting of just seven tracksAlberta Cross going for the concept of quality over quantity, and not slinging in a few second rate numbers as fillers as sometimes happens on CDs. Each track stands on its own merit and all were self-penned by the band’s songwriting duo Petter Ericson Stakee and Terry Wolfers. The CD opens with the title track, 'The Thief & The Heartbreaker', which is a Blues-rock ballad. It’s a song that has an eerie feeling of being in the present, but belonging to another time. Its searing moody vocal and well-blended harmonies are accompanied by solid instrumentals, and it has an implicit feel of the progressive San Francisco scene of the ‘60s, blended with East End of London accents! ‘Lucy Rider’ is reminiscent of Neil Young in his rockier period, mixed with the sound of The Band. ‘Hard Breakers’ is very much in the Crosby Stills Nash & Young mode, with a strong present day edge. The CD closes with

Omar (formerly with the Howlers) and Jimmie Vaughan have followed up their successful 2007 collaboration “On The Jimmy Reed Highway” with this latest batch of tunes, including two more penned by Jimmy Reed - ‘Mary, Mary’ and ‘Close Together’, during the latter of which Omar duets with the great Lou Ann Barton. Jimmie Vaughan, as usual, adds his tasteful and unfussy guitar licks, and Omar takes nearly all lead vocals. The line-up includes another classy guitar player, Derek O’Brien, a veteran of the same Austin scene as the Vaughan brothers. The album opens with the well known Eddie Taylor title track, featuring James Cotton’s harp, and this sets the seen for just the type of perfectly executed covers that follow, like John Lee Hooker’s ‘No More Doggin’. Omar was once described as Howlin’ Wolf meets Creedence Clearwater Revival, and good as this album is, perhaps the incendiary quality of his earlier work, which warranted that reputation, has mellowed somewhat. A similar assessment might be made of Little Victor’s affectionate recreation of Louisiana Red’s unique take on Delta Blues, in an album which epitomises all the swamp and pomp of this renowned artist. Iverson Hunter (better known as Louisiana Red) began recording when he was just 13, and he has worked with many of the past masters like John Lee Hooker and Lightnin’ Hopkins. Here he is joined in Little Victor’s Juke Joint studio by the owner for some raw twin guitar work. Other guests include The Hawk (guitar) and Kim Wilson (harp), who adds typical flavourings to the opening and closing cuts, ‘I’m Louisiana Red’ and ‘At The Zanzibar’ respectively. Some songs, like ‘Alabama Train’, are given a new arrangement, and all come from Red’s catalogue. This forges a link to the unaffected music first created in the mid-50s. Little Victor, as well offering his studio time and guitar, also produced the album and writes some personal tributes to each track in the liner notes.

‘The Devil’s All You Ever Had’, a blended Blues, rock and gospel ballad – the emotive shrill vocal backed by a gospel choir. The song rises and falls in tempo and emotion and is topped-off with an equally emotive, competent instrumental.

Carol Borrington

LITTLE FEAT Ain’t Had Enough Fun SPV/Yellow

This CD was originally released in 1995, but has been digitally re-mastered and re-released. Little Feat have a long history of personnel change and this was the fourth incarnation of the band, after the departure of lead singer Craig Fuller and the inclusion, for the first time, of a female lead singer in the form of Shaun Murphy, who had been singing backing vocals for the band for a number of years. Shaun Murphy’s vocal is superb throughout; gritty, raw and full of driving emotion. The CD features some impressive call and response singing, vocal harmonies and instrumentals throughout. The sound production is clean and gives the CD a fresh feel. The album is Blues rooted, but also contains a lot of country and New Orleans influences. ‘All That You Can Stand’ has a gritty, haunting vocal and tight harmonies underpinned with vibrant keyboards and Bayou feeling drum beat, mirrored by equally evocative guitar riffst. The title track, ‘Ain’t Had Enough Fun’, is an upbeat gospel number, with country accordion and Blues guitar riffs - very different from the rest of the CD, but a hugely likeable track. This re-master will, of course, be snapped up by Little Feat fans, and it marks a distinct period in the band’s ongoing development.

Carol Borrington

SAM MITCHELL

Bottleneck/Slide Guitar

Stefan Grossman’s Guitar Workshop

1976 was when this album was originally released on Stefan Grossman’s Kicking Mule label. Back then, Robert Johnson songs were the exception rather than the norm for acoustic Blues guitarists; Blind Willie Johnson was littleknown outside a small coterie of hard-core Blues lovers; and Hawaiian sounds were something impossibly exotic. Bottleneck guitar was only really associated with the Mississippi Delta, a fallacy Blues expert Bruce Bastin is at pains to correct in his notes to this set. Along comes Sam Mitchell, born in Liverpool in 1950, with this album, packed full of immaculate slide guitar, mostly solo, sometimes not, recreating and enhancing the sounds not only of Robert Johnson and the Delta but also Earl Hooker and Elmore James - and that dreamy Hawaiian island music! Sam was already known to the public, even if they did not know his name – he had appeared on Rod Stewart’s massive selling albums “Gasoline Alley” and “Every Picture Tells A Story”, and went on to play with many other big names. Sadly, he died in 2006. The best way to understand the impact this had on its original release is to buy it.

Norman Darwen

NASHVILLE PUSSY From Hell To Texas

SPV

Eleven years after their debut album, "Let Them Eat Pussy", earned them a GRAMMY nomination, the only band named after a Ted Nugent rap are still churning out high quality, unreconstructed, electrified Blues-rock. Think "Powerage" era AC/DC mixed up with some vintage Molly Hatchet riffs, and an array of songs about getting drunk, having sex, getting stoned and having sex while being drunk and/or stoned. So, business as usual then. You won't be hearing tunes like 'Drunk Driving Man', 'I'm So High' and 'Dead Men Can't Get Drunk' on your radio anytime soon, especially not with their fondness for vulgarity and swearing, but if you want the smell of sweat, sex and stale beer in the comfort of your own home, then this CD is pretty much essential. The band rattle their way through a high octane set, with most of the tracks barely breaking three minutes, and it's a raw delight from beginning to end. Taking themselves off to Willie Nelson's Pedernales Studio in Texas, the album was laid down on the same twoinch tape machine which Willie used, and rumour has it that Mr Nelson makes an uncredited appearance on the track 'Lazy Jesus', alongside Lemmy from Motorhead. Producer Daniel Rey, who did a bang up job on albums by Circus Of Power and Raging Slab, does the sensible thing and lets the band crank up and kick out on what will be one of the best albums of the year.

FINK Sort Of Revolution Ninja Tune

With “Sort Of Revolution”, former DJ Fink cements his reputation as one of the most innovative and interesting folk and Blues artists around. This is a moody and languid record, full of heartache, longing and searching. Fink’s voice is warm and inviting, and the subtle instrumentation builds up the mood nicely. There is plenty of atmosphere on this record, like a Ry Cooder soundtrack or a Massive Attack CD. The human beatbox and Bluesman Son Of Dave is a special guest, providing harmonica on ‘Pigtails’, which is the Bluesiest song on the album. The cover of Jeff Barry’s song ‘Walking In The Sun’ fits in well with

Stuart A Hamilton

ELVIN BISHOP

Juke Joint Jump/Struttin’ My Stuff

MICHAEL BLOOMFIELD WITH NICK GRAVENITES AND FRIENDS

Live At Bill Graham’s Fillmore West 1969

Raven

Vocalist/guitarist Elvin Bishop has played alongside Bo Diddley, The Allman Brothers Band and B.B. King, which is no mean feat. Here, two mid-70s solo albums get packaged together, with 1975’s “Juke Joint Jump” giving a southern fried funk twist to Bishop’s mix of Blues and rock’n’roll. Here the Blues mixes boogie and sleaze, with riffs and solos entwined with some ballsy piano and harmonica. Sensational Alex Harvey Band and Blues Brothers fans would like some of this. “Struttin’ My Stuff” is a little less Bluesy, taking a leaf out of the book of mid-70s US pop. The rock’n’roll is easier, but it’s still enjoyable. Raven have also released the Michael Bloomfield 1969 live set from the Fillmore West, featuring the late Blues guitar wizard on top form. He had worked with Nick Gravenites previously and the soulful Blues here is solid, heavy and powerful. The shorter songs are punchy, heavy Blues, while the fifteen minute ‘Blues On A Westside’ is a slow Blues jam that mixes guitar and piano with aplomb. A couple more lengthy tracks feature workouts that are good, if a little noodly. A Bloomfield/Al Kooper bonus track makes for a worthy release.

Joe Geesin

all the original tracks, and the sly funk of ‘Maker’ is a definite highlight. This is one album with plenty of Blues, soul and folk, which is unlikely to propel Fink to superstardom, but music lovers will find plenty to enjoy. There are still traces of Fink’s past, with some very tasteful electronica, but, ultimately, “Sort Of Revolution” is a mature record, which reeks of class. It might not be the most conventional Blues record you will hear this year, but it is worth investigating.

Jamie Hailstone

FRANCESCO GAROLFI

myspace.com/francescogarolfi

1968 – The Beatles’ “White Album”; Bob Dylan recording the much bootlegged material, which eventually saw official release as “The Basement Tapes”; Jimi Hendrix releases “Electric Ladyland”; The Doors have ‘Waiting For The Sun’; The Rolling Stones were accused of devil worship after recording ‘Sympathy For The Devil’; whilst the film world lauded the ground-breaking “2001: A Space Odyssey”. All of which is conjured up, forty years on, by this lovely acoustic-based solo album from this singer and master of various string instruments. It probably helps, though it is certainly not essential, to know the originals. I found myself wondering how Francesco would fit in little riffs or notes that made these songs so noteworthy in the first place – but, for one example, take a listen to ‘While My Guitar Gently Weeps’, where he also evokes Clapton’s classic guitar work. Garolfi’s own instrumental is a baroque piece that is fully in keeping with the mood, and the bonus track of ‘Also Sprach Zarathustra’ is both ridicu-

lous and impressive at the same time. And that aforementioned Stones’ song reworked as a lazy Blues shuffle is inspired – as are the Hendrix covers.

Norman Darwen

SHUGGIE OTIS Shuggie Otis Plays The Blues

SPV/Blue

This is quite simply a joy for anyone who enjoys the sound of classy guitar work. Over the years, there have been any number of the “next great thing,” “child prodigy,” “boy genius” or “second only to sliced bread” artists. Shuggie was one of the best to emerge in the ‘60s. He started playing professionally with his father Johnny Otis when he was only 12 - he had to wear dark glasses and paint on a moustache to appear old enough to gain entry to the clubs - playing lead on Johnny’s album “Cold Shot” at 13 and “Cuttin’ Up” at 14. The latter album provides two tracks for this collection; ‘I Can Stand To See You Die’, which features Don “Sugarcane” Harris on vocals, and ‘I Got the Walkin’ Blues’, which is a duet for father and son. Then at the ripe old age of 15, he released his first solo recording, “Kooper Session – Al Kooper Introduces Shuggie Otis”, which donates a further three tracks to this album. Most of the other contributions come from “Here Comes Shuggie Otis” and “Freedom Flight”, though, sadly, there is nothing from his highly innovative “Inspiration Information”, which would prove to be his last significant recording. Thus, sad but true, at the age of 22, it was effectively all over. Thankfully, some of his wonderful music remains,

and this album gives a great introduction to anyone who has not yet enjoyed the talent of Shuggie (pronounced sugar) Otis.

Thomas Rankin

SONNY RHODES I’m Back Again Feelin’ Good

Now this is absolutely fantastic, and if it isn’t in my ‘best of’ come years end, then something remarkable will have happened betwixt now and then. Now, some folks may only know his name from the science fiction TV show “Firefly”, where he performed the theme tune, but Mr Rhodes has a Blues pedigree going back half a century. A Texas born Bluesman, he performed with Albert Collins and Freddy King, before switching from bass to the lap steel guitar he’s now best known for. As a gritty, southern Blues performer, a lot of his songs are roadhouse, dance numbers, and when he hits top form, as he does on most of this album, I defy you not to feel your feet twitching. Test out ‘Can’t Dance Boogie’ and ‘Shake Your Hips’, then let me know if I’m lying. Recorded in Italy, with his European touring band, this eleven song gem also sees a master class in harmonica playing from R.J. Mischo, Johnny Sansone and Brian Templeton, who take turns honking on all the tracks. It’s a fantastic album, as good as they get, made poignant by Sonny’s recent health problems, which have put him out of action and seen “Firefly“ fans setting up a relief fund for him. So, do yourself and Sonny a favour by buying this now.

Stuart A Hamilton

MICHAEL WOODS

Fingerpicking Ragtime Bottleneck & Blues

Peckers

Left-handed guitarist Michael does just what it says on the tin (or cover, at any rate). He was originally inspired to play the country Blues by Rory Gallagher, after hearing the Irishman’s version of Blind Boy Fuller’s ‘Pistol Snapper Blues’. Michael found a link to Fuller and Reverend Gary Davis, too; they were both associated with the tobacco town of Durham, North Carolina, and Michael grew up in Durham, er, County Durham, in England’s north-east. He made his first public appearance around 1977, and has been out there ever since.

The fourteen tracks were recorded in one session, and the credits range from Mississippi John Hurt and Sleepy John Estes to The Grateful Dead and JJ Cale’s popular ‘Call Me The Breeze’. The one original is a blistering tribute to Blind Blake, and, indeed, Michael is a terrifically accomplished player. His vocals are a little ‘polite’, in a very English way, but these kind of releases are listened to more for the guitar work than the singing, and this does not disappoint in that respect.

Norman Darwen

TOM DOUGHTY Have A Taste Of This Corker

This album of lyrical lap slide guitar is worth your attention. Tom Doughty, a Cheshire native, mixes originals with covers from an impressive array of sources, including Randy Newman, Bob Dylan and Blind Willie McTell (‘Delia’, which Doughty incor-

rectly attributes to Rev. Gary Davis). Doughty’s playing is deft, rhythmic and melodic. He fingerpicks while playing slide, and the sound is as smooth and Bluesy as you’re likely to hear anywhere. His singing is expressive, too - owing more, perhaps, to folk than to Blues. Did I mention that a motorcycle accident in 1974 left Doughty paralyzed from the chest down, impairing movement in both hands? It’s not really relevant - you don’t hear it in his music. He can’t move the fingers of his left hand; hence the slide, the open tunings, and the guitar in the lap. He says the strength of his right hand is diminished, too, but you sure can’t hear it in his picking. Far better to take Doughty’s music on his own terms, never mind the paralysis. ‘Zimbabwe’, an original, is a bit obvious and ham-handedly political: “Mugabe/Killing machine,” he sings. But ‘Jitterbug Swing’ is lively and jaunty. And Doughty plays a moving and mournful version of ‘Nobody’s Fault’ (“It ain’t nobody’s fault but mine”).

