Blues Matters 95

ERIC BIBB Migration Blues

With Migration Blues Eric Bibb draws a parallel between the former African American sharecroppers leaving the segregation and miser y of the South for the industrial cities of the North and the current migrator y movement to Europe of the refugees from the Middle East.

This album features a trio comprised of Eric and two stellar guests: JJ Milteau (harmonica) and Michael Jerome Browne (guitar, fiddle, banjo …) and, occasionally, a few more classy performers. Migration Blues will certainly be considered one of Eric Bibb’s major albums.

WATE R M E L O N

S L I M G O L D E N B OY

When one sees America in mental and social disarray, rebel poets always rise out of the woodworks The we athered and shattered face of this outlaw is telling the stor y of his life: Vietnam veteran, blue collar worker, 18-wheel trucker, socialist activist Now based in the Mississippi Delta, he paid his dues singing his mixture of Blues and Americana in juke-joints and honky-tonks across the countr y.

His lyrics combine a staggering sense of poetr y and deep social consciousness and his moving voice conveys the soul of the real America.

WELCOME

HERE WE ARE, hope we are on time with your copy of Blues Matters! No.95. It can seem like a long wait sometimes…

Once again The Great British Rock & Blues Festival has come and gone and the Blues Matters JAKS stage presented a terrific cast of varied artists to please. This issue carries the reports on that, plus the Introducing stage and Reds/ Centre stages. We welcome back to our pages the delightful and talented Erja Lytinnen with her exciting new album. British stalwart Robin Bibi is here, Sean Taylor is questioned by ‘The Bishop’ and confesses. Newcomers to our pages include; Eric Gales, Tim Williams, the youngsters Ash Wilson and Quinn Sullivan and more with J.D. & The Straight Shot. The world of Features this month, takes you to Scandinavia, Chicago and as far afield as Australia.

What a time we are having. With social media awareness growing at pace, our new Website Designer/Manager, Ian Potter, is hard at work developing our new-look website that will launch during March. Our new site will be both easier to navigate and more pleasing to the eye.

We are both happy and sad for Kris Barras. Happy, because his band are taking off really well, but sad that it also means that, with gigging, he has found it harder to focus time on his well-researched column for you. We hope that Kris may occasionally find the time to slip in a feature or two for us all in the future. Our good friend Liam Ward (Rumblestrutters), has had the same ‘problem’ with his band's success, and so his equally respected Harmonica feature will now be in alternate issues. We also thank Jeff Jeff rey for his work in our proofing team and wish him improved health after his stroke/heart problems. In turn we welcome to the fold, Janet Morris.

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CONTRIBUTING WRITERS

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

CONTRIBUTING PHOTOGRAPHERS

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

COVER PHOTOS

Eric Gales by Nicole Weingart. Erja Lyytinen by Tina Korhonen. Ash Wilson by Phil Wilson.

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CONTENTS

SHE TALKS ABOUT HER FIRST STUDIO ALBUM SINCE 2014 WITH ALLNEW ORIGINAL MATERIAL – PLUS WORKING WITH A PRODUCER WHO HAS PRODUCED THE ROLLING STONES.

REGULARS

24. BLUE BLOOD

AFTER A FEW YEARS WITH SEAN WEBSTER'S BAND, ASH WILSON HAS STRUCK OUT ON HIS OWN. HE IS CERTAINLY MAKING A NAME FOR HIMSELF WITH THE MUSICIANS HE HAS PULLED IN TO PLAY ON HIS ALBUM.

ANOTHER AMAZING GUITARIST WHO HAS BEEN PLAYING SINCE THE TENDER AGE OF 6. SON OF A FAMOUS FATHER, HE HAS 25 YEARS OF BLUES EXPERIENCES AND STORIES TO TELL.

INTERVIEWS

44. SEAN TAYLOR (UK)

Every issue we bring you something new to look out for. Andrew Alli, HPKNS, Tarq Bowen, Bad Day Blues Band, The Danny Giles Band, Yoka and the Sugarbeats.

78. RED LICK TOP 20

84. RMR BLUES TOP 50

90. IBBA BLUES TOP 50

FEATURES

11. IN THIS ISSUE

Chicago Blues Pt4, Guitar Technique Pt8, Beau Guitars Pt1, Brothers and Sons, and Scandinavian Blues Pt1.

Read about this storyteller who has nine albums under his belt, and why he appeals to fans of so many musical genres.

50. ROBIN BIBI (UK)

If you haven’t experienced Robin Bibi’s music live, I can only believe you are a youngster who hasn’t discovered the blues yet! Find out where to catch him.

54. DAVID BROMBURG (USA)

We talk with David about his 50 years on the American scene, and hear about some of the folks he has met with on his journey.

58. TIM WILLIAMS (USA)

This picker and slider is little known outside of America. So, let’s put that right and give him a platform to talk to new future fans.

ERJA LYYTINEN (FIN)

ASH WILSON (UK)

RONNIE BAKER BROOKS (USA)

ERIC GALES (USA)

THE GUITARIST’S GUITARIST WITH LOTS OF HARD TIMES IN HIS BACKGROUND. HE IS READY TO STEP IT UP TO THE NEXT LEVEL AND WE ARE HAPPY TO HAVE HIM FOR THE FIRST TIME IN OUR PAGES.

62. QUINN SULLIVAN (USA)

He's been on stage since he was 6 years old. Find out why, at the still youthful age of 17, Buddy Guy likes him so much he has been mentoring him. He has also been on stage with B.B. King. Not a bad cv already!

66. MICK MCCONNELL (IRE)

Mick plays lead guitar with the international pop-rock band Smokie, and he tells us about his forthcoming solo album, exploring roots music and showcasing his own songs.

70. JD AND THE STRAIGHT SHOT (USA)

It’s Jim Dolan, not Jack Daniels, and he talks candidly to us about his music and those who question his motives!

REVIEWS

79. ALBUMS

We try our best to review the many diverse forms of the blues. This issue has more than 90 new releases to browse through.

117. SHOWTIME FESTIVALS – Legendary Rhythm Festival, Butlins Great British Rock & Blues Festival. GIGS – Aynsley Lister, Ben Waters, Big Man Clayton, Catfish, King King, King Pleasure and the Biscuit Boys, and Toronzo Cannon.

CHICAGO BLUES PART 4

UNSUNG HEROES

Verbals and Visuals: Paul Natkin

When people think of the Chicago Blues scene, they tend to think of Buddy Guy and Alligator Records. But there are many bluesmen, young and old, who play in town every week, making a living playing the blues. Here are four of them:

a guitar, bass, or drumsticks (or fi ngers for the keyboard).

E.G. MCDANIEL

seems to have released an album almost every year since then. He is a very good singer and left-handed guitar player, who can always be counted on to put on a great show.

JIMMY BURNS

Jimmy was born in 1943 in the Mississippi Delta, and moved with his family to Chicago when he was twelve. From the age of sixteen onward, he performed occasionally in the Midwest doing DooWop and blues with various groups.