M.D. Spenser

BULLFROG BROWN

Bullfrog Brown With Steve Lury & Peeter Piik

THE BLACK BOX REVELATION Set Your Head On Fire

T For Tunes

I was first swept away by The Black Box Revolution when I heard their “Live At The Ab” EP last year, and I’ve been waiting, anxiously, for this ever since. The two men responsible for my anticipation –Belgians Dries Van Dijck on drums and Jan Paternoster on everything else – have enough fire, passion and energy in their punky take on the Blues to blow away the deepest set cobwebs. Straight from the off, on the fantastic ‘Love, Love Is On My Mind’, they apply melody and aggression in equally quantities, giving you something to hum and something to bang your head to. Not an easy trick to pull off, but songs like ‘Gravity Blues’, ‘Love Is In Your Head’, ‘Cold Cold Hands’ and the immense title track are just built for participation. It’s been mixed by Greg Gordon, who previously worked with Wolfmother, and mastered by White Stripes collaborator Fred Kevorkian – two facts that should give you a rather hefty clue to their sound. It’s been a while since any raw, ragged Blues blasted its way into the mainstream, but this could be the one to do it. A fantastic debut that deserves to see the two man Blues army take the world by storm.

Stuart A Hamilton

has no pretentious long solos, just pure simple Blues that are old but, at the same time, very present, with the essence of the past firmly entrenched in both their live and recorded music. With this CD, you get a chance to hear both, because half of the CD is studio recordings, and the other live performances. The band’s music is all self-penned. Lyrically, in structure, it has the complexity of Dylan. Musically, Estonia meets The Delta face on. On this CD, they have been joined by Steve Lury, who blows a mean harmonica, and Peeter Piik on bass. Put together with Andres’ sterling guitar playing, and Alar’s raw emotive vocal, they have produced a fine CD. The scene is set from the first track, ‘Blues For Breakfast’, Lury’s harp wailing under Alar’s vocal grit, while Andra puts in a great display of rootsy slide guitar, all supplemented by Peeter’s deep percussive upright bass. On the track ’Modern Times’, they fuse a Delta Blues instrumental with lyrics tackling the present day situation. Good stuff!

Carol Borrington

MICHELLE MALONE Debris

SBS

Georgia-based Michelle Malone has been on the road for twenty years and this is her tenth CD. She’s a singer/songwriter/ guitarist and harmonica player. Malone’s songwriting is a classy hook laden mixture of ballads and rockers, in an eclectic mix of Blues, rock and country. For this CD, she has surrounded herself with a set of pedigree musicians who have played with the likes of Bruce Springsteen. Sheryl Crow, Gwen Stefani and The Black Crowes. What you hear is what you get from Malone - the CD is devoid of studio tricks. The CD commences with ‘Feather In A Hurricane’, a Blues-rock number, with Malone’s powerful driven vocal showing her impressive range

and intonation - it is reminiscent of Suzi Quatro, but is more Blues laden. Moving into ‘Yesterday’s Make Up’, a catchy Blues-rock number, we get a hint of the music of one Malone’s musical heroes - Keith Richards - as her punchy rock vocal is underscored with typical Stones-esque Blues-rock riffs. Title track, ‘Debris’ is a more Bluesy, country song, showing another facet of her vocal, with some highly impressive instrumental accompaniment. ‘Weed And Wine’ kicks off with some wailing harmonica, turning into a song that takes a nostalgic look back to the days of adolescence in the ‘60s. It has a great feel of Dylan, The Beatles and the dream of ‘Peace & Love’.

Carol Borrington

BOBBY CHARLES

Homemade Songs

Rice N Gravy

Robert Charles Guidry was born 21st February 1938 in Abbeville, Louisiana. As a 15-year-old, artists such as Hank Williams and, particularly, Fats Domino gave his writing impetus; he is a pioneer of swamp pop. He composed the huge hits ‘Walking To New Orleans’ (Fats Domino), ‘See You Later, Alligator’ for Bill Haley & His Comets and ‘(I Don’t Know Why I Love You) But I Do’ for Clarence “Frogman” Henry - the last tune of which Bobby Charles reprises on continues on page 134

MELLOW PEACHES

“Richard (Harris) was pretty much the only other person I knew who was really into country Blues music. We started swapping CDs by Mississippi John Hurt and Blind Blake, and then started jamming and eventually writing our own material and playing live.

“For me, the historical significance of Blues music is really important, and I try to remain respectful to it. I've been lucky because both of my parents are originally from Uganda in Africa, and through listening to the music they and my grandparents own, I was able to hear some of the connections between African Blues and American Blues.

“Our band name came from a song by RL Burnside that we were listening to one day. We're both big Burnside fans - he's got awesome rhythm.

“Our music has elements of ragtime and country Blues rhythms, but with an original flavour. We've gone back to draw from traditional music, including Blues folk and jazz, but we try to create new variations on the music we love. I also think we stand out live because there's a degree of improvisation between us at gigs.

“We really enjoy playing a song of ours called ‘65 Years Of Soul’, because we get a chance to bring out the lap slide acoustic guitar, which adds another element, and the song plays out as two characters having an argument, which I quite like.

“We'd love to be in the situation where we can release an LP of original songs that somehow capture the way we play and interact live, and to be able to go

NUBLOOZE

BM: How would you describe your sound?

An even blend of traditional and contemporary Blues, with a funky groove and an edge of good old rock’n’roll.

What stands you apart from other bands today?

The big thing is delivery of our music. Every song is played from the heart. We love what we do and do what we love. Add to that our eclectic backgrounds, ranging from rock to gospel to New Orleans Blues. We believe it all comes together to make a unique blend of influences that produces a standout sort of sound. Wherever we play, we gain the admiration of other musicians.

out and promote it would be amazing. We’re actually heading into the studio in the next few weeks to record, and we’re really excited about this.

“I think there's a pretty strong current Blues scene. There are a number of contemporary Blues acts who are doing great things with the music, such as Abie Budgen, Kelly Joe Phelps, and Corey Harris. The use of traditional recording and playing equipment also seems to have found favour with audiences recently.

“Going by current trends, there'll be a full circle sort of thing, whereby some music will not only be influenced by elements of Blues, but there'll also be a return to original Blues styles with people craving more authenticity.

Amit Dattani myspace.com/mellowpeaches

What are your ultimate aims and ambitions?

Our aims and ambitions are the same as any band - to be able to make a living doing something that we're passionate about. A record deal would be awesome, but our first love is playing live - signed or unsigned, we want to keep playing.

Mellow Peaches: (from left) Amit Dattani and Richard Harris.

NuBlooze put their hearts into it.

LITTLE STEVE LONG

I'm a one-man-band and play my instruments simultaneously without any electronic assistance. It’s like jumping on board an old steam train bound for the unknown; it will take you on a journey. There's plenty of character and a few interesting stories to tell but, above all, there’s a persistent rhythm that will have you tapping your foot without even realising it.

“My name was given to me by Hey Negrita when I guested in a harmonica duel one night at the Borderline. Although there was a famous gunslinger, who was a lawman turned outlaw, called 'Big' Steve Long, and

although I haven’t killed twenty men, I thought I would try and keep his spirit alive.

“To me, the Blues means having to stand up to life and give it your best shot despite the fact you been dealt a shitty hand of cards. The music gives you that sounding board when there’s no-one to listen and its the therapy you need to exorcise your demons, dust yourself down and just be happy to be alive.

“I’ve always said that my ultimate aim is to be able to play music and entertain people until the day I die. That still stands, but I would love to tour the US playing all those juke joints and roadhouses, and, eventually, to have a successful recording career that reaches fresh ears - not just the established Blues fans.

“I don't think the Blues scene will ever struggle to keep a following, it can always seem to ignite the passions of young and old alike, and has a quality that appeals to fans of any genre.

“I see Blues music evolving with the times, just like another facet of music. The human condition and the tragedy of life will always give fuel to the downtrodden and inspire them to pick up an instrument and make it cry with emotion.

“It is vitally important for me to get a record deal despite the industry becoming more DIY and digital, I think there is a real need to preserve some of the tra-

What does the Blues mean to you?

The Blues to me is a state of mind, a feeling. Whether it's happy or sad, good or bad, it's a feeling. The Blues is not a downer, it's a pick me up - there is hope for all of us.

How do you see the Blues scene currently?

I think the Blues is making a resurgance. You hear more and more up-and-coming Blues artists today, which is a great thing since it is a true American music art form. Some very talented artists are in this for the music and not the fame, but still, it wouldn't hurt to get a bit of recognition for their efforts. I feel that the Blues will always be with us as long as there are people out there that believe in the music and not the almighty dollar.

ditions that have succeeded in the past. Despite the ability to make a record in your bedroom, the need for external help is essential, if for no other reason than the importance of having people behind you that believe in what you are doing and dig your music.

Steve Gillson myspace.com/littlestevelong

What do you see as the future for the Blues?

People change, styles change, but the core will continue to stand the test of time. As long as people have ups and downs, highs and lows, the music will be there to express that.

myspace.com/nubloozeband

Little Steve Long isn’t backing down.

PAUL KARAPIPERIS

Fifteen Raindrops In An Ocean Of Blues Tales

myspace.com/smallbluestrap

The Blues has many faces, and it is just possible that in the land of the gods it has gained a new expression. Many a traditionalist may find this approach difficult to appreciate, but those who worship at a broader church could find much to admire. This is very much a solo album, with Paul holding all writing credits, as well as providing vocals, guitars, keyboards, harmonica and some very strange percussion. Although rooted in the Blues, musically this is an eclectic if not eccentric mix of rhythms that although occasionally discordant is rather mesmeric. Bold lyrical statements, changes of pace and style mid-track, growling vocals - it’s as though a Greek Tom Waits decided to sing the Blues, and, believe me, that is no bad thing! Of the fifteen self-penned tracks, three of which are instrumentals, only a few could be described as out and out Blues tracks - ‘A Voodoo Woman Can’, ‘In Wood Alcohol Line’, ‘Up In Heaven & Down In Hell’ and ‘My Lonesome Song’ are about as close as it gets to accepted form. There is, however, enough steel guitar, slide and, especially, harmonica featured to maintain the overall feel. Also the Blues does tend to slip into the lyrics quite a bit, and S.B.T. is all about his band Small Blues Trap. Definitely a different kind of album, but one that many would enjoy.

this album. Both Dr John and Bob Dylan have written warm tributes to the songwriter, and he has been inducted in The Louisiana Music Hall of Fame. With such credentials, one would expect this album to be a classic. Sadly, it is a disappointment, surprisingly so given the superb slide guitar embellishments of maestro Sonny Landreth, plus occasional input from the likes of Mickey Raphael (harmonica) and Dr John (piano). The opening track, ‘The Football Blues’ is intended to be humorous but falls flat, and ‘Pick Of The Litter’ is equally laboured and dated. There are some considerable high spots, such as the tasteful title track, ‘Homemade Songs’, chugging New Orleans tribute ‘The Mardi Gras Song’ and lilting ‘Tennessee Blues’. However, one is left with the feeling that at over one hour’s duration, the album is too long and above all lacks vibrancy, usually so typical of Cajun music.

Noggin

BRAD VICKERS & HIS VESTAPOLITANS

If Joe Bonamassa snaps your braces, stamps on your foot and gives you a wedgie, then this debut offering from Brad Vickers & His Vestapolitans sits you down, pours the tea and fetches your slippers. It couldn’t be accused of being over-produced (indeed, to start, things are a little tinny), and Brad himself would perhaps admit he is no Robert Plant, but his laid-back-almost-horizontal style suits the way this pleasantly washes over you. “Le Blues Hot” maybe, but not pure Blues - there is some great slide playing, though. If you need a pigeonhole label, try jazz/Blues/skiffle fusion – that’s pretty near, and they would be an absolute hoot live. There are some interesting cover versions – Van Morrison

is a clear influence - including the much covered ‘Baby Please Don’t Go’, which is worth persevering with, as it gets better each time you listen. Slight production issues aside, the only other possible criticism is that this is a little one dimensional, lacking light and shade. If this is the case, then all light would be preferable, and that’s the case here. The opening track, ‘Freight Car’ is a strong opener, while ‘Hesitation Blues’ is another standout. Upbeat, feel good Blues, well worth a listen.

Richard Thomas

THE DIRTY STRANGERS West 12>To Wittering (Another West Side Story) Track

I remember going to see The Dirty Strangers play way back in the mid-80s sometime. Not because of the oft mentioned Rolling Stones connection, but because they numbered ex Ruts man Paul Fox amongst their number. They were rubbish! Their debut album featured a certain Keith Richards, giving it some cachet amongst Stones fans, but it wasn’t much cop either. They disappeared in the early-90s, but, for some reason, mainman/vocalist Alan Clayton has decided that what the world really needs is a Dirty Strangers revival. He was wrong. He’s still peddling the same second rate Stones riffs whilst remaining a stranger to actually being able to sing. Keith Richards is back again, this time on piano, along with Ronnie Wood playing slide on a couple of tracks and Joe Brown turns up with his banjo. A few of the tracks are serviceable as the band manage to drum up a half decent Lords Of The New Church meets Dr Feelgood impersonation, but only ‘Gold Cortina’ and their Gene Vincent cover ‘Ain’t That Tofo Much’ have made repeat appearances round my way. Only for Stones completists.

Stuart A Hamilton

Thomas Rankin

continued

SLEEP JOHN ESTES On 80 Highway

SHIRLEY JOHNSON

Blues Attack

Delmark

John Adam Estes, a.k.a. Sleepy John, was born at the turn of the nineteenth and twentieth centuries in Ripley, Tennessee and died over thirty years ago. He lost one eye to a childhood accident, and tragically the other in a freak accident as an adult. These tunes were cut on 19th July 1974. His disability was mitigated by the constant companionship of harmonica player Hammie Nixon, who accompanies him on these recordings. A renowned country/Blues artiste, and composer of famous tunes such as ‘Diving Duck Blues’ and ‘Milk Cow Blues’, this album is a trawl through many of his songs, and harks back to a bygone age of simplicity and, in many cases, the very birth of the Blues genre. The lazy vocals, phrasings and strange rhythm patterns do not sit easily with an ear tuned to more modern sounds and productions, but the very fact that many of today’s Blues artists have picked up the torch is evidence of his importance in Blues history. There are versions of ‘When The Saints Go Marching In’ and two versions of a touching tribute, ‘President Kennedy’. Shirley Johnson has paid her dues, and unusually has been the constant resident act at the Blue Chicago club in the Windy City for some seventeen years. Like so many of her contemporaries, she started singing in church and, despite family opposition to secular music, she fell under the spell of the likes of Etta James and Bobby “Blue” Bland. It wasn’t until 1994 that her first full CD was released, and “Blues Attack” follows her previous 2002 Delmark release “Killer Diller”. As well as singing some of her own co-written material, she has chosen covers well - for example, a spirited version of Steve Cropper & Eddie Floyd’s ‘634-5789’, which is typical of the eloquent crossover between Blues and soul music at which she is adept. The slow Blues, ‘You Shouldn’t Have Been There’ is heartfelt and showcases both her vocal stylings and intuitive feel for tempo and space - a great guitar solo by Luke Pytel, too. Elsewhere, horns drive ‘I’m Going To Find Me A Lover’ along, and another high spot is a great version of ‘Unchain My Heart’, where Danielle Smith’s back-up vocals behind Johnson’s majestic lead is a treat. This is high quality Chicago Blues, with Johnson in fine voice throughout.