In the early 1990s, he signed with Delmark Records and has released five albums on that label. He plays around town regularly with his band, which includes Anthony Palmer on guitar, James Carter on drums, and E.G. McDaniel on bass. One of their coolest gigs is hosting a jam session every other Monday night at Buddy Guy’s Legends. Jimmy plays a set and then opens the stage for anyone who brings

E.G. is a Chicago-born bass player, who seems to appear somewhere on stage in Chicago almost every night! He is the son of legendary guitar player Floyd McDaniel, who played guitar with the likes of Cab Calloway and Billie Holiday. E.G. started out playing in Chicago rock bands when he was a teenager, but soon gravitated to the blues, and now holds down the bass with many Chicago bands, including the Jimmy Burns Band. He is also an in-demand recording bass player, being the first person many people call when they need a great bass line for their records.

CARLOS JOHNSON

Carlos is one of the hardest working players on the Chicago scene. He is a disciple of Otis Rush (and played in his band for a while), who can be seen at various clubs around town in any given week. He has a large following in Japan, having toured there with Valerie Wellington and Otis Rush. He released his first album under his own name in 2000, then

JIMMIE JOHNSON

Jimmie, (no relation to Carlos), moved to Chicago from Mississippi in 1950, and soon established himself as a mainstay on the Chicago scene. He fi rst recorded an album in 1977, went on to record a string of great albums for Delmark and Alligator, and continues to record and play to this day. He can be heard regularly at Buddy Guy’s club and almost every other club in the city, either as a solo act or with his band. Either way he is great to listen to! His brother Syl (who wrote Is It Because I Am Black? and Take Me To The River) is a legendary R&B singer, who still lives in Chicago, tends his vegetable garden and plays the occasional show. I once had the honor of being one of the only people ever to photograph them together in a recording studio. They didn’t talk to each other much, but man could they play!

GUITAR TECHNIQUE PART 8

ROBERT CRAY

Robert Cray has effortlessly blended blues, soul and r‘n’b for the past four decades. The five-time Grammy award winning artist has released over 20 critically acclaimed albums in that time, as well as being inducted into the Blues Hall of Fame in 2011.

Born in 1953 in Columbus, Georgia, Cray began his musical life in his teens, playing Guitar in a highschool band, ‘The One-Way Street’. Heavily influenced by his heroes Albert Collins, Freddie King and Muddy Waters, he decided to form the ‘Robert Cray Band’ in the late 70’s. After a few years of local

success, he signed to Mercury Records in 1982. He released two albums in the mid 80’s ‘Bad Influence’ and ‘False Accusations’. Both albums achieved moderate success in the USA and Europe. It wasn’t until his fourth album, that things started to really take off with the Grammy award winning ‘Strong Persuader’. His success led him to become an opening act for major stars such as Eric Clapton as well selling out his own shows in larger venues. His connection with Clapton has led them to become very good friends, still to this day. The two collaborated to produce the

Verbals and Visuals: Kris Barass

Clapton hit Old Love, on which Cray played a solo.

Cray was also very fortunate to link up with John Lee Hooker, playing the guitar solo on Same Old Blues Again on Hooker’s ‘Boom Boom’ album. He also plays a solo on Baby Lee from ‘The Healer’ album. These collaborations and accolades led to Billboard chart success through soaring record sales. Amongst a very packed touring schedule in the 90’s, Robert released 6 albums including some of his most soulful work to date after linking up with producer Steve Jordan. Steve brought in the man who first discovered and recorded Al Green, Willie Mitchell, to arrange the famed ‘Memphis Horns’.

Equipment wise, Cray has always been known for his association with Fender. He has a signature series Fender Stratocaster. Live, Cray plays through two Fender Super Reverb amplifiers. In the studio, he uses a set-up of a Super Reverb and a Twin Reverb. On stage, he sets his volume on five, the treble and middle on 10 and the bass at about four. The bright switch remains on and the reverb is set at about three. He has also been known to use a Matchless Clubman 35w head. He isn’t a fan of pedals and prefers to go straight into the amp.

Photo by Beau Theige

Let’s take a look at some licks in the style of Robert Cray. In the first exercise, we have a sort of ‘call and response’ type of idea. Based in the key of Gm, this phrase uses the G Minor Pentatonic/ Blues scale. Watch out for the timing in the first bar as it starts on an off-beat. Try counting in ‘1 and 2 and 3 and 4 and 1 and 2 AND’. You start the phrase on the 2 AND. If you’re comfortable with starting on off-beat’s then just counting ‘1 and 2 and’ would be enough I’m sure.

IThe second phrase is based in the key of D minor, use the D Minor Pentatonic Scale. This is a pretty cool idea, based on something I saw him perform live. He takes a short phrase and repeats it, varying the end note slightly each time. To make it more quirky, he uses Rhythmic Displacement. This means that he is playing the short phrases, at different points in the bars, not sticking to a regular ‘on the beat’ pattern. This is a great way to add a bit of spice to your licks and with a little bit of practice, not too difficult to do.

The third and final exercise is a string bending idea. Here Robert starts with three full tone bends (2 frets high). He then continues to bend the string in the same, one per beat rhythm, but gradually lowers the bend each time. I’ve notated this as a ¾ bend, ½ bend then a ¼ bend but in reality it doesn’t have to be that accurate. Just play around with hitting the bend each beat, but not pushing the string up as high each time.

BEAU GUITARS PART 1

THE ART OF SOUND

Verbals and Visuals: Beau and Larissa Theige

On a bench against one wall in a two car garage, Beau Theige uses a Dremel tool to cut a hole in a pie plate for an oak guitar neck that he has just finished shaping on a beat-up Craftsman belt sander. He is surrounded by junk of all kinds: totes full of license plates, old pots and pans, cookie tins, and cigar boxes. There is also all manner of scrap woods: old barn wood, plywood, and old cedar decking boards. He uses these materials to create his handmade custom guitars, built one at a time in his humble workshop. His tools are limited to say the least. A small table saw with a wood clamp holds the broken fence in place, and a miter saw has seen better days. Chisels of various sizes, a cheap belt sander, a jig saw, battery drill, and several wood clamps are scattered haphazardly across his small cluttered work space.

manner of scrap woods: old these a cheap belt sander, a jig saw, battery work space.

It’s winter in North Dakota, and a small Mr.

Heater is running on high next to the workbench. The man himself is dressed in camo insulated bib overalls, a John Deere sweatshirt, a red bandana, and a green ball cap with the words “North Dakota Grown” written on it. He keeps his head down as he works, listening to jazz music coming from a small radio tuned into the public radio station. A dry erase board hangs above his tool box with various guitar orders written on it from places all over: California, New York, Nashville, and Perth, Australia.

So how did he get started making guitars? “A little over two years ago, I saw someone playing an old cigar box 3-string on YouTube,” Theige said. “I thought that it looked cool, so I decided to make one myself. Everything just kind of took off from there. I didn’t play guitar at the time, but I really liked the concept, and the sound that old boy was getting of that cigar box. I also liked the design and style of some of the different homemade guitars that I was finding while looking into this type of music more.” Theige worked closely with some local musicians as he

On a small farm in Williston, North Dakota, artist Beau Theige builds guitars out of just about anything.

began building his creations, trying to understand what it was they were looking for in a great-sounding “playable” instrument. “It was definitely a learning curve for me trying to figure out how to make the necks more comfortable and the action as playable as possible. The more guitars I built, the more I wanted to create my own unique look and sound.” Theige takes a minimalist approach to his junk-inspired designs, choosing to only put objects on the guitars that serve a purpose: spoon tailpieces, or whammy bars, wine cork volume knobs, nuts and bridges that are carved from old bones his dog drags home on the farm, or yardstick fretboards. “You won’t find one of my guitars with a bunch of gears glued on it trying to do a steampunk theme. There are guys out there that do that, but it’s not my thing. I’m trying to build guitars out of non-traditional items, in unorthodox ways, that look awesome and sound even better” Theige said. His guitars have caught the attention of several art galleries around his home state. “I’ve been in a couple of galleries in my hometown, and I’ve been selected by eight galleries so far around the state to be a featured artist over the next couple of years in a traveling exhibit.” Some unexpected changes in his life pushed him to make more guitars. “I lost my oilfield job that I’d held for eight years, due to the company selling out and not transferring my management position to the new company. It was a big shock to me and my family,

but we decided to see how far I could take this hobby. My wife and I did vendor shows last summer selling guitars out of booths in Montana and North Dakota. Soon after, Christmas orders started coming in. I will be looking for work again in the new year, but not many people could just take off seven months to push their new business. Between my guitars and a very understanding and supportive wife, I am truly blessed” Theige said. “I have made over 200 guitars in the last two years and have sold 180 of those. I have social media to thank for most of my sales.” His Instagram page @ beauguitar, Facebook page Beau Theige Custom Guitars, and website www.beauguitar. com were started shortly after he lost his job. On the

sites, you will find pictures and videos of his guitars as he builds them. “I have been using it as a daily blog to keep track of my builds, and where I am in life with this new business.” His guitars have also gotten the attention of some up-and-coming blues players like Charley Hicks of London, who plays a sixstring electric cake pan. Christina Vane from California plays a plywood box resonator after she sent her resonator up for repairs and customization. And new country artist Dakota Bradley from Nashville has a four-string license plate guitar. All can be seen playing their Beau Theige creations on his social media pages. “As long as people keep ordering them, I’m going to keep building them.”

BROTHERS AND SONS

A 21 ST CENTURY TRANSATLANTIC BLUES PROJECT

Verbals and Visuals: Mark Cole

Back in late 2011, I interviewed Ottawa blues band the Myers Brothers for Blues Matters! issue 64. Our musical relationship has blossomed since then and it’s time for a Blues Matters! update.

Since meeting Mike and Stevie Myers at the Juke Joint Festival in Clarksdale, Mississippi in 2005, we’ve kept in touch and forged a close friendship, as you do when you share a deep

passion. At the time of the interview, I’d performed with them in Ottawa, Canada, and they were just about to embark on a UK tour. Since then I have returned to Ottawa two times (three by the time of this going to press) to catch up with my Canadian blues family and our mutual friends. Needless to say, we played a bunch of gigs and I also worked with the Myers Brothers Band on their album Drive,

helping with the production and playing harp, some keyboards and some backing vocals. I’m honoured to say that the album was accepted into the music collection of the National Library of Canada – Canada’s equivalent of the Library of Congress recordings – and therefore part of Canada's documented musical history.

In 2014, my band, Sons of the Delta, went in to the studio to record our third

Stevie Myers, Eugene ‘BJ’ Stokes IV, Mark Cole, Mike ‘Mossman’ Myers

studio album Tasty Nuggets. I really wanted to have Mike and/or Stevie guest on a track as a kind of ‘thank you’ for having me work on their album, plus they’re darn good players and I knew they would really add something special to the album. The guys weren’t due to visit the UK at the time, so we decided to use a little modern technology to make it happen. I set up a Dropbox account and uploaded a rough mix of a few of the tracks. Mike took them into the studio and recorded some great guitar tracks, then uploaded just the guitar tracks back to Dropbox, where I could grab them and add them into the mix at our end. It worked a treat! Although both myself

and the Myers would much rather record live, together in the studio, for musicians who live thousands of miles apart it’s a pretty good compromise, especially when you’re mostly adding some stardust to something that was recorded live in the studio. Having appeared on each other’s albums, and having established that modern technology was now up to enabling musicians to work together over great distances, it was inevitable that we would start hatching a plan - a project to write and record new music together under a new collaborative name. As my principal band is Sons of the Delta and they are the Myers Brothers Band, we came up with the encompassing name of Brothers and Sons. We decided we still wanted to record live together somewhere – be it a studio or somewhere else suitable – but also add other parts if we wanted to. Also, we decided to make it an ongoing project, releasing songs as and when we had material that we were happy to share with the world. This is where technology comes into play once again. Most CDs sell at gigs these days and as we will be gigging very rarely there’s no point in producing CDs unless there’s a demand further down the road. So instead, we’ve opted for digital sales only. That way it doesn’t matter how many songs we release or how often, as long as it’s often enough to satisfy our audience.

So, in April 2016 Mike and Stevie drove the thirteenhundred miles from Ottawa

to Clarksdale MS, and I flew into Memphis then hired a car for the last seventy-six miles, meeting up at the Comfort Inn for ten days of fun and music. We only had the one gig this trip, at Stan Street’s Hambone Gallery, playing mostly classics and Myers Brothers songs, but it was a fun night and the musical reunion re-established our chemistry and got our creative juices flowing, ready for the recording session later in the week. We saw some great gigs while we were there and had some fun experiences, always a given in Clarksdale (if you haven’t been yet you’re missing something very special!) and they gave us inspiration for some of the songs that we wrote.

We needed a drummer for the recording session, and as luck would have it, the excellent Eugene ‘BJ’ Stokes IV was back in town, having been off the scene for a few years. Both the Myers and myself had worked with BJ in the past, so it was a real pleasure to reconnect back up with him.

Having stayed at the wonderful Shackup Inn many times and established a great relationship with Bill and Guy there, we were able to get their prestigious Juke Joint Chapel venue to set up our mobile recording studio. It has hosted many great musicians both as a venue and recording location, including one of my heroes, the harp player Charlie Musselwhite, who recorded his album, Juke Joint Chapel, there. If you want to know what the place looks like, we used a time-lapse video of

us setting up, to accompany one of the songs from the session, Miss Yvondelle. Check it out on YouTube.

We recorded for about five hours, some songs more fully-formed than others, and played a few takes of each. Some had lyrics and some didn’t at that point, and a few people who wandered in to see mostly instrumental takes, wanted an explanation as to what we were doing. The atmosphere there is fantastic - as you’d imagine - and we were very happy to come away with the solid foundations of about a half-dozen songs. After the session, we hung around the Shackup Inn and took some photos, some of which you see here.