Noggin

ASSEMBLE HEAD IN SUNBURST SOUND When Sweet Sleep Returned

To refer to Assemble Head as stoner rock would be grossly unfair. True, the sound is laid-back and hazy; the vocals low in the mix, and the lyrics ambiguous, but instrumentally their clearheaded and focussed – harking back to a bygone era where the likes of Cream were lauded for their musical prowess. In fact, this is something of an instrumental CD, with the vocals used really to add to the mood of each track, from the harmonies on the murky ‘Two Birds’ to the eerie delivery on the spacey ‘Koleb Canyon’. From opening number ‘Two Stage Rocket’, the sound is repetitive if hypnotic, the riff steels obvious (think any number of 60/70s Blues-rock outfits) but the execution impressive – even if you have to strain your ears for some wonderful guitar solos.

mystical moments (‘The Slumbering Ones’). Only once do they deviate into a standard song structure – ‘By The Rippling Green’ – and if that breaks their hold, the Zepp-esque masterpiece ‘End Under Down’ – building from a folk-inspired opening – gets you back into the trance before the end.

Darren Howells

BROPHY DALE Night Hawkin’

Rimba

By

‘Drunken Leaves’ (track three) – the band’s finest moment – you’re lost in the peaks and troughs of the album, from the scintillating rock riffs to the “oohs” and “aahs” on soothing,

Vocally, Mr. Dale is a dead ringer for Dave Edmunds. Of course, hailing from Southern California, I’m going to assume that’s just coincidence. Although this is his debut album, he does have a lengthy recording pedigree, having spent ten years working with former Stray Cat, Lee Rocker, recording six albums. Blues fans are well served with ‘Oh Babe’, the Johnny Otis gem ‘Sittin’ n’ Rockin’’ and Lonnie Macks ‘Satisfy Suzie’, along with the 1968 Fleetwood Mac sound of ‘I Dunno’. The album is split fairly evenly between covers and originals, and it says a lot for the quality of the songs that you’d be hard pushed to separate them. His hard rocking trio sees rhythm section Dave Gore and Dave Kida putting in a sterling performance, while Dale can rip out a mean guitar solo when required. However, the highlight for me is the New Orleans gumbo of ‘Cha Gonna Do’, a gem of song penned by Dave Bartholomew, as well as ‘I Hear You Knocking’, a song taken to number one in the charts in 1970 by, oh, Dave Edmunds!

Stuart A Hamilton

JOSE FELICIANO BAND New Morning: The Paris Concert

You can sum up everything I know about Jose Feliciano in three words – ‘Light My Fire’. Yes, apart from his four decade old cover of The Doors hit, I had remained completely oblivious to his career. So, how do I feel about his music now after watching his first ever DVD? Well, to be completely honest, I feel a little bit bored. Now, don’t get me wrong, there is absolutely no doubting his ability as a guitarist, but an hour-and-a-half in the company of Mr Feliciano and his Latin interpretations of pop songs and standards left me looking at my watch and wondering what was for tea. Technically, this is a top quality DVD, as the concert, which was filmed at the New Morning nightclub in Paris in 2008, has been well directed and shot. For those of you who are interested in that sort of thing, it was filmed in High Definition TV and has a variety of sound formats available. I was just watching, as he ran through songs by the likes Elvis Presley, Michael Jackson and Stevie Wonder, waiting for something interesting to happen. And it did, virtually at the end of the show, when he headed off into versions of ‘Oye Como Va’, ‘Purple Haze’ and ‘Sunshine Of Your Love’. However, the crowd seemed to be loving every minute of it, despite some vocal deficiencies, and his fans will surely cherish this.

Stuart A Hamilton

VARIOUS And This Is Free: The Life And Times Of Chicago's Legendary Maxwell Street

Shanachie

This nicely packaged release will appeal to social historians, with enough relevant musical content to justify a Blues labelling. Comprising also of a booklet and CD, the prime feature is a DVD chronicling the legendary Maxwell Street in Chicago, since its early days as a Jewish community in the 1880s, until it was swallowed by an expanding University of Chicago a decade and a half ago. The booklet is a vivid collection of anecdotal essays, which complements the package nicely, but the CD is a slightly disappointing one-dimensional accompaniment, and even Blues diehards may feel that more gospel content would more accurately reflect the musical make up of the area. There

is one standout track, however, in ‘John Henry’ by Arvella Gray - a blind two fingered guitarist who became a fixture in the district over several decades until his death in 1980. Arvella is also featured in the DVD, which is the undoubted star of this particular show. It is a collection of short films, plus an interview with Gordon Quinn, who was the sound man on the central feature and superb documentary by Mike Shea that lends its name to the title of the package. Shot over sixteen Sundays in the famous market in 1964, “And This Is Free” could refer to the disparate panorama of human life and the entertainment it provides - it is actually the catchphrase of a street hawker selling miracle foot corn cures. There are trancelike gospel singers, preachers, pushy sock sellers, the world’s smallest saxophone, con men, Bluesmen, salesmen, dodgy dealers and the memorable Casey Jones who, between slugs of strong liquor, plays the squeezebox with a chicken on his head. Watch out early on for a hilariously disinterested tambourine player. Recommended for those with a wider interest in the Blues.

Richard Thomas

JAMES BROWN

The Night James Brown Saved Boston

Freemantle

There are tough gigs, and then there are tough gigs. When James Brown took to the stage in Boston on 5th April 1968, things were not looking good. It was the day after the assassination of Martin Luther King and there were riots across America. The authorities were not sure whether Brown’s concert should go ahead, and David Leaf’s documentary tells the story of how “The Godfather of Soul” quashed the riots in Boston with a live concert. The documentary sets the background to this event, featuring interviews with many of the people involved, including the then mayor, Kevin White. The documentary is quite scholarly in its approach. The authorities needed a lot of convincing that the show should go ahead, and there were also disputes from Brown’s crew about money. The archive footage shows just how dangerous the situation was, and the two DVD concert also includes the show in its entirety. Seeing Brown in his prime is a breathtaking experience. He wasn’t just the hardest working man in show business; he was one of the greatest performers to ever come out of America. As good as the music is, and it is

VARIOUS Legends Of The American Folk Blues Festivals Tropical

In the early-60s, no doubt encouraged by the warm reception afforded to Blues artists in the UK, jazz fans Fritz Rau and Horst Lippmann promoted a series of tours across mainland Europe. They collected up many of the genre’s big hitters and bussed them around a brave new world, taking an undoubted financial risk journeying into the unknown. No doubt audiences from Strasbourg to Helsinki, and many points inbetween, were a little mystified at tales of discrimination and misery from part of the winning alliance just twenty years after the war, although their reaction is generally undocumented. No matter - in Blues terms, this is gold dust. A generously long DVD (there is an excellent accompanying booklet, too) contains well preserved footage of some legendary artists, and the high photographic quality is maintained throughout. Split into three, to reflect the 1967, ‘68 and ‘69 tours, you get the truly memorable Sonny Terry and Brownie McGhee’s ‘Born With The Blues’, and the earnest interview that follows; the improvisation of Little Walter; the growling vocals of Koko Taylor (still going at 81); the grumpy sound check of Big Joe Williams; the nonchalant drumming of Odie Payne; the velvety-voiced John Lee Hooker; possibly the last TV appearance of Magic Sam; and Bukka White - sentenced to three weeks imprisonment at Parchman Farm but detained for two years because the guards liked his music. Even the sometimes eccentric subtitles, deciphering the German commentary, add to a highly enjoyable two hours and forty-three minutes. Buy it now, because you aren’t borrowing mine!

Richard Thomas

amazing, the concert has to be seen for the moment when Brown appeals for peace as concert-goers rush the stage. Brown’s intervention not only prevented a riot in the hall, it brought peace to the city. Forty years on, and with Barack Obama in the White House, it is interesting to look back at this period of American history. James Brown was ‘the man’, and he really did save Boston that night.

Jamie Hailstone

EL CHICANO

Blimey! I’d forgotten all about El Chicano. I remember twenty-plus years ago picking up a copy of their “Celebration” album, after someone noticed my passion for early-70s Santana. It was good but, to my shame, it was filed away a bit too quickly. However, I won’t make that mistake again, as this DVD has certainly roused some passion in me. For those who don’t know, El Chicano were a band very much in the mould of Santana, emerging on the US rock scene at pretty much the same time, although without the same level of success. They did manage a couple of US hits, but that was about it. This DVD sets out to place them at the centre of the Chicano political movement of the late-60s, with a fairly dull documentary that has a whiff of historical revisionism about it,

as, at the time, the band were not that politically active. Their activism came along later - although the band seem to be honest in their assessment of what went right and what went wrong. All that’s forgotten, however, when you actually see and hear the band performing live on the second disc, whipping up a fascinating fusion of rock, soul, Blues and salsa. Recorded live at The Avalon, Santa Clara in May 2008, it’s an absolutely fabulous show, which demonstrates that the band have lost none of their vim and vigour in the forty years since they first got together. The music is nigh on irresistible, as they blast through tunes including ‘El Grito’, ‘Mas Zacate’ and ‘Viva Tirado’.

Stuart A Hamilton

STOMPIN’ DAVE ALLEN

On DVD

stompindave.com

This is a down home type of production from a down home type of guy, and as a showcase for a huge talent, it succeeds dramatically. In recent years, acts like Son Of Dave and Seasick Steve have shown us that a one-man Blues act, where all your physical extremities are put to dazzling rhythmic use, can be just as exciting as a band. Stomp boxes and sampling machines have opened up so many possibilities, but Dave Allen is ahead of the game for various reasons. One is his sheer versatility. He’s a terrific banjo player, a remarkable fiddle player and plays a mean national steel guitar. But that’s just the beginning. The DVD opens with a series of still photos, wherein we see the steel soles and heels of Dave’s shoes. So, when he plays, he doesn’t just keep rhythm like Seasick Steve – this man tap dances so brilliantly on his ‘dancing board’ (well, that’s what I call it) that you don’t know where to look – his feet, face or fingers?! The man’s a musical, rhythmical revelation. You get seventeen tracks on this DVD, five of which Dave composed himself, plus some reliable traditional

pieces, such as ‘The Wabash Cannonball’ and ‘Bonaparte’s Retreat’. His style is mesmerising and infectious, and he ought to be booked at every festival going.

Roy Bainton

Never Ending Tour Diaries: Drummer Winston Watson’s Incredible Journey

Winston Watson was Bob Dylan’s drummer from 19921996, and this DVD is essentially an extended interview with the man about his life on the road with Dylan’s band. There is brief band footage, but no audio, and there is certainly very little of Dylan. We do see plenty of tour buses and hotel rooms, but, as Watson himself says, “if you’re expecting to see Bob in his underwear, you’ll be disappointed.” The interview, whilst a little repetitive, is very interesting if you are a Dylan nut.

MUDDY WATERS Live At ChicagoFest LITTLE RICHARD Live At The Toronto Peace Festival 1969

Shout! Factory

Watson has great charisma and tells a good story, and he never stops talking. He expresses himself in an honest way, and never criticises his former employer. He reveals a few of the great man’s nuances, but talks with genuine love about his time behind the drum stool. He explains how he got the job, and how he lost it, citing Van Morrison and a strained marriage as the main reasons why he finished. The DVD presentation is a little amateurish, but the meat is the interview, and whilst this is far from essential, Dylan fans will find some interest.

Andrew Baldwin

B.B.KING Live In Africa ‘74

Shout! Factory

The concert featured on this release was from a three day festival staged in Zaire, Africa, in 1974, and ran concurrent with the famous “Rumble in the Jungle” world heavyweight championship fight, which featured Muhammad Ali and George Foreman. Running for less than an hour, the set features many of King’s most familiar songs, and for those of us who have gotten used to the elder statesman sat centre stage, this is a good visual reminder of how dynamic and passionate an artist he was, as well as showcasing his great stage presence. King is backed by a large band, featuring Ron Levy on piano and Sonny Freeman on

I did approach this DVD of Muddy Waters’ appearance at the ChicagoFest of 1981 with slight trepidation, being captured during Muddy’s final year of touring, and featuring a relatively new band. My concerns were unfounded as Muddy is in inspired form, and his band, including Mojo Buford, John Primer and Rick Kreher, perform admirably. ‘Mannish Boy’ allows Muddy to holler his bravado lyrics from the stage, and he even engages in a little footwork to the delight of the audience, before he sits for most of the performance. The band takes centre stage for several songs, ‘Baby Please Don’t Go’, in particular, sounding as good as ever. Muddy’s impressive slide work comes to the fore on ‘They Call Me Muddy Waters’ and ‘She’s Nineteen Year Old’. Midway through ‘Walking Through The Park’, Johnny Winter joins and further electrifies the rest of the show, adding his vocals to ‘Five Long Years’. It is, though, Muddy who brings the set to a close with a lively version of ‘Got My Mojo Working’. While there are more energetic performances by Muddy on DVD, this is recommended to fans serving far more than a historic event, as it captures a clearly enjoyable set for Muddy, his band and the audience. The same is true of Little Richard’s performance at the Toronto Peace Festival, which took place one month after Woodstock, and is filmed by D.A Pennebaker of Bob Dylan’s “Don’t Look Back” fame. The mood is captured for a standout performance. Appearing determined to make an impact to boost his faded profile, at a festival which will see John Lennon make his first appearance in over three years, Richard using all his stage tricks to whip up the crowd. Appearing in a huge wig, and a white shirt covered with tiny mirrors, he pounds out a rollicking version of his classic song ‘Lucille’ on piano. Before long, he is standing upon the instrument and encouraging members of the audience to get on the stage to dance! His band, with a fine section, provides effective backing, as he ploughs through his hits, including ‘Good Golly Miss Molly’, ‘Tutti Frutti’ and ‘Jenny, Jenny’, finally culminating in the classic ‘Long Tall Sally’. Sadly, the set is only half an hour long, but I daresay Richard may have run out of energy playing with such intensity for much longer.

Duncan Beattie

drums, and session musicians including Larry Carlton. Throughout, the camera is subdued, allowing the viewer the opportunity to follow King’s tremendous finger work on the fret board. Starting with the camera backstage, we see a sharp dressed King take the stage and then open with ‘To Know You Is To Love You’, before dropping into an unbelievable version of ‘I Believe To My Soul’. The crowd laps it up, as do the band, and the pinnacle of the set is ‘The Thrill Is Gone’, which send the audience crazy. Dedicating the mournful ‘Guess Who’ to “all the beautiful people in this beautiful country,” he closes the set with ‘I Like To Live The Love’. There is a bonus interview featured, but at around only five minutes long, it really does nothing to enhance the mark or stature of such a great Bluesman.

Merv Osborne

TEN YEARS AFTER Goin’ Home

Cherry Red

Recorded during their reformation in 1983 at the Marquee Club in London, “Goin’ Home” is everything that you would expect from this bunch of Blues-rockers. The only outward

sign of change is the shorter hair cuts and less flamboyant clothing styles, but the rest is intact - right down to Alvin’s white clogs, cherry red Gibson guitar complete with “Ban the Bomb” sticker, Leo Lyons hunched over the bass, pounding it for all he is able and the thick layer of Hammond organ from Chick Churchill. This DVD gives you lashings of nostalgia but, in truth, not a lot else, except to reinforce the fact that Ten Years After were much better live than in the studio. Opening with ‘Love Like A Man’, Alvin sets out his stall as a speed guitarist, and never really looks back. Even on the original composition ‘Slow Blues’, he starts slow but then speed is of the essence. The two cover songs are Williamson’s ‘Good Morning Little Schoolgirl’ and ‘Help Me’. At fifty-four minutes in length, the closing track ‘Goin’ Home’ takes up fourteen minutes, a quarter of the proceedings, and there is no doubting it’s power, as Alvin whips up a frenzy, calms things down and then back up again, with the band staying glued to his every move. If Ten Years After were your cup of tea in the late-60s then this is a great reminder of their strength. If they weren’t, then you’ll do well to miss it and go see the current line-up instead, who are great.