Once back in our respective countries, we started to work on the songs, writing lyrics where they were needed and coming up with some additional parts – the aforementioned “stardust” to complete the tracks. Using the now established process, we shared rough mixes of the Clarksdale session and added fresh vocal and instrument tracks for each other to download and add in to the growing mixes. The first track to complete was Miss Yvondelle, a song about the lovely lady who serves breakfast at the Comfort Inn and, because she took a shine to us, always brought us the cooked food from the kitchen first for best pickings - before it went into the trays for the other guests! The second track we finished was Big Red, a song about a huge mountain of a man who sat in front of me on the short flight between Chicago and Memphis. I’ve

got nothing against anyone whatever their size, but he was so offensive and rude to everyone, including the flight attendants, that his song is not a very flattering one! Eventually we had our favourite selection of tracks ready, and have now released them as the not very imaginatively, but very practically named EP, Brothers and Sons: Volume I, available to download from brothersandsons.bandcamp. com. By now you should also find it on iTunes, CDBaby. com and on your favourite streaming services.

By the time this goes to press, I will have returned from a very cold, but fun, February trip to Ottawa. It’s Canada’s 150th anniversary as a nation, and as the capital is Ottawa, it will be party central - and boy do those Canadians know how to have

a good time! In amongst the partying, we will have played a few gigs and will have recorded the foundation tracks for Brothers and Sons: Volume II. Expect at least one song about ice and snow! And if that doesn’t sound very bluesy, don’t forget that Blind Lemon Jefferson died in a snowstorm in Chicago and more than a few legendary bluesmen have sung about the cold. Nine Below Zero anyone?

As you read this, I, or the Myers Brothers, or both, will be working on the latest recordings back in the UK and Canada, bridging the fivethousand, two-hundred and twenty-seven miles between Gloucester and Ottawa, and preparing some fresh vibrant music for you blues lovers wherever you are in the world. Follow the project on Facebook at www.facebook. com/brothersandsonsproject Thanks.

SCANDINAVIAN BLUES PART 1

Verbals: Iain Patience and Brian Krame

Sweden has a long history of involvement with the blues. Many surprisingly renowned figures have worked the music, strutting their stuff, gaining a toe-hold in the region before flying off to captivate the blues world. Jamming may be central to the spread of the genre but not so long ago it was an alien concept in the northern reaches.

When US bluesman

Brian Kramer

first arrived in the Swedish capital Stockholm from Brooklyn twenty-plus years ago, he was eager to pick up where he’d left off back home: picking guitar with like-minded blueslovers, mixing and mingling, rubbing up and off each other and looking ahead to a blues-biased future in Scandinavia. To his surprise, he was almost immediately disappointed; despite a

widely-known affection for the music, the Swedes seemed to have missed out on the simple, central theme or thought of getting together and having fun jamming together, unlike their US cousins who had jams at the very heart of the genre.

Kramer is a guy who has played with many true blues greats: Eric Bibb, Junior Wells, Larry Johnson and countless others have all enjoyed the benefit of his sensitive input and support

in the studio, on the road and for the sheer fun of it all. And while many might have simply shrugged, turned away and retreated into their own self-centred, unchallenging cocoon, he instead set about creating a new blues scene in the region, struggling against the odds to secure suitable venues for a hitherto unknown musical concept, and encouraging fellow bluesmen and women to take a chance and involve themselves in his blues jam dream and desire.

Having jammed for many years in the revered and internationally famed Washington Square Park in New York, Kramer was not only determined to

Brian Kramer, Lisa Lystam & Fredrik Karlsson by Bengt Nyman

introduce the idea to his new Swedish buddies, but had the background and savvy to know how to breathe life into the proposed project.

After muddling around for some time, he secured a choice venue in Stockholm’s ever-popular and trendy Old Town/Gamla Stan at Stampen Bar. Here, for around eighteen years, and until recently, he ran the Brian Kramer International Blues Jam every Saturday afternoon, pulling in US pickers such as Eric Bibb (an old buddy and long-term Swedish resident), Yank Rachell, fan and wonderful acoustic blues Mando and US-born, guitar picker Bert Deivert (another long-time Swedish resident) and Alvin Youngblood Hart as they passed through the Swedish town on tour. Scandinavian blues royalty like the recently passed Sven Zetterberg also turned up to

take part from time to time.

But much more significantly and of real value to the Scandinavian region, he brought a wealth of new, nervous and hopeful talent onto the stage, where many gained their first taste

of public performance and developed the confidence to continue with their dreams and ambitions of becoming professional blues musicians.

The gang of blues jammers, a new generation of Scandinavian blues hopefuls included young, acoustic picker Shoutin’ Red; Johan Eliasson – aka Bottleneck

John, a big guy with a strong, vibrant ability and love of acoustic picking and slide resonating fretwork; young blonde singer Lisa Lystam and guitarist Frederik Karlsson also kicked off on stage, jamming with Kramer, before going on to create the Lisa Lystam Family Band. Now with a couple of highly acclaimed CDs behind them, this is an outfit that is swiftly gathering international interest and critical acclaim. One of Scandinavia’s now top acclaimed, award winning jazz artists, Isabella Lundgren, also got her start and found her voice finding comfort in the blues alongside Brian at the jam.

Kramer recalls how he’d been doing a batch of bluesguitar lessons in a city college including private, one-on-one sessions with the college principal, when the blues-jam question reared its head for

Brian Kramer, Mats Qwarfort, Alvin Youngblood Hart and Bert Deivert by Lennart Brorsson

‘BLUES PEOPLE DRINK MORE THAN JAZZ PEOPLE,’ A SELF-EVIDENT TRUTH MAYBE, BUT A THOUGHT THAT HELPED PUSH THE MUSIC TO PROMINENCE IN SCANDINAVIA.

consideration: ‘It was around 1996. We were having a lesson and a beer in his office. The guy asked me how things in Stockholm compared with the New York scene and was there anything particular that I missed. I told him about the jam culture and how I missed having that around. I had to explain it to him.’

In many ways, this passing, chance conversation was to

be of immense importance to Kramer and the blues underground in the region. Not only did this college principal take an interest but he immediately offered positive help, including sponsorship: ‘He then said –“Why don’t we do that here” (create a jam)? I was amazed and said I didn’t know how to start, or what to do. He responded without hesitation, by saying he’d sponsor it, pay the musicians and help with equipment. So, there was zero risk for venue.’

In the event, despite this extraordinary offer of help and support, getting the whole thing off the ground remained a surprisingly difficult thing. ‘It was truly much more difficult than I ever imagined,’ says Kramer as he recalls the uphill battle

to secure a suitable, useable venue for the blues-jam project. ‘I looked around and tried place after place but always met refusals.' They’d say, “How will that work? Amateur musicians playing. No, it won’t work here.” That was a pretty typical response to the idea. I got shot down, one after the other after the other.’

Kramer found this frustrating and short-sighted. Fourteen years earlier, attempts, he learned, had been made to run occasional jam-like blues sessions in the area, but these had seemingly collapsed due to lack of support and a failure to control and manage the events for the most part.

Finally, Kramer found himself drifting back to a bar he’d played a few gigs at. A bar that was mostly a jazzbiased venue and where he’d once been previously banned from playing, for the bizarre reason that he’d over-run the place’s closing time by fifteen minutes or so, because it had a capacity crowd demanding encore after encore and he was having a blast entertaining them. Because of this strangely unmerited ban, Kramer had given the place little consideration. Instead he drifted from place to place eagerly pushing at venues, some of which expressed an interest but were failing to ensure any consistent encouragement.

Bar owners were at times interested in the possibility but often unwilling to commit to any regular blues music jam-spots. Eventually, however, Kramer found himself once more at one of his old stomping grounds

STOCKHOLM MIGHT SEEM A SURPRISING CHOICE FOR LOVERS OF TRADITIONAL, GUTSY BLUES BUT FOR TWO DECADES IT HAS BEEN ONE OF THE MOST IMPORTANT PROGENITORS OF NEW EUROPEAN TALENT THANKS THE STRENGTH AND GROWTH OF ITS BLUES-JAM CULTURE.

Brian Kramer, Isabella Lundgren and Peter Frej on bass by Bengt Nyman

in Stockholm’s central old town area. Stampen, the bar which had banned him previously, looked shut-down and deserted, but the door was open so he took a chance and wandered inside to find it undergoing renovation. And, to his delight, also under new management. The new owner, Josef, a Lebanese businessman, was immediately warm to the prospect and agreement was soon reached that allowed Kramer to get his head down and prepare for what was initially to be a fortnightly gig. At last, after months of hassle and hope, luck proved to be on his side. A local newspaper got wind of the venture and gave it a wonderful plug a day or

so before the first session, resulting in huge interest and an enormous queue of people waiting entry to the first international blues jam to be hosted and fronted by the Brooklyn bluesman. The event was an enormous success, packed to capacity and crammed full with enthusiastic blues fans, most of whom were soon to become regular blues jam enthusiasts. The bar owner immediately recognised the importance and significance this success could have for the business and his newly opened, refurbished premises.

‘Blues people drink more than jazz people,’ he said, adding that the event could be a weekly deal rather than the originally envisaged

fortnightly affair. Kramer was delighted and the birth of what was to become one of, if not the most important blues event in the region, exploded onto the Scandinavian blues map.

Next issue, we look at the rise in popularity of blues music, the jamming culture and its significance for the growth of the music in Sweden and the Nordic region - generally built on the back of Kramer's International Blues Jam. We talk with some of the hopefuls who gained their initial confidence in the region and at the event, before spreading their wings and finding a whole new way of life and living, centred on the blues.

from the soul of america

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“Seriously played goodtime music guaranteed to put a smile on your face”

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“Great music that will have you bopping like crazy...superlative guitar and piercing slow-burn slide”

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For me, the blues is a release. I have found no better method to express my feeling than playing and listening to the blues. The blues makes me happy. I first discovered it when I was about 21. Up to that point I had never picked up an instrument. I was inspired to pick up harmonica after seeing someone playing at a local farmers' market. The same day, I bought my first harp. I told myself that I needed to truly study the instrument back to its roots. As we all know, the blues and harmonica have a long relationship. Once I found the blues through my harmonica studies, I was completely hooked.

Andrew Alli and the Mainline is a four-piece band: me on harmonica/vocals, Ivan Appelrouth guitar, Chaz Hibbler drums, and Ken Kellner bass. Our sound is rooted in Chicago-style blues, but with some west coast swing and jump influence. We stay busy playing around Richmond, Virginia.

I have learned a lot from just spending time with Phil Wiggins. He is one of the nicest and most humble musicians I have ever met. Despite his very successful career, he is always very personable and easy to talk to. I also admire his passion and dedication towards the preservation of the blues, specifically the acoustic Piedmont style.

I was so delighted to be part of the Big Walter album. Big Walter was one of the first blues harmonica players I discovered, and I instantly fell in love with his style. He was able to produce so

ANDREW ALLI

The youngest star of Ellersoul’s Tribute To Big Walter release, Andrew (born 1988) has high hopes for the blues: Verbals: Norman Darwen Visuals: Supplied By Artist

many different textures in his playing, especially his acoustic playing. He made me appreciate all of the great sounds one could make with just your hands, but his amplified playing was just as great! I have been writing my own songs. Many of them will be recorded on my debut album, which will be recorded and released hopefully later in the year.

There has been a resurgence of younger people being students of the blues and continuing its legacy. As a student myself, I can continue to learn this music and make my own contribution. The blues certainly changed my life and it has the power to do the same to others, while most importantly, bringing people together.

BAD DAY BLUES BAND

Ever had a bad day? Well every day is a bad day for The Bad Day Blues Band.

Verbals: Adam Rigg Visuals: Anthony Troye

Unashamedly gritty and rough around the edges, they compose live, new blues material and deliver it in a very old fashioned way. Featuring a dirty harmonica and an even dirtier harmonica player, Sam Spranger, The Bad Day Blues Band write songs that make you feel good about feeling bad. Their debut EP on Authentic Soul Records, Bitter Sweet Blues, reached number two in the iTunes Blues Chart in 2016 and was critically acclaimed by leading blues scholars in the UK.

The London based group, initially all met at the legendary Soho blues bar, Ain’t Nothin’ But and quickly bonded over their love of improvisation and soulful melodies. Sam recalls “We

wanted to watch a blues band that had some attitude about them, a band that could not only play well but who also had some personality and stage presence about them… combine that with some decent melodies and catchy lyrics, boom!, you’ve got The Bad Day Blues Band”.

The group occasionally slot into their live set a reworked classic or two from artists like Muddy Waters or Howlin’ Wolf but the thing that really sets them apart is their songwriting ability. New blues delivered in an old way, that’s the group’s mantra. Sam Spranger puts down his harmonica and continues “For us it was always about those little dark tucked-away blues bars, where you can wander in and find some proper authentic blues music. It was always

about being gritty and real in the music we write and release. It’s always got to be live too. If we can’t do it on a stage, then we have no right in putting it out as a record”.

The group are exciting to watch, even for the non-blues fan, as they add personality to their live performance which makes for a great show. Their new album aims to reproduce what an audience would hear live. Close your eyes and you could almost be in one of those little tuckedaway blues bars, feeling good about feeling bad.

Currently underway with a UK tour to promote their self-titled debut album, you can see the group live throughout 2017, just visit www.baddaybluesband.com for details or download their songs from all the usual places.

The trio may just have released their debut album, but they are three wellseasoned performers who have honed their craft on international stages.

The debut album is titled More Is More, and has already gained positive media attention. For an independent album, the CD has production values that are way beyond anything you might normally expect.

The album was produced by drummer Pat Garvey whose credits include Noel Redding, James, John Watts, The Prototypes, Fischer-Z, Tim Booth, members of Busted, and Beverly Knight. It was mastered at Air Studios by the legendary Ray Staff (Led Zeppelin, Rolling Stones)

and lays down a pretty clear opening statement that these guys are serious about what they do. Danny, who has spent a lot of time touring the Netherlands where he was touted as a 'young Gary Moore', first got into the blues as a child through his father's music collection: "It spoke to me in so many ways. I really dug it as a subject, as it goes way beyond a musical style - it's also an historically significant social commentary and also a state of mind".