Merv Osborne

Robert Plant: Led Zeppelin, Jimmy Page & The Solo Years

Independent (Author: Neil Daniels)

Whilst the great debate continues over whether Led Zeppelin will reform or not, amply fuelled by their reunion at the O2 Arena in December of 2007, Independent Music Press have published an unofficial and unauthorized book on Robert Plant. Entitled, “Robert Plant: Led Zeppelin, Jimmy Page And The Solo Years”, the book seeks to unearth all that the ‘Golden God’ has done since the demise of Led Zeppelin. Indeed, the biography offers a hop through his childhood, a skip through pre-Led Zep bands and a small but important jump through his role in that seminal band, all of which assists the reader in understanding what makes this artist so successful as a solo act. It is also heartening to say that the writer has avoided the usual sex, drugs and rock approach, for there is hardly any mention of the crass antics that rock stars tend to relish in, and I believe the book, and Mr. Plant himself benefit from that approach. In fact, Plant emerges as an artist whose sole concerns are his family and his music. It is obvious that he does not intend to rest on his laurels, and sees the past as purely part of the journey towards getting where he is today, and where he wants to be tomorrow. It seems unlikely that he will ‘tell all’ himself, as he is set to look forward to the future, and this is where my only criticism lies, that the book is written from a perspective of those who know or who knew him, sadly none of it is from the great man himself. It is a joy to learn of his modern working approach, and those he chooses to work with, as well as the types of music he loves to play. James Halbert describes him as “…just another music fan who wants to force you to sit and listen to his favourite records”. He is still one of the lads, travelling in uncomfortable vans with the band, but with the knowledge that if it doesn’t work out he can disappear to Morocco to recharge and reappear with fresh impetus. This is a thoroughly enjoyable read about one of rock’s most enigmatic characters. Long may he continue to do as he wishes.

Merv Osborne

Delta Blues

W. W. Norton (Author: Ted Gioia)

If you already have the books published on Charley Patton, and a few more about Robert Johnson, Honeyboy Edwards’ autobiography, the biographies of Skip James, Howlin’ Wolf, Muddy Waters, Tommy Johnson, B.B. King and John Lee Hooker, plus maybe David Evans’ ‘Big Road Blues’, you don’t need this book. If not, then, subtitled “The Life And Times Of The Mississippi Masters Who Revolutionized American Music”, Ted’s book does just what it says on the jacket. Gioia relates how, as an accomplished jazz pianist at the age of 20, he felt he had a deep understanding of the Blues, though, as he grew older, he began to realise there was a lot more to the music than he initially thought. In the ‘90s, he undertook studies of various forms of American traditional music, but kept coming back to the Blues. This book is the result of his interest, and it is a reasonably comprehensive study, with a palpable sense of enjoyment in the music conveyed by a more subjective style than some who have written on the subject; Ted is not afraid to get excited about the music! Then again, he is not afraid to puncture myths; Robert Johnson and the ‘Crossroads’ story is, of course, a main target for this, but Gioia is also at pains to point out that it seems very likely that it was Johnson himself who propagated the tale. Ted begins the story of the Delta Blues by examining and then (rightly so, in my humble opinion) discounting any direct African influence on the emerging music, contrary to what some would have us believe these days. The careers of those major figures mentioned in the first paragraph are examined at length, based largely on their recorded legacies, whilst impressive artists like Geeshie Wiley and Garfield Akers are given as much detail as is available, and the likes of Big Boy Crudup and Big Joe Williams are also accorded a lot of respect. The author is also careful to note – more than once – that our knowledge of these early artists is largely dependent on the fact they recorded. We have no way of knowing who or what was missed; if Mississippi Fred McDowell had not been ‘discovered’ by Alan Lomax in 1959, just think of the wonderful music we would never have heard. The story of the Delta Blues is brought up-to-date with an account of the Blues revival from the ‘60s onwards, which in itself makes for fascinating reading. The trials and tribulations of Fat Possum Records are documented and The Black Keys are, perhaps a little surprisingly, sympathetically report-

Courtesy W. W. Norton Publishing, we have 2 copies of Delta Blues to giveaway. The critically acclaimed book, featuring in the end of year polls of The New York Times and The Economist, was written by Ted Gioia, founder and editor of jazz.com. “With original research and keen insights, Ted Gioia brings to life the stirring music of the Delta, evoking the legendary figures who shaped its sound and ethos.” For your chance to find out how the sounds of the Delta altered the course of popular music in America and in the world beyond, tell us:

Which Delta Blues musician recorded the songs ’22-20 Blues’ and ‘Hard Time Killing Floor Blues’?

ed. Better proof reading – Specialty Records' man Art Rupe becomes Art Rube, The Bihari Brothers' RPM label is referred to as RPB in the chapter on Howlin' Wolf, but correctly elsewhere as RPM, and Wolf’s ‘Smokestack Lightnin’’ is transcribed wrongly – might help a little, though. These – and a few others - are minor quibbles, however, and anyone who enjoys the deep Mississippi Blues should investigate this very useful and highly interesting book.

Norman Darwen

The No-Nonsense Guide To World Music

New Internationalist (Author: Louise Gray)

There aren't many books that quote disco divas Sister Sledge to open a chapter examining the open-air music scene of Marrakech, or that shift from Greek hash smokers of the ‘30s to the role of music in the Rwandan genocide of the ‘90s – and probably even fewer such that will get a review in Blues Matters! This short book – 167 pages – looks at the evolution of the category 'world music', how music under this umbrella term is perceived, presented and packaged, and why. The author also examines why such styles as Greek rembetika and Portuguese fado are sometimes defined in Blues terms, detailing similarities and differences, but perhaps of most immediate interest to readers is the fact that there is a chapter on the Blues itself, containing a short overview of how the Blues is interpreted and a concise, but thankfully accurate, look at the 'African/desert Blues' movement of the last couple of decades. That in itself may not be enough to tempt the solidly traditional Blues enthusiast, but those with a more open point of view will recognise that many of the statements the author makes in this thought-provoking book are just as relevant to the Blues as to world music.

Norman Darwen

Haynes Gibson Les Paul Manual

J H Haynes (Author: Paul Balmer)

It's many a long year since I picked up a guitar in anger, but after some time drooling over this fabulous manual, I've caught myself taking detours via music shops, staring longingly at the wonders therein. Publishers Haynes are well known for their range of car manuals, but after an earlier book on the Fender Stratocaster was issued to rave reviews, they've turned their attentions to the Gibson Les Paul. The book is gloriously presented, as it holds your hand through all the stages of buying, owning, setting up, maintaining, repairing and making sweet, sweet love to your guitar. The photographs alone will keep many a frethead happy for days, as they pore over every detail of your new (or old) beloved. There's a range of case studies, covering every type of budget, so don't be scared if you think it's only for the top range guitars out there. The foreword is by Les Paul himself, and the body of the text by Paul Balmer is presented in a very readable and easy to understand style. At the end, there are a series of featurettes on some of the better known Gibson Les Paul players, including Freddie King, Mike Bloomfield, Peter Green and Gary Moore, as well as some 'Tech Tips' scattered throughout the book from well regarded guitar technicians. I can't think of a single thing that would make this book better, so if Gibson Les Pauls cause you to tense up at inopportune moments, then this is definitely the book for you.

Stuart A Hamilton

Last Shop Standing: Whatever Happened To Record Shops?

Proper (Author: Graham Jones)

Lovers and collectors of Blues music will delight at this book and despair at its story. This genre that we love now finds itself in the corner pocket of the karaoke megastores, slowly being extinguished by the top ten and the commercial destruction of choice. Graham Jones knows this, and has spent the last five years researching the demise of the genuine record shop, where choice and discovery reach a synergy that is now only seen in nostalgia. His book is both full of facts and fun stories from all around the United Kingdom, as he has entered into the world of literally hundreds of independent record shops and privately owned small chains. During the summer of 2008, Graham set out to do one last tour of the fifty stores that he considered to be the last of their type. It’s difficult not to weep with personal loss, as anecdote after anecdote is mirrored across the land. In the introduction alone, Graham lists over two hundred record shops that have gone since he decided to write the book. From Lizard in Norwich to Scorpion in High Wycombe, from Big Pink Music in Manchester to Pink Panther Records in Carlisle, from Atom Records in Bridgend to Quantum in Liverpool, from Mole Jazz in London to Retro Blue in Aberdeen, they’ve gone - all of them. The book immediately becomes something tangible and something to passionately identify with, even though it is an intimate autobiography of both the author and the people he meets on his journey. The concept may be reflective of Nick Hornby (that too was derivative), yet being provincial, there are many more topsy-turvy excursions with which to enjoy. It’s the depth of detail that intrigues and attracts, as Jones highlights trivial conversation with counter staff by raising them to moments of genius. This is particularly perfunctory when concerning the inept assistant who doesn’t know the difference between Bill Haley and the Halle Orchestra. Tales extend beyond the shop floor, and the book is punctuated with insights into piracy, download markets, and chart-hyping. Musical references vary from David Essex to Elvis, from Hendrix to Gomez, as well as the excesses of bands that no-one has heard of - until now! There are plenty of metrics, but it’s not a scientific expose of the decline of the record shop, but more a consideration of our great British community, and that this just may be a milestone in a disintegrating history now lost in electronic communication. Putting the moral curve to one side, it’s impossible not to laugh out loud at the patter that Jones delivers and the revelation about Kylie visiting Avalanche in Edinburgh is a great example of our world gone mad. The prose never ventures into grumpy old man status and is strangely optimistic.

Gareth Hayes

Lightnin’ Willie tried but to no avail.

photo: Alan White

BURNLEY NATIONAL BLUES FESTIVAL

Friday, 10th - Sunday, 12th April 2009

The Mechanics is a lovely venue for a weekend of music, with bar area stalls and more - it’s where the Blues festival season kicks off in earnest.

Oli Brown opened the festival on Good Friday evening. Oli is one of a healthy crop of young British performers currently enhancing the UK’s Blues circuit. He’s a very competent player and the trio played a decent Blues-rock set. Personally, I feel he will benefit by working on his stagecraft and developing a presence that will set him apart from the others (hopefully he stuck around to watch Earl Thomas, Hamilton Loomis and Kenny Neal).

Lightnin’ Willie took the middle slot of the evening. Willie is a lovely guy and his obvious love of performing shone through. He tried hard, but his set never quite got into top gear, despite having the excellent Giles King on harmonica.

The headline act was Lil’ Ed & The Blues Imperials. A strange start to the show saw the Imperials play a long intro, with Lil’ Ed just seemingly enjoying being there. Many of the audience seemed bemused until Lil’ Ed took the lead and immediately took the show to another level. Ed has an infectious personality, and he soon showed why he is held in such high esteem. A cleverly structured set gathered pace with some classy boogies and shuffles to a breathtaking finish. A highly charged performance with fantastic fret work.

A small but appreciative audience gathered for the Two Timers, who kicked off Saturday’s proceedings. Guitarist Gordon Russell showed a mastery of his instrument, sliding effortlessly through a variety of styles, while Sarah James showed what a good voice she has during a collection of cleverly structured songs.

Former Mike Sanchez guitarist Oliver Darling, with his band The Dirty Robbers, followed the Two Timers. For one who looks so young, Oliver seems to have been around for a long time. He’s a talented performer, equally at home on guitar and piano. His set promised a lot, but never really excited.

The Hoola Boola Boys created a particularly nice smooth and polished sound for their boss Ricky Cool – “cool” fits well with Ricky’s stage persona. He led the band well through a fine collection of jump jive Blues, whilst colouring the production with some tasty sax sounds.

Earl Thomas with Paddy Milner & The Big Sounds must be one of the best outfits doing the UK festivals at the moment. Saturday night was no exception, from the moment they kicked off with ‘See It My Way’, from the latest CD, Earl had the audience in the palm of his hands. He has great stagecraft and is the ultimate showman. Behind him, Paddy Milner & The Big Sounds were superb. The eight-piece band, all the while driven by the excellent rhythm section of Scott Wiber on bass and the energetic Alex Reeves on the drum stool, were outstanding. An outfit right at the top of their game. Little wonder Earl oozes confidence with Paddy and the boys behind him!

Rod Piazza had the unenviable task of following Earl Thomas. However, by the time he was into the second number, it was almost as if the previous performance had never happened. The highly respected Blues veteran came across as the ultimate professional. He gave a lesson in harp playing, whilst providing the chance for the captivated audience to experience the real West Coast sound.

The final day promised much, with the evening being one to look forward to. First up was Scotland’s finest one-man Blues show - Mike Whellands. Mike is an interesting character, and his novel set was a nice way to start the day. It was a shame that his kick drum was sounded like something normally hear thudding out of a town centre night club. It spoiled the whole effect of the performance.

The Cadillac Kings followed Mr Whellans, and we were promised dynamic swing Blues. We got the swing Blues. In all honesty, they failed to set the place alight. If someone had told me they were coming towards the end of a long tour, I’d have understood. Perhaps I’m being a little unfair but I had looked forward to seeing some high energy R&B from the Kings.

The room had filled up by the time Hamilton Loomis took the stage for the weekend’s final session. Hamilton has great energy and his music, whilst firmly rooted in the Blues, is very modern and fresh. Hamilton is a highly accomplished guitarist and his band complemented him perfectly. The rhythm section of bass player Colin Peters and Jamie Little (drums), the only UK band member, was highly impressive in providing a rock solid base for Hamilton to build on. Bo Diddley was a personal friend and major influence on Hamilton, so it was nice that he paid a tribute to him, whilst playing a trademark square bodied guitar that Bo had given him as gift.

The penultimate festival slot was given to Kenny Neal, and what an inspired choice that turned out to be. The award-winning Neal was quite magnificent. With a band comprising of two of his brothers, a

photos: Christine Moore

nephew and a drummer (no relation), we were treated to the very best of Louisana Blues, with super tight funkyfied rhythms. Looking a picture of health after the serious illness problems he has overcome, Kenny was obviously enjoying being on stage, but was happy to afford his talented nephew Tyree the chance to step down from his keyboards and demonstrate his impressive talent on guitar (he plays left handed and upside down). Having shown how good he is on guitar, Kenny ended his set with a short but very impressive burst on the bass, before leaving the stage at the end of a high energy, high class and highly memorable performance. No wonder he has been receiving nominations for Best Contemporary Artist.

Magic Slim shuffled on stage to close the festival after his band, The Teardrops, had played a handful of numbers by way of introduction. He has legendary status, and it was a privilege to see him in the flesh, but it was kind of sad to see a great man of his stature showing signs of failing health. However, once his guitar was slung onto his massive frame, he looked the part. His hands still look and perform like they belong to someone many years younger.

Towards the end of the festival’s final set - to Slim’s obvious delight - Kenny Neal joined the band on harmonica, and he and the legendary guitarist traded some delightful licks. Magic Slim obviously enjoyed being on the stage!