By the age of 13, Danny was playing in his father’s band The Chicago Thieves and recorded his first album a year later: "I think having the opportunity to play with guys that were much older than me pushed me forward and allowed me to express all of my

ideas at the time. It set me up for life and I always endeavour to keep that sense of freedom in our performances."

The Danny Giles Band is a marriage of old school blues-rock values with a contemporary feel. The power trio updates the blues genre with modern energy.

Breaking with tradition once again, they have recorded ten original songs that showcase the band's strong song-writing as well as their musical chops.

Danny comments: "I have always written songs, and I'm a firm believer that it's all about the song. A guitar solo in a bad song is forgettable, while a guitar solo in a great song can take you to the stratosphere!”.

DANNY GILES BAND

The DGB is the brainchild of virtuoso blues-rock guitarist Danny Giles. With the rhythm section of Jon Chase on bass and Pat Garvey, drums – who also doubles up as the band's producer – the DGB are a musical force to be reckoned with.

Verbals: Pete Feenstra Visuals: Oli Dolling

www.wearehpkns.com

HPKNS

HPKNS is a 2-piece "band" from Bayside, Melbourne, Australia. Although officially formed in the summer of 2016, James Deville Vocals, Guitar and Dave Lovegrove Vocals, Bass, Percussion have been musical partners in crime for the best part of 10 years, writing and performing together with various bands around the rich and diverse independent music scene of Melbourne.

Verbals: Jaymon Crabb Visuals: Simon Bobik

Never quite finding their ideal set-up, the boys took time away to travel and pursue careers. Fulfillment was hard to come by however and armed with a re-discovered passion for the blues and a handful of fresh song ideas, the boys made the decision to forego the logistical nightmare of a third member (drummer) and do it themselves. As a consequence, HPKNS was born as 1 guitar, 1 bass and 2 vocalizers; a duo but sounding like a loud 5-piece band.

Armed with a vision of developing the blues in a style that is uniquely their own and grabing the attention of young music fans around the world, HPKNS tell simple stories delivered with crunching guitar riffs, grooving bass lines, vocal harmonies and pounding beats.

2016 has seen the boys release 3 singles, Soda Man, LA Andy and their latest, Amy Spencer Blues. Following in the footsteps of the footstomping style made famous by the likes of Lightnin’ Hopkins and John Lee

Hooker, HPKNS "New Blues" style has received a strong response in both their home country and internationally. They have received widespread airplay and positive reviews from online music media such as Black Bull Blues who have described HPKNS as "eccentric and unique in the way they approach the blues roots in their music, Soda Man, is a grooving song with an attractive guitar riff and feels like a 2016 version of the work bluesmen like Son House once recorded."

The first half of 2017 will see

HPKNS record and release their debut EP with renowned Indie producer Haxx at Joyluck Studios in their hometown of Melbourne.

"We aim to break the rules and be uncomfortable in the studio. In this way, we know we're pushing the boundaries and finding a sound or a way to deliver our music to our listeners that contains memorable, familiar elements but in a way that hasn't been done before. It's such a fun challenge."

HPKNS will be taking their sound around Australia in 2017 with plans of a Northern Hemisphere tour also in the works. "Ultimately we just love music and want to be on the stage performing. Showcasing the hallmarks of our sound to a live audience and seeing them respond so positively is what brings us the most joy."

From a childhood in a Herefordshire, England, UK farmhouse, punctuated by communal musical gatherings, to early adulthood in urban southern England, Tarq Bowen's music reflects an openness which doesn't sit within a specific genre but is underpinned by the melody-driven, lyrical and polemical traditions of folk, expressed through the vehicles of his and his live band's take on soul (alt-soul) and blues.

Comparisons have previously been drawn to Ray Charles as well as Tim and Jeff Buckley for his style and delivery. His newer material (including upcoming single, Can't Buy My Soul), calls to mind Marvin Gaye.

Ensconced since winter 2015, with his live band member’s bassist, James McPhail and drummer, Will Stokes near a forest some 80km outside of

Frankfurt, Tarq Bowen has been establishing a base from which to develop, record and tour his music further, as well as to found a collective, "Rambling House", to support new and emerging musical and creative talent to do the same. Prerequisites to being welcomed into the Collective are not limited by genre but invite the nurturing of musicality and creativityand collaboration wherever it lends itself - on a model based on sustainability and growth. The Collective have been rolling out inaugural live shows since May 2016,

including with Holy Moly & The Crackers (who played Glastonbury Festival's "Field of Avalon" in June 2016). This builds upon a relationship established with Holy Moly over the past couple of years. Having developed his craft and output on a solo platform over the past several years, Tarq Bowen and his audiences are now enjoying a sound of increased depth and dynamism through the involved and empathetic collaboration of his talented multi-instrumentalist live band joined by Joe Warren on djembe and percussion when circumstances allow. This has garnered sold-out shows throughout Germany and the rest of Europe in recent months and this current success is due to culminate in playing the main stage in front of a 20,000 capacity crowd at Schlossgrabenfest Festival in Darmstadt at the end of May 2016.

TARQ BOWEN

Verbals: Supplied by artist Visuals: Ashley Bird

With a rhythm section begging your body to move, just the right amount of sweetness from the keyboards, and guitar licks that make you want to grab your air guitar, it won't take long before you’ll find yourself on the dancefloor, singing along to the powerful vocals of the sweet-but-demanding temptress that is Yoka.

Yoka and The SugarBeats launched in February 2016 and hit the ground running, playing mostly pubs, but also venues such as the Tuesday Night Music Club and the Ilfracombe Rock & Blues Festival. The SugarBeats are a lively bunch, working hard to keep their set interesting for their audience but also for themselves. The band offer a mixture of carefully chosen blues, soul and pop covers, interspersed with original work. They are an upbeat feel-good band that always aims to deliver a high standard of musicianship. Covers get the same love and attention as their original songs - they are pulled apart and put back together with an added SugarBeats coating.

Yoka & The SugarBeats are a five-piece band with some familiar faces on the current blues scene. Yoka and songwriter/guitarist/husband Big Ray, used to be part of former indie blues band, Little Devils. Big Ray wrote the music for their latest album, The Storm Inside, which topped the IBBA charts in 2015. Dutch vocalist Yoka is a charismatic performer with a big voice that easily adapts to different genres. Nominated in 2014, '15 and '16 for instrumentalist of the year in

YOKA & THE SUGARBEATS

Yoka & The SugarBeats bring their own brand of soul and blues.

Verbals: Yoka Qureshi Visuals: Steve Dulieu

the British Blues Awards, she also adds occasional flute and tenor sax to the overall sound. Bass player Andy Pullin, plays with the Voodoo Sheiks and drummer Spencer Blackledge works with musicians and bands such as The Sharpees, Karena K and Papa George. Andrew Papas on keys is lesser known on the blues scene, but an integral part of the overall soulful sound of The SugarBeats. They haven’t recorded an album just yet, which might happen in the

near future, but for now the emphasis lies on getting some mileage as a unit and having fun playing live.