The night drew to a close with The Teardrops making way for Neal’s band to draw even more magic from Slim. It was a great way to end the show, and a pleasure to see the great man doing what he does best. The show finished with a touching moment, when Magic Slim handed his guitar to young Tyree Neal to play out the final number. It seemed to be fitting for the great man to hand his guitar over to the next generation, before leaving the stage as he entered it an hour earlier.

Congratulations to the organisers. The festival was well organised, well managed and had a lovely feel good factor going.

Christine Moore

COIN ACOUSTIC BLUES FESTIVAL Malaga, Spain

Saturday, 11th April 2009

If you happened to be wandering through the Plaza Alemeda in Coin on Saturday afternoon, 11th April 2009, around 4pm, you would have been forgiven for wondering what was going on.

The skies were black and threatening, coupled with cold blustery winds and a temperature that was well below what is considered normal for this time of year. But strange scenes were occurring in the square; dozens of people were congregating around the huge stage which had been decorated with a massive lighting rig and stacked high with speakers and amplifiers.

As I crossed the square, television and video cameras were aimed at the stage, and several people were being inter-

A harp master class from Rod Piazza.

photo: Christine Moore

The Co-Operative Cambridge Folk Festival will be staged between 30th July and 2nd August 2009 at the Cherry Hinton Hall Grounds. Acts appearing, of interest to Blues Matters! readers, include: The Zutons, Los Lobos, Susan Tedeschi, Imelda May and Watermelon Slim & The Workers. cambridgefolkfestival.co.uk

The Ealing Blues Festival will be held on 25th July 2009 at Walpole Park, Ealing and will include: Chris Jagger, Rober Hokum and The Guv'nors, Sam Kelly's Primo Blues, The Swampcats, The Gary Fletcher Band, 'Snakebite' Burnett and Boogie Bill Roberts, Guy Tortora Duo and Adrian Byron Burns (USA). A first for this year's festival is the Ealing Young Musician's Showcase, which will include performances by the best new talent aged under 18. ealingsummer.gov.uk/ealingsummer

The Shetland Blues Festival will take place between Friday, 28th and Sunday 30th August 2009. This will be the sixth annual Shetland Blues festival and will feature the likes of King King (featuring Alan Nimmo), Gwyn Ashton, Kevin Brown, Bex Marshall, The King Bees and The Offenders. The main venue will be the Lerwick Royal British Legion, with gigs throughout Shetland over the weekend. shetlandblues.info Maryport Blues Festival, staged between Friday, 24th and Sunday 26th July 2009 will be headlined by Jethro Tull, John Mayall and Taj Mahal. Also appearing at the West Cumbrian harbour town are Ruby Turner and The Blues Band. maryportblues.com The Great British R&B Festival returns to Colne in East Lancashire to celebrate its 20th anniversary on August Bank Holiday. Once again there will be four days of live music across eight official venues throughout Colne between Friday, 28th and Monday, 31st August 2009. Acts confirmed to appear include: Alvin Youngblood Harts’ Muscle Theory, Wilko Johnson Band, Connie Lush & Blues Shouter, King Pleasure & The Biscuit Boys, Paul Lamb & The King Snakes, Deborah Bonham Band, Zoot Moneys Big Roll Band, Louisiana Red & The Michael Messer Band, The Blues Band, Coco Montoya, Joanne Shaw Taylor, Miller Anderson, Harper, Eric Bibb, The Animals (with Spencer Davis), The Alan Price Set, Stephen Dale Petit, Del Bromham, Tom Hingley (Inspiral Carpets), Emily Druce & Steve Jones, Dave Acari and Tom Doughty. bluesfestival.co.uk The Carlisle Blues Festival will be staged at the Swallow Hilltop Hotel from 13th to 15th November 2009. The Confirmed line-up includes: Earl Thomas with Paddy Milner & The Big Sounds, Ian Siegal, Tom Principato’s Powerhouse, The Nimmo Brothers, The Producers, Errol Linton’s Blues Vibe, The Stumble, Connie Lush & Blues Shouter, The Mark Butcher Band, Sam Kelly’s Station House, John O’Leary Band, Storm Warning, Hokie Joint and OV8. Weekend tickets include accommodation at the hotel. carlislebluesfestival.com

viewed by local radio and TV stations. But this was nothing to do with the Semana Santa processions that had filled the town for the previous few days, this was the sound check for the first Coin Blues Festival, and the musicians were out in force.

The sound check over ran its time and members of the bands and musicians, from as far afield as Alabama and New York, mingled and chatted with each other, whilst waiting their turn on the stage.

At around 7pm, the sound check was over, and the festival got quickly under way, introduced by the two main organizers of the event, Terry Clear and his dedicated partner in crime, Yazmine.

First up were a new band from Marbella called Moonshine Still, who, although are still a relatively new setup, showed signs of great things. Their set was tight and well rehearsed, and they treated the audience to around forty-five minutes of sheer brilliance.

Next to take the stage was someone who needed little introduction here in Spain, and although he has been at it for a while, Steve Payne still has the raw energy that is lacking in many of today’s solo artistes. He performed a mixed set of old classics, along with his own compositions, and he certainly got the crowd warmed up with his extremely personal style of Blues.

Steve Payne has uncanny timing and his lyrics are, at times, amusing and a little near the mark, with songs like ‘Cocaine Lil’, who lived in a cocaine house on a cocaine hill. But he is an outstanding artiste and he was much appreciated, especially when he called Shar-Baby on to the stage to perform with him - a gesture that Shar-Baby returned during her performance later that night.

A quick stage change and another band from Marbella came on to entertain us with some rather unusual antics. The Hot Gamblers are one of the most entertaining Blues bands on the coast, and their joyful interaction with each other - and the audience - certainly went down well with the crowd. The band are well known in the area, and their music is a mixture of orthodox Blues and bluegrass - the fact that they all take a turn on vocals gives their set plenty of variety. But it was the younger member of the band, Hot Nacho, who stole the limelight with his coarse gravely style of singing - his cheeky smile and rather loud shirt also proved to be a hit with the audience. An encore saw all of the band perform the classic

‘Pick A Bale Of Cotton’ a cappella style, which received an ovation from a very appreciative audience.

By now, most of us had forgotten about the black skies and chilly winds, and were waiting in anticipation for the next instalment, which came in the shape of Richard Ray Farrell, who is, again, no stranger to Spain.

Richard started his career busking his way around Europe and today he has become one of the top guys in his field. Even though his first few songs fell a little flat, after the stomping sounds of the Hot Gamblers, Richard Farrell soon had the audience’s attention, with his renditions of songs by Big Bill Broonzy, as well as material from his latest CD, “Down Home Old School Country Blues”. Richard Farrell has been strumming the Blues for many years and his orthodox style of playing and singing the Blues will stay in my mind for a long time to come.

One of the nice things about this festival was being able to see the artistes in the audience, as well as on the stage, and all of them could be seen enjoying the show as much as anyone else. At one stage, members of Spinning Coin could be seen joyfully line-dancing with members of the audience, and Shar-Baby seemed glued to the spot, as she obviously lapped up all of the night’s entertainment.

Stephen Dale Petit will be celebrating at the Great British R&B Festival.

photo: Tony Winfield (bluespics.co.uk)

The festival was briefly interrupted by a procession, which came from the town’s church, of around two people singing and chanting in celebration of the resurrection of Christ. Well, it was now technically Easter Sunday. But the show went on, and a Blues duo from Velez Málaga showed us that there is indeed some very talented Blues people in this area.

Blues and Beyond performed a very interesting combination of jazz influenced Blues, and these two guys showed us why they are so popular in the East of Málaga.

It was now after midnight, and the temperature was dropping, but the spirit of the crowd was not, because they knew that the best was still to come. Shar-Baby introduced herself in true Alabama style, “Hey how you doing, my name is Shar-Baby from BIR-MING-HAM, AL-A-BAM-A!” The audience went wild! She also read an introduction in Spanish, which had been written down for her, but she was quick to point out that even she didn’t have a clue what she had said, but the many Spanish people in the audience were obviously thankful for her efforts.

Again the festival was slightly interrupted by the growling engines of a chapter of Harley Davidson clad Hells Angels, who had pulled up to see what was occurring. They soon congregated at the front of the stage and, before long, were dancing and joining in with Shar-Baby’s fantastic set of country Blues.

Shar-Baby was joined on stage by Spinning Coin’s harp player Nahuel Perez, who was to become one of the stars of the night, complementing Shar-Baby’s music with his rich harmonica style. Steve Payne was then recalled to the stage, as was visiting artiste Maggie Ross, who had flown in from England especially to take part in the festival. They, along with Spinning Coin’s vocalist, Kat, treated us to a raunchy version of ‘Rock Me’, and soon the plaza was bouncing - Shar-Baby was visibly moved by the effect that she was having on the crowd.

For those who braved the late-night cold, Spinning Coin took the stage around 1.45am and still possessed the energy and drive shown by all the previous bands. This six-piece Blues outfit have a multinational line-up, consisting of English, American and Argentine members, and together they showed why they are fast becoming one of the most respected and talented bands in the province of Málaga. They treated us to their very personal style of soul influenced Blues, with adapted versions of ‘Hoochie Coochie Man’ and ‘Help Me’, but by far the most energetic number was ‘Next Bar’, a jumpy little song with heavy harmonica and stomping percussion by Tony and Kat, who accompanied with the washboard.

Even though it was late, the band were jumping, as were the audience, and the antics of harp man Nahuel, who was dropping to his knees and generally having a ball, rubbed off on all the other members of the band, who also really seemed to enjoy the whole set.

What a way to finish a festival, and the strength of the night’s proceedings very quickly prompted the town’s Mayor to give the go-ahead for next year’s festival.

Well done to the first Coin Blues Festival, you did yourselves proud and one wonders how next year’s festival could possibly be better, other than the fact that it has been scheduled for May (so hopefully it will be a little warmer).

Tony Bryant

NO MEAN CITY FESTIVAL

Thursday, 16th – Monday, 27th April 2009

Billed as a celebration of contemporary Blues, country and Americana music, the inaugural No Mean City Festival included some well known guitar players in a collection of concerts at Glasgow’s O2 Academy over two weeks.

This diversity was apparent from the opening night, which took place in the upstairs bar of the venue. Tragic O’Hara opened with a gospel style a cappella, before the folk styled ‘Running Back To Me’, the melancholy ‘Jesus On My

Dashboard’

photos: Paul Webster

and, best of all, ‘Wolves At My Door’, featuring loops and some beefy slide guitar.

The Ghosts Of Progress features duo Callum Christie on guitar and Lewis Palgrave on vocals, guitar and kick drums. With a loyal and rowdy following present in the room, they powered through a set including the slide driven ‘Anal Blues’ and the grinder ‘Coffin Dodger’.

Finally, the soul-based rhythm & Blues outfit, Lonely Souls closed the evening with songs such as the up-tempo ‘California’, the more laid-back ‘Lovers Again’ - a song The Black Crowes would be proud of - and ‘Move Your Bones’.

Friday night saw Louisiana born Sherman Robertson take to the stage for an enjoyable set. Despite a smaller crowd than expected, Robertson and his band were fully professional, and looked to be having a blast. His style brought up comparisons with both Albert Collins and Robert Cray, and tracks such as ‘Cry No More’ and the funky ‘Black Cat Bone’ saw Sherman, and bass player Roger Inniss, really get in the groove. Standout was the slow Blues of ‘I’m Losing You’, with a guitar solo reminiscent of B.B. King.

The crowd was geared for a rare hometown appearance from The Nimmo Brothers - and they started with a bang (‘Flat Broke’ to be precise). ‘Bad Luck’ followed, before they slowed down for ‘In My Mind’. Stevie sang the tale that is ‘Nothing In Chicago Is Free’, before the band were joined for a number by Gus Munro, a Glaswegian Blues guitarist who is shortly releasing a new album. Together the Nimmos make a formidable duo, with superb vocals from Stevie and great stage presence from Alan, demonstrated on the two closing numbers, ‘If I Could See Through You Eyes’ and ‘A Better Day’.

Saturday night saw Dave Arcari taking to the large stage, with his National, for ‘Nobody’s Fool’ and ‘She’s Gone.’ Dave is in his element on stage, and although a change to slide guitar was necessitated, he continued regardless, with a meaty interpretation of Muddy Waters’ ‘Can’t Be Satisfied’.

Somewhat surreally, we then witnessed the appearance of BBC sports commentator John Beattie, as he took to the stage with an arrangement of musicians. They performed a light-hearted bunch of covers, including FREE’s ‘All Right Now’, Elmore James’ ‘Can’t Hold Out’ and ZZ Top’s ‘Tush’. It just about worked.

The night was closed by piano player Frank O’Hagan, who brought with him a six-piece band comprising members of the late John Martyn’s band. A history lecturer by day, this showed in his subject material, including ‘Montgomery’ about Rosa Parks. While the crowd he brought with him loved his set, I did not feel it was consistent with the theme of contemporary Blues, country and Americana music.

We were on more familiar ground on Wednesday night with the appearance of Buddy Whittington. Highlights included ‘Pay The Band’ and ‘Can’t Be Good For Me’, and his tribute to Stevie Ray Vaughan, ‘Stevie Rave On’. Buddy’s style is more finesse than fire, his band was funky and tight, and the sound was well balanced.

Sadly the balance had vanished when Gary Moore came on stage, with the guitar completely overshadowing the vocals of opening number ‘Bad For You Baby’. The sound did adjust itself for ‘Oh Pretty Woman’, and an extended interpretation of John Mayall’s ‘Have You Heard’ fully demonstrated Moore’s guitar techniques. Other songs were a little more pedestrian, and though ‘Too Tired’ presented some welcome interaction between Gary and his keyboard player, the guitar solo that followed left many in the audience talking amongst themselves. Some would have wished him to delve in his rich rock back catalogue, while others may have preferred some more subtlety, such as ‘Jumpin’ At Shadows’. In reality, we got neither, and Moore’s frustration with the crowd’s lack of interaction was apparent.

Monday night was the eagerly awaited return of Joe Bonamassa. Bonamassa came onto the stage during the early notes of ‘Django’ and, throughout the two hour set, he fully demonstrated that he was a guitar player at the top of his game. ‘Last Kiss’ recreates the old ‘Rollin’ And Tumblin’’ riff, while the slow, mournful ‘The Great Flood’ featured a beautifully subtle guitar solo. We also got a little flamenco guitar before ‘Woke Up Dreaming’, which then seeped into ‘High Water Everywhere’, with its pounding backbeat. ‘Blues Deluxe’ was sublime, and Bonamassa encouraged the crowd to join him on the final line of the song, before the enthralling musical journey, ‘Just Got Paid’, complete with Theremin, closed the main set. ‘Asking Around For You’ was the final encore, and an appropriate end to the concert and festival as a whole.

To sum up the No Mean Festival: it was a well organised and professionally run series of events, and very enjoyable to see so many varied artists in one venue in such a short space of time. However, while the main stage is a great platform for an artist to perform, the upper bar was not a particularly comfortable location to watch live music, and it may have been more appropriate to use an alternative, larger venue for the smaller concerts.

As Alan Nimmo said on day two, Glasgow needs a Blues festival and there is much that can be taken from this event. If it returns next year, and features the same calibre of musicians, then I’m certain it could be a long-term fixture on the calendar

Duncan Beattie

TIM AVES - SON HENRY BAND

@The Red Lion, Stevenage. 29/03/09

A two hundred mile round trip is a long way to go for a gig, but the tour was down south and the Red Lion at Stevenage was the nearest to us. A popular bikers’ pub, with the stage area in the pool room, the band were setting up as we arrived. Drinks in hand, we took our places in the corridor, which served as the main auditorium, and waited in anticipation for the start of the show. We had looked forward to this gig since the tour was announced, having seen Son Henry on several occasions, and having often read and heard of Tim Aves and his former band The Rocking Armadillos. They blasted off with an energetic start, and the duel frontman format worked extremely well. Tim alternated between harmonica and his huge armoury of guitars, while Son played guitar, slide and lap steel. We were treated to a variety of Blues, from Delta to Chicago, as well as Son and Tim's original stuff. The band gelled well, especially as the set-up was changed practically at the last minute due to the untimely death of drummer Kevin Oliphant. Replacement drummer Paul Lester, and bassist Dean Stewart, provided an excellent rhythm section, completing the line-up. Son's relaxed laid-back style and storytelling were the perfect foil against Tim's more intense and vigorous playing action. With bags of humour and panache, they pulled out all the stops, and wowed the audience, who danced and jigged to an amazing set list. This included Muddy Waters’ 'I Can't Be Satisfied', a brilliant Son Henry Band arrangement of 'Bring It On Home', 'Walking Shoes' and a rip-roaring finale of 'Voodoo Chile'. Son made use of every object and surface to wring the sounds from his lap steel, including the ceiling. The distance travelled was well worth it, and we can't wait to see these guys again on their autumn tour.

Tony Winfield & Sue Hickling

WILLIAM ELLIOT WHITMORE

@The Globe, Cardiff. 19/04/09

Offering Christopher Rees the support slot was a shrewd move for several reasons. Firstly, the fanbase he clearly brought (whoops and hollers greeted the start of each brand new number) given his locality to the venue (living only five minutes’ walk away). Secondly, his well studied brand of authentic Americana was the perfect warm-up for the ‘real deal’. William Elliot Whitmore – who has released arguably the album of the year (“Animals In The Dark”) – had the Globe audience spellbound from the opening stomp. With songs whose structures have drawn comparisons to early Johnny Cash – from local issues to worldwide events - and a gravelly vocal compared to Tom Waits, the combination was gripping. Seated throughout –with the audience silent – the tattoo-clad Mississippi farmer introduced many to the traditions of Blues music, back-porch style. Songs about the evil causes of war and corrupt politicians (‘Old Devils’ – I lost count of the times William spat out the word “devil” during his performance) will strike a chord wherever they are played in the world - but even issues that uniquely affected his family lineage (‘Hard Times’ told of how his dad’s back was broke and hands cut up working the railroads) and a local town/community in rural America (fighting ‘Johnny Law’) conjured up the requi-

photos: Tony Winfield (bluespics.co.uk)

site imagery to engross all. Covering topics of love and loss and creating feelings of sympathy, despair and anger, Whitmore created the complete live experience, whilst his broken delivery on ‘There’s Hope For You’ – delivering the lines, “My little sparrow, there is hope for you/Your life has just begun/I could not do what I wanted to/but I fear my time is almost done… And even though I will be gone/You’ve got to play your part” - should have come with an advisory warning for heartbreak. It certainly wasn’t “a good day to die.”

Darren Howells

THE ZOMBIES

@Hammersmith Apollo. 25/04/09 This really was a gig of two halves, both superb and completely satisfying to the sold-out crowd at the erstwhile Odeon. The Zombies were presenting the last ever complete production of the “Odessy & Oracle” album, and there were no cheap tricks or cop-outs. The band included Chris White, the original Zombie bass player, and Hugh Grundy, their original drummer, as well as the regular touring members Jim Rodford, Steve Rodford and Keith Airey (plus Vivian Bucharat and a full horn section, and an ancient pipe-

organ that they had bought to replace the one that Chris White wrote the album on). The first half comprised of alternative Zombies songs and solo material, including a stunning version of ‘Hold Your Head Up’ and an achingly pretty ‘A Rose For Emily’. The second half, though, was the main reason we were all there, and their playing of “Odessey & Oracle” demonstrated just what it was that set the band aside from the mass originally. The melodies and harmonies showed songwriting of the highest order and Colin Blunstone’s vocals were as good as they ever were. Numbers like ‘Beechwood Park’, ‘Time Of The Season’ and ‘A Butchers Tale’ – complete with the organ – must have any remaining Decca executives turning in their graves at what they let slip. Encores including ‘Summertime’ and, of course, ‘She’s Not There’ had the crowd up and giving a genuine ovation to a band that, for once, deserved their place in the pantheon, and came back to enjoy it with their fans - many of whom could only have been ‘twinkles’ when these were first written.

Andy Snipper

THE BLACK CROWES

@O2 Brixton Academy, London. 17/05/09

These ageing hippy rock’n’rollers arrived in town as the last leg of a three-city stop, on their short European tour, and they were in fine form. Whilst the set list was a little uninspired, and leaned more towards a greatest hits show,

the band put in a splendid night’s entertainment. It was only a year ago that they graced the same stage, so it was a little surprising that the venue was packed. The band were firing on all cylinders from the off, as they launched into a thunderous ‘No Speak No Slave’, and then proceeded to tear straight into ‘Gone’ - already they had got the crowd rocking. It was a really friendly atmosphere, with people dancing and hugging one another to ‘Twice As Hard’ and ‘Sister Luck’. The set was top heavy with their early album cuts, but they did slow things down for a part acoustic ramble through ‘Whoa Mule’, and we got to hear a new song in the shape of ‘I Ain’t Hiding’. The tune, which will surely split fans, being that it has almost disco leanings, before fleshing itself out into a boogie, is certainly not vintage Crowes, but it has some potential. The instrumental introduction to ‘Thorn In My Pride’ was almost space rock like, and was superb, with Luther Dickinson and Rich Robinson taking the band on a trip. Whether it’s because it’s early into a new tour is debatable, but Chris Robinson sounded as good as he has done in years, and was every bit the classic rock frontman he is renowned for. The assembled roared their enthusiasm to ‘She Talks To Angels’, and sang-along to ‘Hard To Handle’. The band looked really touched at the applause they received at the finale. It just so happens that their debut album will have its twentieth anniversary this year, and it seemed like the band wanted to celebrate this fact.

Andrew Baldwin

GWYN ASTON

@Miller’s Snooker Club, Kirby-in-Ashfield. 19/03/09

Born in Wales, brought up in Adelaide, Gwyn Aston brought an array of not only great guitars to Miller’s stage but, throughout the gig, proved he knew how to put each one through its paces. He kicked off the performance on a resonator, bottleneck slide, stomp and a demonstration of his unique thumb picking style, with some beautiful deep southern Blues intro, before going into a Blues-rock ballad. It wasn't hard to see, as that wonderful resonator and gritty vocal echoed round Miller’s, that we were in for an excellent night of fine Blues, with just a touch of that dry Aussie humour - especially as Gwyn insisted on photographing his audience, which brought rolls of laughter at his antics to produce a good photo!

Gwyn’s second number was again on resonator with slide, starting with a demonstration of guitar loop-technique, blending individual guitar riffs in a tapestry, which he transformed into a totally unique rendition of Jimi Hendrix’s 'Purple Haze', mixing traditional Mississippi Blues with Blues-rock. Drummer Kevin Hickman joined Gwyn on stage at this point, and the pair went into a Blues-rock number featuring slide and power drumming interspersed with some raw Blues vocal. Gwyn is in the process of producing a new CD, and Miller’s was treated to a sample of what is to come. The first untitled offering was Blues-rock number, with a vocal worthy of Roger Daltrey, wailing guitar on resonator slide, great sustain, progression and some real power drumming from Kev. This was a first a rate number in the ilk of Zeppelin, Sabbath and The Who. ‘Million

photos: Ian Harvey (rocktasticpix.com)

Dollar Blues’ was a twelve bar Blues-rock number reminiscent of early Rolling Stones - superb guitar work, power drumming with great fills. The second set opened with Gwyn changing to an electro acoustic, twelve string lap steel and harmonica number from the “Prohibition” CD. Drum driven, harp wailing, fantastic great delay and chorus, very much in the King Crimson vein - great stuff! Why Gwyn Aston is not getting as much exposure as he deserves is a mystery!

Carol Borrington

AC/DC

O2 Arena, London. 14/04/09

As the lights dimmed, the crowd roared with anticipation, the massive video screen behind the stage sprung into life and, for the next few minutes, we were all transported onboard AC/DC’s rock‘n’roll train, as it hurtled out of control down the track. With a deafening roar, a cartoon Angus Young stoked the engines fire, before being accosted by two scantily clad women, who tried to apply the brakes, but to no avail. Moments later, the onscreen train ploughed through the barriers, as flash bombs exploded, flames shot high into the arena roof, and a larger-than-life size devil horned locomotive blasted through the parting video screens. So, the band took to the stage with minimal fuss! We were just minutes into the show, and we’d already had our monies worth. ‘Rock ’n’ Roll train’, from last year’s “Black Ice” album, inevitably kicked off proceedings, and, for the next hour and forty minutes, we witnessed one the greatest rock bands of all time do what they do best. ‘Back In Black’ was the third song and I begun to wonder how on earth they’d follow that so early in the set, but, of course, a band with such an incredible back catalogue does so with ease. The set-list was a mix of hits, live favourites and tracks from “Black Ice“. It was, however, the ‘oldies’ that really sparked the crowd into life, ‘Shot Down In Flames’, ‘Dirty Deeds’, ‘Thunderstruck’ and ‘You Shook Me All Night Long’ whipped the audience into a frenzy. It was hard to believe that these guys aren’t youngsters anymore! Angus cavorted across the stage in full schoolboy uniform like a demented Chuck Berry, just as he has done for near on forty years; Brian Johnson’s vocal left you wondering how he doesn’t do himself an injury singing that way; while the rest of the band were sharp and precise throughout. ‘The Jack’ is a low down dirty Blues that slowed the pace for a while, with the cue for Angus to shed his sweat soaked uniform - striptease style - urging everyone to roar louder as each item is removed, before finally bending over, dropping his shorts to moon at the crowd, with AC/DC emblazoned boxers. An enormous bell descended from the gods and rung out across the arena for ‘Hells Bells’. ‘Shoot To Thrill’ and ‘TNT’ followed, before a giant inflatable woman straddled the backdrop horned locomotive and the crowd chanted “Angus! Angus!” between each opening riff of ‘Whole Lotta Rosie’. ‘Let There Be Rock’ wound things up, and let Angus loose with a solo spot, culminating in him being elevated on a platform at the end of the crowd splitting runway that stretched out across the arena floor. While atop the platform, he dropped to his knees, his playing becoming more and more frantic, then he lied on his side and spun himself around and around in circles - playing all the while. He descended from the platform and returned to the stage for more guitar heroics, before being joined by the rest of the band to close the show. Minutes later, after much stamping, hollering and crowd appreciation, red smoke started to billow from a hole in the middle of the stage, and suddenly Angus Young appeared from the mist to launch into the legendary ‘Highway To Hell’. You sensed that no-one wanted this night to end, but when the cannons appeared high above Phil Rudd’s drum kit, and the opening bars of ‘For Those About To Rock…We Salute You’ kicked in, you knew that this was the end. As the song draws to its climax, we all knew what to expect, and, with Brian Johnson’s prompt, the audience screamed “Fire” and the cannons fired an earth shattering twenty-one gun salute across the O2 Arena. AC/DC, we undoubtedly salute you!

Steve Hoare

KING KING

@The Running Horse, Nottingham. 06/03/09

This was King King’s first appearance at The Running Horse, and, if this gig was anything to go by, Alan Nimmo’s latest project has all the hallmarks of a success. They hit the stage at a pace of knots with a Blues-rock instrumental that pro-

nounced, “We are going to rock this joint!” Alan’s guitar work was blistering, fluid, great sustain and fretwork. Dave Raeburn’s power drumming, matched by Lindsay Coulson’s raunchy bass and Dale Starr’s keyboards, complimented Alan’s lead guitar and vocal with style. Going straight into their second number, it was soon obvious that Alan Nimmo was not only an impressive guitarist, with a gritty and emotive vocal; he is also the consummate showman and a very natural frontman. He never stood still for the whole gig, and really needed a stage to himself, as poor Lindsay found out a few timeshe had to watch his feet and head, as Alan strutted his stuff! ‘Call Me Good Time Charlie’ saw the full extent of Alan’s vocal, full of authority, with good vocal range and intonation - he punched his way through the lyrics, supported by heavy bass, funky keyboards and power drumming, all topped off with his guitar playing, which displayed an impressive range of guitar techniques. ‘Heart Without A Soul’, from the recent EP, proved to be as impressive live as on the CD. John Hiatt’s ’It Feels Like Rain’ was covered with panache and saw Alan giving singing lessons to the assembled punters, turning them, at one point, into a backing choir, underpinning his tender emotive vocal. His guitar solo was equally as tender as his vocal, digging deep into the inner soul. They finished with the new EP track ‘(If Loving You Is Wrong) I Don’t Want To Be Right’, which proved to be a great favourite with punters, and brought about the customary, chants and clapping for more! The order of the day certainly is more from this new venture of Alan Nimmo’s.