Quote: When you go and see Yoka & The SugarBeats next, look at all the faces surrounding you. This band brings happiness. Isn't that something we all need more of?

30/08/2016 – Richard Dunning – Tuesday Night Music Club. www.yoka.london

Eric Gales THE BLUES DOCTOR WILL SEE YOU NOW

Eric Gales is what they call a guitarist’s guitarist. The list of plaudits from his peers is only slightly longer than the list of albums he has guested on, as well as his own lengthy output list. He has had some hard times, and emerged on the other side, focused and ready to make the move to the next level. When you are called ‘One of the best, if not the best guitar player in the world’ by someone like Joe Bonamassa, then you know you are where you need to be in terms of your reputation. But for Eric Gales, it’s about being in the middle of the road – not too far on either side, out of the gravel, off the median strip. Eric talks to Andy Hughes about his latest record, and being focused on taking that next step.

Verbals: Andy Hughes Visuals: Nicole Weingart

You have had a huge number of quotes from many wellknown musicians who appreciate your music and your talent, and the one that stands out is the comment from Joe Bonamassa who says he thinks you are one of the best guitarists in the world. Do accolades like that matter to you in a lasting way?

I have to say that they do mean a lot to me, yeah. Joe and I do go back quite a long way, and it was real nice of him to comment on my playing like that, I really do appreciate that. I am just so thankful that I have this opportunity to play my music, not only for my peers, but for the people out there as well. I am very humble and thankful that everything is going as well as is it for me right now.

When you look back at the amount of respect and admiration that you received as a young musician, as a young man, do you think with hindsight that it was good for you, or not? It didn’t bother me much, then or now. I do believe that things happen for a reason, and I think that everything that happened to me brings me to where I am now. I can’t be down about what may or may not have brought me here, I am just glad to be where I am, I am happy to get up in the morning and feel good, and I think that was the plan, to get me to here. I’m taking it easy, and just looking forward to everything that’s going to come good for me from now on.

Did you learn your lefthanded guitar from your brother Eugene?

Not so much, I just picked up my own playing style, and by coincidence it is the same way of playing guitar as both my brothers play. I can say that I would not be where I am today without the music that Eugene has showed me, and introduced me to. He has been a wonderful mentor to me in my life and my career, and I do appreciate that and thank him for it.

Did it just feel natural to you as right-handed person, to play left-handed even though you are righthanded in everything else? It always did, yeah. I know it’s a little odd for me to play left-handed guitar when I am a right-handed person, but it has always felt completely natural to me as long as I have been playing. In fact, it’s so natural to me, that I do wonder if maybe the rest of the world has it wrong playing right-handed, and it’s me that’s right! (laughs).

In 2009, you experienced, shall we say, some of the other side of life, certain difficulties; have those experiences fed into your writing and playing experience? Oh yeah, man, it certainly has. I think all my experiences, including the bad ones you are talking about, have all led up to the work I am doing now. I think really that the only way to benefit from any experience, and that’s the good and the bad experiences, is to use them to do something good in your life, and that can be

poetry or art, or literature, or music, but you need to turn the negatives into something positive, for you and for the people around you. I think God is taking you into situations so you can learn from them. Sometimes they are real Russian roulette circumstances man, and you have to hope that you are not being taken there by Him so that you die, but that you do come out the other side, and you have learned something, and you can do something good with that. I believe that now is my time, I really do think that. The statement that what doesn’t kill us makes us strong is absolutely true, it couldn’t be more true.

The song, I’ve Been Deceived, addresses those addiction issues – is it a song where you talk about your experiences, or is it a message to avoid doing what you did? It is about those experiences, and it is a combination of the two ideas. It can be something as vague as a situation where you have been tricked into something, or allowed yourself to be tricked into something. But it’s also about me, and exactly where I am right now, and I think it gets my point across. You understood the point I was getting across, you have heard the antipathy that is there, and it’s good that I’ve reached you with that. That is what a songwriter does; he or she writes about something personal to them, but the listener is entirely welcome to fit that into something of their own experience, or about someone they know, or know of, and that’s absolutely fine.

You fi nished the album with a great boogie song, Swamp. Were you conscious of not ending on a down atmosphere, so that people can feel good and want to play the record again? I think that Good Time and Swamp are real good bookends for the record. Swamp is a feel-good groove, it’s like a runway train, the groove comes, you got to move and dance with the groove man. I love that song, and I’ve been playing it for a while, and people love it and they dance and get along with it. I love it on the record, and I love it on stage, we play it towards the end of the show, that kinda brings us into the home straight!

There is a big resurgence of vinyl over here, and your album is coming out on vinyl, is there a big upsurge in vinyl in the States as well? There certainly is man, I am so excited to be having my new album out on vinyl, and when I get my fi rst copy I am going to hang it on the wall in my house, and leave a space right next to it for the gold and platinum albums that are hopefully going to come along as well! I have high hopes for this record, it is new and fresh and I am very excited about it.

Because the sound from vinyl is different from the sound produced from a CD or a download, did

that have an influence on the way the album was produced and mixed? No, we didn’t set out to make the record sound this way or that, based on how it was going to be heard by the folks who buy it. We just set out to make the very best record that we could and

made sure that we got it to sound as good as it could, and I think we got that down, man. We just waited to see what came out in the wash, and I think my record has washed out pretty good!

You like collaborating – you brought your brother Eugene

“I FEEL AS THOUGH MY LIFE HAS BEEN A PREPARATION FOR WHERE I AM NOW, AND I AM ABSOLUTELY READY TO EMBRACE EVERYTHING THAT I THINK IS GOING TO COME MY WAY.”

DISCOGRAPHY

MIDDLE OF THE ROAD – 2017

A NIGHT ON THE SUNSET STRIP – 2016

GHOST NOTES – 2013

LIVE – 2012

TRANSFORMATION – 2011

RELENTLESS –2010

LAYIN’ DOWN THE BLUES – 2009

THE STORY OF MY LIFE – 2008

THE PSYCHEDELIC

UNDERGROUND – 2007

CRYSTAL VISION – 2006

THAT'S WHAT I AM – 2001

THE GALES BROS: LEFT

HAND BRAND – 1996

PICTURE OF A THOUSAND FACES – 1993

THE ERIC GALES BAND – 1991

drive, and you go with it, then playing as much as you can every day is just something you know you have to do. People talk about the grind of practice, but I never really felt like that, I just enjoyed playing. So what happens is that you get to a certain level, where you can work and get gigs and make records, and then the rest is just development of that, a kinda fine tuning if you will, on what you have developed and learned in those early days.

on to another level?

in on this record – how do you choose people to work with, because I imagine there are a lot of people who want to work with you? It depends on what the song needs, and what I think will work. If I think a song has a vibe, and I know someone who will bring that vibe in, that’s the time to call them up and see if they want to come in and see what we can work out.