Carol Borrington

VULNERABLE THINGS

@The Troubador, London. 13/03/09

The Troubador is a venue steeped in history - its place in British musical heritage established in the ‘60s when the likes of Dylan, Hendrix and Paul Simon played there. This gig saw a packed house enjoying a band that, while looking respectfully at that era, is very firmly rooted in the present. Blues is at the heart of what the Vulnerable Things do, but they’re taking that Blues basis and building on it to produce something that’s theirs. Above all, they’ve got some really good songs, and that’s what makes them poke their heads right out of the pack. Kicking off with ‘Trapdoor’, they got the audience going from the first bar, the rhythm section of Keith Lovell on bass and drummer Ed Green propelling things along nicely, with the interplay of guitarists Lewis Hodgkinson and GP Bennett making for the kind of tight ‘in the pocket’ groove that only very good bands have. Bennett is the frontman, singer and songwriter, and he’s got the kind of talent that could, and should

Vulnerable Things’ GP Bennett is up there with Ian Siegal.

photo: Andrew Hall (andyhallphoto.com)

Susan Tedeschi: London 100 Club (30th July). susantedeschi.com Big Dog 3: Brighton Latest Music Bar (2nd July), Dinton Village Hall (3rd), Leicester The Musician (5th), Maidstone Zebra Bar (6th) and London The Luminaire (13th). alperkinsmusic.com Danny Bryant’s RedEyeBand: Blakeney The Harbour Room (3rd July), Herts Timbers (4th), Hartlepool The Studio (10th) and Peterborough Blues on the Boat (8th August). myspace.com/dannybryantsredeyeband

The Jooks Of Kent: London The Chambers (15th July). myspace.com/thejooksofkent Roadhouse: Chislehurst The Beaverwood Club (2nd July), Sutton Boom Boom Club (5th), London The Woodman (9th) and London The Woodman (23rd). roadhousegb.co.uk Freebird: Colne Queens Hotel (3rd July), Kirkham Lane Ends (4th), Whalley Arms (18th), Clitheroe Edisford Bridge (25th), Barnowldswick The Railway (26th), Burnley White Harte (31st), Clitheroe Castle Bandstand (7th August), Clitheroe Black Horse (22nd) and Accrington Hope and Anchor (28th). freebirdrock.com Big Boy Bloater: London The Maltings (23rd July), London Ain’t Nothin’ But... (24th), London Ain’t Nothin’ But... (28th August), London Ain’t Nothin’ But... (11th September) and London Sydenham Blues Club (18th). myspace.com/bigboybloater Tony (T.S.) McPhee: Leicester The Musician (21st August). thegroundhogs.co.uk

The Mustangs: Chichester The Fountain (31st July) and Nottingham The Greyhound (29th August). myspace.com/themustangsblues Riotous Brothers: Dorking Cricket Club (3rd July), Bristol Beeses Bar & Tea Gardens (12th September), Petersfield Square Brewery (26th), Swanage The Ship (3rd October) and Southsea Cellars At Eastney (10th). myspace.com/riotousbrothers Coalhouse Walker Blues Band: Hertford St Johns Hall (11th July), Stevenage Red Lion Blues Club (6th September) and Tenby De Valence (25th). myspace.com/coalhousewalker Radiotones: Perth The Pitcairngreen Inn (25th July). radiotones.com Dave Arcari: Cropredy The Brasenose Arms (11th July), London The Sheep Walk (15th), Bury The Met (17th), Edinburgh The Voodoo Rooms (4th October), London Mama Liz’s (9th), Canterbury The Farmhouse (15th), Southsea The Golden Eagle (16th), Charlbury The Rose & Crown (17th), Gloucester Cafe Rene (21st), Bristol The Thunderbolt (22nd) and Leeds Salvo’s (23rd). myspace.com/davearcari Peggy Sue: East Sussex Stanmer House (5th July), London Southbank Centre (11th), Canterbury Lounge On The Farm (12th), Nr. Huntingdon Secret Garden Party (25th), Belfast Empire Music Hall (23rd September) and Belfast Black Box Cafe (26th). myspace.com/peggysueandthepirates Jeff Beck: Dublin Vicar Street (1st July), Southampton Guildhall (3rd) and London Royal Albert Hall (4th). jeffbeck.com The Spikedrivers: Farnham Cellar Bar (2nd July), Norton Severn Sailing Club (4th) and Crawley The Hawth (11th). spikedrivers.co.uk Big Joe Louis: London Ain’t Nothin’ But... (4th July), London Ain’t Nothin’ But... (7th August), London Ain’t Nothin’ But... (29th) and London Ain’t Nothin’ But... (19th September). myspace.com/bigjoelouis Martin Harley

Band: Cardiff Norwegian Church Arts Centre (10th September). myspace.com/martinharleyband Aynsley Lister: Winchester Discovery Centre (7th October), Swindon 12 Bar (5th November), Derby Flowerpot (6th), Poulton le Fylde Community Hall (7th), Chester Telfords Warehouse (10th), Cardiff The Globe (11th), Sutton Boom Boom Club (13th), Mansfield Town Mill (20th), Leamington Spa Assembly Rooms (21st), Oxford The Bullingdon (23rd), Wavendon The Stables (25th), Southampton The Brook (26th), Blakeney Harbour Rooms (28th), Manchester The Academy (3rd December), Aldershot West End Centre (4th), Falmouth Princess Pavillion (5th), Sheffield The Plug (11th), York The Duchess (12th), Leicester The Musician (13th). myspace.com/aynsleylister

see him making a major breakthrough. His songs are tightly written, with tunes and hooks. They’re not excuses for lengthy instrumental workouts, though the band can offer you as much in the way of guitar chops as you want. Numbers like ‘Brooklyn Bound’ and ‘Jack High’, which came next, had the hallmark of a very fine band indeed. Bennett belted them out with his big voice – it was all crowd-pleasing stuff and the crowd was duly pleased. Their set went on to cover a wide spectrum of rhythms and tempos, and things never got samey. They can get funky, as on the next number, ‘The Get Gone’, then change tack for ‘Won’t Get To Heaven’, which was more in the vein of a soul song with a nod to Tamla. At this point, Ian Siegal, nattily attired in an ensemble that included a pair of zebra-skin shoes, came out of the audience to join the band onstage. They went straight into ‘She Got The Devil’, the Junior Kimbrough number he’s put his personal imprint on. The band slotted straight in, and a storming version was delivered up - Siegal’s spoken interlude veering between the soulful and the filthy and back again, the band bang on the money behind him. Ian Siegal is, of course, a very hard act to follow, but GP Bennett loses little if anything in comparison. There was certainly no sense of things losing intensity when he resumed the lead vocal role. By the time the set ended, the audience had been served up with a lot of Blues and a bit of soul, funk, rock, swamp/Blues and ragtime, all wrapped up in a fine set of distinctive original material. Vulnerable Things have got something that’s all their own. Look out for them.

Mark Harrison

BOB DYLAN

@Cardiff International Arena. 28/04/09

Like the punters who had paid over £40 a ticket, I’ve been searching for any redeeming features to Dylan’s show at the CIA before I begun to pen this report. After all, this is the man who has produced many of popular music’s timeless classics, broken down barriers and arguably influenced every artist with any crumb of credibility today. In hindsight, the warning signs that this wasn’t going to meet expectations were evident as we entered the arena – informed any photographs taken would result in expulsion. The Dylan brand today is big business, but when everything is so focussed on making money, it’s not unusual that the actual product doesn’t meet the requisite standard. The stage was shrouded in darkness throughout, Dylan retained a healthy distance from the front of the stage, behind his organ (only occasionally playing his harmonica), and his voice now unrecognisable - not only out of tune but out of time. In fact, given the rearrangements and imposter-like delivery, there was notable silence as songs begun, then eruptions as listeners would pick out a key word from ‘Hey Mr. Tambourine Man’, ‘Blowing In the Wind’ or ‘Tangled Up In Blue’ (the only tracks I can be certain were played). With a recent number one album, and sell-out tours, Dylan is once again a marketable commodity, but if he continues performing shows like this, the swelled bank balance in his twilight years is only going to tarnish what is arguably the greatest and most significant career of any popular musician. Credit must be given to his band, who plugged away commendably, and to the audience, who throughout at least created an atmosphere worthy of the ticket price, but for a performance level probably out of reach for the last ten years.

Darren Howells

GARY MOORE

@Leas Cliff Hall, Folkestone. 16/04/09

Support act for the tour was Buddy Whittington, who opened the show with a number from his recent album – ‘Pay The

Band’ showed why he has been John Mayall’s main guitarist for so long. From my seated position, I could look down onto the stage and it was a salutary lesson to see Buddy with just a single guitar, and no visible

effects pedals, giving it his all. He performed several numbers from his album and, after forty-five minutes, left the stage having made many new fans. When you have got such a superb act opening the bill for you, you need to be good and, true to form, Gary didn’t disappoint. Opening up with an unfamiliar white Telecaster, playing the title track from his new album “Bad For You Baby”, he was louder, faster and flashier than Buddy, and the excitement didn’t stop.

Breathtaking guitar speed on ‘Down The Line’ - faster than I have seen him play before - and not a single note out of place. This was a man on a mission!

Swapping backwards and forwards from the Tele to one of three different Les Pauls for most of the set, Gary treated us to a set of songs from the latest album, as well as earlier hits. After an hour, he left the stage with thundering shouts of “More Moore!” He came back for an encore of ‘The Blues Is Alright’, with almost complete audience participation. The band then left the stage again, before being called back for their second encore. Gary played some teasing intros, and I was confident that he was about to treat us to ‘Still Got The Blues’, when he stopped dead, turned to the others in the band and then, to a great roar from the crowd, went straight into ‘Parisienne Walkways’ - this must be one of his most popular songs, and the crowd went wild for the complete five minutes. It was a devastating guitar tour de force from a master. Gary Moore, we salute you!

Dave Stone

HANS THEESSINK

@Edinburgh

Folk Club. 21/05/09

We don't get many internationally renowned Blues performers in this part of the country, so nothing, not wild horses nor going into a folk club, could keep me away. And as soon as Mr Theessink launched into Big Bill Broonzys 'Key To The Highway', I knew it was going to be an excellent evening’s entertainment. As well as playing his own material, Hans took the audience on a journey through the highways and byways of Blues history, dropping in on Blind Lemon Jefferson, Mississippi John Hurt and Blind Willie McTell, amongst others. He's a remarkably relaxed performer and was happy to chat away inbetween songs, telling tales from his own history, as well as that of the songs and performers whose work has influenced him. He played a few songs from his most recent album, "Visions", his duo album with Terry Evans, and went as far back as his 1982 release "Cushioned For A Soft Ride Inside" for a version of 'Midnight Special' that kept the folk crowd very happy indeed. It was good to see that he adapted to the folk club environs and managed to get a normally staid Edinburgh crowd rocking the revival trail on a version of 'Ain't No Grave Can Hold Me Down', a song he learnt while touring with the legendary gospel outfit, the Dixie Hummingbirds. My personal highlights from an excellent show were his versions of 'See That My Grave Is Kept Clean' by Blind Lemon Jefferson and 'Statesboro Blues' by Blind Willie McTell, although his lengthy version of 'St James Infirmary', interpolated with extracts of 'Greensleeves', was also an absolute treat. Playing for the best part of two hours across two sets, he displayed a mastery of the guitar, especially when playing 12 string slide that was a delight to behold. It's a rare gift for one man, a guitar and a harmonica to keep an audience rapt, but Hans grabbed them with both hands and never let go.

Stuart A Hamilton

photo: David Curtis

THE DEREK TRUCKS BAND

@O2 Shepherds Bush Empire, London. 22/04/09

Opening with Dylan’s ‘Down In The Flood’, Trucks laid down dirty southern Blues that was full of fire, and a statement for what was to follow. The band, looking relaxed and full of confidence, ran through much of their latest album. ‘Already Free’ was an extended version, with Trucks’ guitar leading the melody, whilst the band settled in nicely underneath. Mike Mattison sounded as smooth as he ever has done on ‘Down Don’t Bother Me’. ‘Days Is Almost Gone’ was a little rushed, and seemed to end in a cacophony of instrumental sloppiness. As enjoyable as the new material is, too much of it was played one after the other, and one hoped for some older, more jazz orientated material to creep into the set. My wish was granted when the band played a scintillating ‘My Favourite Things’ that lasted almost twenty minutes. Taking their cue from the John Coltrane studio version, the band then improvised on top of the wonderful melody; Trucks duelling with Kofi Burbridge’s flute, and repeatedly coming back to the main riff, in between solos of real beauty, before ending the tune with a slowed down jazz guitar master class. It was a sublime rendition that was worth the admission fee alone, and had the congregated enraptured from start to finish. The band played for exactly two hours, and the latter half was spellbinding. They reared their ugly Blues head on a gritty ‘Leavin’ Trunk’, and a soulful, yet aggressive ‘Get Out My Life Woman’. For the encore, Butch Trucks of Allman

Brothers fame took over the drum stool, and they ended the evening with a fabulous ‘Anyday’ that originally appeared on the “Layla” album by Derek And The Dominos. With a little ‘Blue Sky’ tease to begin, Derek played some wonderfully fluid slide guitar that showed passion and depth to the song. It might even have been the best solo of the entire evening, with him wailing away, eyes shut, lost in the music, as though he was on his own and playing for himself - the people in attendance, though, were glad of the invite.

Andrew Baldwin

SONNY LANDRETH

@The Borderline, London. 17/05/09

Sunday night in The Borderline brought a sizeable and sweaty collection of music lovers together in this West End underground club for an all-too-rare UK show by Louisana's King of the otherworldly slide guitar. A short and very well received set by south London singer-songwriter Bill Clift and his acoustic trio warmed up the crowd nicely before it was time for the main event. The band - longtime bassist Dave Ranson and newish drummer Brian Brignac – were on top form, an object lesson in great power trio rhythm section playing. Sonny himself appeared very much at ease, and clearly buoyed up by a pre-gig assignation with Mark Knopfler. "Mark’s real sorry he couldn’t come and join us tonight,” he quipped between tunes. “But he asked me to say hi!” The set opened with the haunting, angular instrumental ‘Port Of Calling’ - one of seven or eight instrumentals we heard. We got plenty of old favourites - ‘South Of I10’, ‘Native Stepson’, ‘All About You’ and ‘Bayou Teche’ - not to mention a stunning, standout rendition of Sonny’s haunting minor-key Blues, ‘A World Away’. Also in there were several tracks from the most recent album, “From The Reach”, and a new instrumental, ‘Groovy Goddess’. Introducing the latter, Sonny joked dryly: “I’ve always wanted to write a song called ‘Groovy Goddess’ and play it in London, England. Man, this is a dream come true!" In two respects, Sonny's song choice was surprising. One of reason he was over here was to promote the remastered and augmented version of his 2000 album “Levee Town”, yet he played just two songs from that album – ‘The U.S.S. Zydecoldsmobile’ and the boogie instrumental ‘Pedal To The Metal’ (one of the album’s bonus tracks). The other oddity was the fact arguably his best-known tune, the much-covered ‘Congo Square’,wasn’t in the set. The set-closer, ‘Gone Pecan’ wound up the wick - so much so, Sonny’s amp, unusually for a man known for his esoteric taste in amps, a modern, rented ‘65 Fender Twin reissue - died in the last verse. He was left to end the set with voice, bass and drums - while, we were left wondering if we would get an encore... Eventually, Sonny and the boys reemerged and the man announced he was going to plug his effects pedals straight into the PA. Astonishingly, the resultant guitar sound wasn't appreciably worse than that which had thrilled us during the rest of the set. Amazing what you can achieve with nothing more than three effects pedals, a Strat and a set of 13-56 strings…oh, yes, and a ton of talent!

Tim Aves

photos: John Ewing

ASH GRUNWALD

@Bar Academy, Islington. 01/04/09

The dreadlocks, encased in a huge baggy hat, were about the only thing I could see of Ash Grunwald as the audience crowded forward and completely engulfed the narrow area in front of the stage at the Bar Academy. What I could hear, though, was his guitar and his strident Ocker vocals, and they were absolutely fine. Very much in the space called ‘dirty Blues’, popularised recently by Seasick Steve, he was playing slide like a good un, and kicking the hell out of his Cajon (stompbox). Most of the material was from his latest album “Fish Out Of Water”, with ‘Mojo’ coming over particularly well as a live number. ‘Can U Find A Way’, with the wonderful line, “All I want is evil on the bassline,” went over really well, whilst ‘Breakout’ seemed to find a link with the assembled crowd. Grunwald’s persona is that of a crustydreadlocked and grungy – and when his hat came off, and his locks began to thrash about, the audience began to get right into things, and whipped him on to ever more gnarly expressions. The loudest cheers went up for what has become almost an albatross for him - ‘Dolphin Song’ - but it was played with humour, and he at least sounded as though he was still grateful to the dolphins that saved his life. Grunwald is far from being a simple Bluesman, as he writes songs with wit and charm, but on the evidence of his live performance, he has the talent to mix it with the best.

Andy Snipper

LIGHTNIN’ WILLIE & THE POORBOYS

@Culter Mills Social Club.

27/03/09

There is nothing better than live music to get you through the working week, and at £10 a ticket, Lightnin‘ Willie & The Poorboys were extremely good value on the secong gig of their No White, No Black, Just Blues Spring tour. Support came in the form of Edinburgh Bluesman Richard “Snakehips” O’Donnell, who gave a polished performance on various guitars that he used to perform John Lee Hooker’s ‘Crawling King Snake’ and Elmore James’ ‘Dust My Broom’, among others, as well as a stunning couple of boogie woogie instrumentals on his keyboard. Having seen Lightnin’ Willie & The Poorboys previously, as a five-piece, this performance proved they are better when they playas a quartet. Willie started off with the up tempo ‘Stuff You Gotta Watch’. ‘Blow By Blow’ followed, and with the rhythm section of Aaron (bass) and Bruce (drums) on top form, with Willie on guitar and Giles King putting his all into harmonica, the very catchy ‘Look What Love Can Do’ was among the highlights of the first set. In front of a respectful audience, the second half started on an emotional note, with Willie dedicating a solo rendition of ‘Tears Falling Down’ to a member of the crowd who had lost their partner. The rest of the band then rejoined Willie on stage for the second number, and it was back to business with ‘Eyes In The Back Of My Head’ and ‘Couldn’t Do Nothing’ being performed on all cylinders. Willie then set of on a walkabout of the crowd, drawing smiles and applause from all present. The set finished with ‘Devil On The Run’ and ‘I’m Crying’. With the crowd shouting loudly for an encore, Willie and the band duly obliged, with the song ‘Prodigal Son’ proving - once again! - Willie’s prowess as a showman.

Mario Di Maio

JOE BONAMASSA

@St David’s Hall, Cardiff. 29/04/09

There is a yardstick at St David’s Hall against which all non classical acts are measured. If demand dictates, the large backdrop is removed to transform the auditorium into an almost circular one - it happened once for Joan Baez, now again for R&B’s man of the moment, Joe Bonamassa. Thereby hangs a tale and not a curtain; this drape may have helped dampen the early sound but, mercifully, the less than perfect mix was not the residual memory of the night - Ronnie O’Sullivan still makes century breaks on lumpy tables. Joe Bonamassa polarises opinions - from the newly acquired suit and haircut to his eclectic mix of styles and sounds (Gary Moore recently joined the debate in controversial fashion). For Blues purists who question the width of the material on his new album, “The Ballad Of John Henry”, this performance confirmed him as a Bluesman at heart, and an entertainer par excellence. Showman? Yes, and not big on the chit chat, although he clearly

holds a fondness for his mainly forty-something audience that some artists lack, and a sell-out of just under 2000 adoring followers is indicative of local appeal. Unashamed of his influences, he doffed his hat to many of them, from John Mayall’s ‘So Many Roads’, to echoes of Jimmy Page in ‘Story Of A Quarryman’, and a Clapton homage in ‘Lonesome Road Blues’. It was his acoustic solo interlude, though, that really showcased his growing genius, and, throughout, he combined well with drummer Bogie Bowles, the pick of his sidesmen. Finishing strongly with the memorable ‘Asking Around For You’, here was a sound smooth enough for the piano lounge, emphasising his excellent vocals. A venue insider commented that, “We get them on the way up to the top, and then on the way back down.” He will surely return, perhaps next time to the much larger Cardiff International Arena. Thereafter, the next step is to join rock’n’roll royalty at the Millennium Stadium. On this form, you wouldn’t bet against it!

Richard Thomas

SCOTT McKEON

@The Plug, Sheffield. 24/04/09

Derek Trucks' choice of support for the gig at The Plug was Scott McKeon. Minus his usual band line-up, Scott played a shorter acoustic set with slide guitarist Robbie McIntosh. This was a different Scott on the stage, looking more the mature Bluesman than his age portrays. The set kicked off with an acoustic Delta Blues number, Scott displaying good fluid finger work on an electroacoustic Gibson, and there was a very creative jam feel in the cross play to McIntosh’s slide. Vocally, Scott’s vocal was more polished than more traditional gritty Bluesman, yet the register and intonation was impressive and the feeling true Blues. The pair’s rendition of ‘Scarecrow’, written by Robbie McIntosh, proved a favourite with punters, as Scott’s impressive and enthusiastic lyrical performance allied to equally effective interaction between the two guitarists. The duo’s cover of Son House’s ‘Dead Man Blues’ belied the notion that the younger generation can't tackle traditional Blues with class and devotion. Laying back into his playing, taken at more relaxed pace than many young guitarists who throw in as many notes as possible in a song, Scott’s playing was fluid and mature, again crossing, in call and response, with Robbie’s equally striking performance. The set was short, but it was sweet, and the crowd were enthusiastic in their applause for both Scott and Robbie. During the set, Scott joked that this was the first time he had been on the same stage as “God,” as everyone was calling Derek Trucks, and it was obvious Scott was revelling in the opportunity to share the stage with Trucks. Scott, towards the end of The Derek Trucks Band’s set, was brought back on stage to jam with the band - and one has to say, among those six talented musicians, Scott held up his end of the playing, with class, whilst also having a look of pure awe on his face!

Carol Borrington

JESSICA LEA MAYFIELD

@The Bodega Social Club, Nottingham. 26/03/09

Jessica’s performance at The Bodega instantly revealed what a talented person she is. Her warm alto vocal, with its great intonation and power, also seemed strangely oversized to her petit body frame. Jessica had surrounded herself with a talented and powerful band for the evening, including her brother David on bass. Jessica’s music was bittersweet, with songs that blended Blues, folk, country, rock and pop, telling tales of sorrow, anger, love and loss from the eyes of a teenage heart - yet all delivered with a wisdom beyond her tender years, and a lot of heartfelt beauty. Much of the set was taken from her latest self-penned CD “With Blasphemy So Heartfelt”. ‘Bible Days’, which questions the very nature of monotheism, reveals a mind analyzing and questioning the whole nature of faith in a world of contradictions. This was a slow Bluesy ballad, a dark sultry vocal with a hint of cynicism. Powerful in rendition, without being loud, and pushing home the lyrics. The underlying instrumentation on this, by the rest of the band, was superb, subtle enough not to drown the vocal,

photos: Marco van Rooijen

but powerful enough to underpin and further push the lyrics home. Her version of Buddy Holly’s ‘Words Of Love’, with her deep vocal, soft and chocolate velvet, great harmonies on the chorus and expressive echoing guitar riffs, made this an individual and highly notable cover of a classic. ‘I Can’t Lie To You, Love’ a Bluesy rock ballad with wailing guitar, thumping bass riff and some excellent power drumming weaving musical patterns around a vocal this time less moody and more driven, with the passion of love and the heartbreaking questioning of a young lady, but with sentiment of one twice her age. ‘For Today’ was country folk - a cynical song of young love, with all the pitfalls of hormones and toil. This was an expressive performance from all concerned on that Bodega stage, and we’ll be seeing more of Jessica in the future I’m sure.

Carol Borrington

THE OLI BROWN BAND

@The Flowerpot, Derby. 12/03/09

Like policemen and doctors, Bluesman seem to be looking younger nowadays, but with Oli and his band, youthful looks belie exceptional talent - and youthful enthusiasm pushing musical barriers and breaking new ground. Joined by Simon Dring on drums and Fred Hollis on bass, these three highly talented young men kicked off the gig with instrumental prowess worthy of musicians three times their age. The up-tempo ‘Play With The Devil’ showed just why Oli’s CDs sell, and why he has a growing legion of fans. His guitar dexterity, chord progression, sustain and sheer feel for the music were outstanding. There were excellent vocal harmonies, with Fred underscoring it with impeccable bass riffs, and held tightly together, like a precise time-piece, by Simon’s drumming. Moving into Freddie King’s ‘Big Legged Woman’, Oli and the band proved they were grounded in the past, but were here to transmit and innovate on it for the future. Oli’s solo in the middle left no doubt what a class guitarist he is already, and still less than 20! Not to be outclassed by their frontman, Fred provided some exceptional bass riffs throughout, and Simon’s drumming melded the whole thing into a classy number of merit. ‘Complicated’, taken again from the new CD, had Oli, with his wonderful youthfulness, explaining he wrote the song about an ex-girlfriend’s naivety. This funky Blues number saw an almost yin and yang relationship going on between Oli’s lead and Fred’s bass, with pain-ridden notes cross echoing from both guitarists. The crowd went mad with applause at end of this song, not a bad response from a crowd with an average age of 45-plus, in response to bunch of teenagers. The Oli Brown Band destroys the myth that the modern generation can’t play good music, and especially the Blues!

Carol Borrington

photo: Christine Lerman

MAKING PROGRESS

Courtesy DixieFrog, we have 5 sets of two new albums to giveaway. “Vicious Country” sees Popa Chubby team up with Galea on a set of original songs and covers, taking in country, Gene Vincent and the legendary Sun label. Nublues follow-up their exciting “Dreams Of A Blues Man” debut with “Snow On The Tracks”, an album which once again sees the fourpiece fusing traditional Blues with hip hop. To hear two disparate modern takes on the Blues, tell us: Which popular Bluesman’s label were Nublues previously signed to in America?

ADDED SPICE

Courtesy the VCC label, we have 4 copies of Luther Kent’s “The Bobby Bland Songbook” to giveaway. The lifelong New Orleans resident covers a dozen songs associated with Blues vocalist Bland, with support from the legendary Dr. John, amongst others. For your chance to get your hands on this tribute, tell us: Which British pop star also released a Bland covers album in 2008?

TAKEN HOLD

Courtesy weeksweeksweeks, we have 5 promo copies of Kris Morris’ “I Think We Both Know” to giveaway. This otherwise digital-only release promises to “grab you by the ears and by the heart.” To find out if Kris’ music really does stack up against such luminaries, tell us:

Which legendary singer-songwriter recently released “Together Through Life”?

TO ENTER...

For your chance to win any of these great prizes, send your answer(s) to: comps@bluesmatters.com* Closing date: 24th July 2009

*Alternatively, post to the usual PO Box address.

essie Smith was the first major Blues and jazz singer on record, and widely acknowledged to be one of the most powerful voices of all time. In her time, during the peak of Blues, she quite simply had no competition, richly deserving her title, the “Empress of the Blues”. Her legacy of over 160 recordings still communicates with listeners almost one hundred years after her death at a tragically young age....

Born into poverty, by the time Bessie was 9, her mother and two brothers had died. The oldest Smith daughter, then Viola, took command of the household, raising five children: Bessie, Tinnie, Lulu, Andrew and Clarence Smith, as well as her own daughter.

At an early age, Bessie realised that she had an unusual voice and sang for money on street corners, accompanied on guitar by Andrew, her younger brother. With this started her musical career as a street musician in Chattanooga, both singing and dancing for her supper, before she joined a travelling minstrel show in 1912. The minstrel show was based on African-American music and humour. The circuit, however, was a difficult life. Late hours, low pay, gambling, fighting, and abusing alcohol and drugs were all common place. Bessie was happy to join in on all of this! The show featured Ma and Pa Rainey, and Bessie quickly developed a friendship with Ma Rainey, who took her under her wing and became a mentor to the volatile young entertainer. During this period, Bessie's voice developed remarkably, filling the largest hall without amplification and reaching out to each listener in beautiful, earthy tones.

Bessie stayed with the show for three years, leaving in 1915 to join the TOBA (Theatre Owners'

Booking Association) vaudeville circuit, where she gradually built up her own following in the south and on the eastern seaboard. By 1920, Bessie Smith was one of the most important and popular Blues singers in vaudeville with her own show in Atlantic City.

In 1923, she moved to New York where she made her first recording on Colombia. Backed on piano by Clarence Williams, her rendition of Alberta Hunter’s ‘Downhearted Blues’ backed by ‘Gulf Coast Blues’ sold an astounding 780,000 records within six months - putting her on a level with the famed Mamie Smith (no relation). Mamie Smith recorded the first vocal Blues record in 1920 and sold 100,000 copies in the first month. Record executives realised then that they had a new market and the ‘Race Record’ was born. These records were shipped only to the south and selected areas of the north where AfricanAmerican people congregated. Interestingly, Bessie’s music appealed to both white and African-American audiences, and she was one of the biggest stars of the era. It was striking that, even on her first recordings, Bessie’s strong and passionate voice overcame the primitive recording technology to thrill her audience. Her success was continued throughout the ‘20s and she recorded with many top rank players in the jazz and Blues world, including Louis Armstrong, Fletched Henderson, James P Johnson and Coleman Hawkins. Many critics consider that Bessie’s recording of ‘St Louis Blues’, with Armstrong, to be one of the finest recordings of the age.

Between 1925-27, Bessie ran a summer tent show, “Harlem Frolics”, and in 1928 ran the show “Mississippi Days”, which kept her firmly in the limelight. To do this, she ostentatiously purchased a custom-designed railroad car for herself and her troupe, which allowed her to bypass some of the challenges and barriers to travel and gigging presented by racism found in both northern and southern states. She travelled with her own tent show or with the TOBA shows, commanding a weekly salary that peaked at a massive $2000.

As the popularity of her recordings grew, so did Bessie’s touring schedule. As she travelled throughout the States, adoring crowds greeted her everywhere. However, in spite of Bessie's commercial success, her personal life followed the archetypical Blues singer! Drugs, alcohol and failed relationships - her marriage to Jack Gee was stormy and ended in a bitter separation in 1929. In particular, though, she struggled against alcoholism.

Bessie's popularity as a recording artist peaked around 1929 at the young age of 35, when the Blues went out of fashion. The combination of the newly popular radio, talking pictures, and the Great Depression joined to undermine the entire recording industry. Accordingly, the fees Bessie was able to command fell sharply and she was forced to sell her beloved railroad car. Being forced to play smaller towns, housing theatres of smaller size and quality, her fee earning potential further dropped. In that year, she appeared in a two-reel movie, “St. Louis Blues”, a semiautobiographical effort that received some exposure and represents the only recorded footage of her. The Blues standard ‘Nobody Knows You When You’re Down And Out’, which she recorded at for the movie, was successful, but a harbinger of the hard times to come.

Bessie was dropped by Colombia in 1931 and made her final recordings in a four song session in 1933 for Okeh. A sign that she had lost her commercial power is that the recordings were released under the name of “Bessie Smith accompanied by Buck and his Band”, and not exclusively in her own name.

Despite not having a recording contract, Bessie kept on working and the chances of her making a comeback were good, as she was still able to

draw large crowds to her shows in the south. She was enjoying some success whilst reinventing herself as a swing musician, and was on the verge of a second breakthrough when her life was tragically cut short in a car accident in 1937. Driving from a Memphis performance to Darling, Mississippi, with lover Richard Morgan on the morning of 26th September 26 1937, for the next day's show, they ran into the back of truck and the car rolled over, crushing her left arm and ribs. She bled to death by the time she reached the hospital aged 43. At the time, John Hammond caused a stir by writing a magazine article suggesting that she had bled to death because she had been taken to a white only hospital and had been turned away. This was not true.

A good accessible starting point for the music of Bessie Smith is “The Essential Bessie Smith”, a 1997 Columbia recording. This two CD thirtysix song set boils down Bessie’s career to the essentials, covering the whole span of her career between 1923 to her final 1933 session. Her range is represented by the moan of ‘St Louis Blues’ and ‘Nobody Knows You When You’re Down And Out’ to the salaciousness of ‘I Need A Little Sugar In My Bowl’ and the jazz standard ‘After You’re Gone’. For the more serious collector, there is a five volume, nine CD “Complete Recordings” on Colombia, which was released between 1991 and 1996. KW