How much of your talent is simply inbuilt, and how much comes down to the sweat and tears of practice? Well, I have to say that I think it’s a lot more of the second that it is of the first! (laughs). When I was growing up, I heard blues music and it just really moved me, and that was what drove me to play day after day after day. I just wanted to be able to play that kinda music on the guitar, and I think when you feel that ambition, that

I am sure that if you hadn’t been a success with your career, that you would still be playing guitar in a blues bar somewhere, and having a really good time. Absolutely! I think that anyone who really loves music, and I absolutely do, they play their music because it’s what they do, and they love it, and can’t live without doing it. Now you can be lucky and get the breaks and be successful and get to make albums and tour around and play your music outside your own town, and that’s all good and everything, but that’s not the reason why you do it in the first place. You do it because it is what you do, and everything that comes along after is just a nice follow-up that lets you do it all the time, and make your living doing it. But like you say, it’s not about the money, or the success, it is about the music, and there is absolutely no doubt in my mind that if I had not been a success as a musician, I would still be a musician. You don’t need one to be the other.

Do you feel that you are now poised to move

Oh yeah, I absolutely do. I feel as though my life has been a preparation for where I am now, and I am absolutely ready to embrace everything that I think is going to come my way. My mind is in the right place, I have my music progressing to exactly where I want it to be, so I feel as though everything is lined up, and all I have to do is keep myself on track, and just enjoy what is going to come, I really do hope that is the way it’s going to work out. The great news for me is that plans are under way for us to come to England and play for you folks. I don’t actually have dates firmed up yet, but it is all being worked out, so keep an eye out and we will see you all over there real soon. Looking forward to it.

ERIC GALES MIDDLE OF THE ROAD MASCOT/PROVOGUE

“Now that’s how you start a record!” announces Eric Gale as Good Time kicks off its dance/ gospel/get down vibe. The good about this record is that it showcases Eric Gales’ top-line blues vocals and bass guitar chops - truly the man is blessed in the talent arena. It must be tempting to use that reservoir of talent to ladle blues licks all over every minute of every song, but it is resisted with restraint and taste. The solos are as carefully placed as they are perfect, and generous space is offered to Gary Clark Jr. guesting on Boogie Man. Stand-out track is I’ve Been Deceived, with Gales nailing his addiction issues with a passion underpinned by his peerless band and singers – and the solo makes you check there is no smoke coming off your player. Repetition brings Gales’ brother and mentor Eugene into the mix and a definite Prince/Sign O’ The Times feel, and that can only be a compliment of the highest order. Eugene’s

wah-wah solo edges the atmosphere another notch higher. But it’s not all about snake-hipped blues riffing – Help Me Let Go is the most soul-baring song on the record, with a sparse keyboard wash, and soothing acoustic and double-tracked vocals, before a delightfully restrained solo underlines the honesty and emotion. This is a musician who is completely comfortable with all shades of his personality, both human and musical. The penultimate song, I Don’t Know starts with a stuttering scat intro taking it into another smoky blues number, and Swamp, the final and second-longest song on the record takes everything up to a dance level and leaves the listener feeling invigorated, and ready to start from the beginning again. It’s clear that a lot of thought has gone into the sequencing of this album, and the selection of material which effortlessly showcases a musician who has spent his career waiting to arrive at this point. Gales feels that this is the album to send him up to the next level of success in blues music, and listening to it makes that feeling difficult to argue with. A concert built around this set of tracks will be something to look forward to.

ANDY HUGHES

Erja Lyytinen OUT TO CAPTURE HEARTS AND MINDS

Erja Lyytinen is poised to release her brand new album Stolen Hearts, her first studio album since 2014's Elmore James tribute, The Sky Is Crying.

Verbals: Steve Yourglivch Visuals: Tina Korhonen

Stolen Hearts is all new original material and catches Erja pushing the boundaries with her songwriting and performing, including recording her vocals with multi-platinum selling engineer and producer Chris Kimsey, most famous for his work with The Rolling Stones. With some UK dates to coincide with the release in April and more later in the year, I thought this was a good time to phone Erja and talk about the album.

Hi Erja, how's everything with you?

I'm really good. I've actually just arrived at the concert hall. I'm performing here tonight close to Helsinki to a sold out audience - I'm so excited. It's the first night of a long tour, so you always feel a bit hesitant. You feel nervous, excited, tired and pumped up all at the same time!

Will you be introducing some of the songs from the new album?

Yes, most certainly we'll be playing at least ten of the eleven tracks on the album. We've played a few of them already live on tours in the past year. People seem to like those songs, and we have a new music video out from the album which has proved popular, so I'm very hopeful actually.

Well I must say I really enjoyed the album. It's got lots of different things going on. You have broadened your horizons on the writing this time. Oh, thank you so much. That's right. It's good to hear that, it's been almost five years since I had a studio album out with my own originals on it. We had the Elmore James tribute, The Sky Is Crying, in 2014 and after that, Live In London. So, I have been writing some songs, and I had some songs that had been waiting in a

drawer for the right moment in my life. In the last few years I've experienced so many new things in my life. I became a mother, and all kinds of things in my private life, and I think all of that made me grow a lot and see things differently. Also, not to take things for granted, but be grateful for everything in your life - all that you've achieved. I think I've found a more relaxed area inside of me, so I'm more easy on myself.

have all of the anxiety inside of you, like things are bad and you are suffocating, it's really about those dark feelings. I'm very happy to have that on the album.

It's interesting that the last studio album you did was the tribute to Elmore James and this one in comparison is very contemporary. You've moved to something very modern. Was that a very conscious move on your part? I happened to come up with these kind of songs so I thought I shouldn't push it back, I should let it happen. I could feel that it was going into a different direction to all the previous albums I had done. Of course, the Elmore

When I fi rst listened to the album, I felt that the fi rst two tracks, Stolen Hearts and Rocking Chair, had a very rock feel to them. But as the album progressed, you take the listener on a different journey. A couple of my favourite tracks are 24 Angels and Slowly Burning, which are more powerful lyrically and emotionally. Yeah, I have to admit that I put a lot of my personal emotional feelings to especially those two songs. 24 Angels - I was feeling pretty down when I wrote that song, so I was happy to come out at the end with that lovely blues ballad in the end actually. When you

tribute needed to be a strict blues album. When I play live, I play much bluesier as well, so that way I feel the album doesn't have to be so strict stylistically. I'm just glad it happened like that really. As I said, we played some of these songs on tour last year and the people really seemed to like them. We even played 24 Angels, that's almost two years old now. I wrote that with Alan Darby, who I've written with since the Forbidden Fruit album, and the feedback was very positive so I wasn't scared of putting them on the album.

You have to go where the song takes you. Yes, I am a blues guitarist, but

YOU FEEL NERVOUS, EXCITED, TIRED AND PUMPED UP ALL AT THE SAME TIME!

I like to use different kinds of tools whilst writing a song. That's just me and the way I do music. I recorded the vocals in London with Chris Kimsey, so I think there's a very British feel to some of it too. When we did Rocking Chair, I kept thinking about Led Zep's Black Dog.

The fi rst two tracks are very strong, they hook the listener in. Stolen Hearts has a Hendrix feel about it Yes, there is a Hendrix-like piece in there. You are always inspired by those heroes. Nowadays when we write, we are mixing and matching with new things to try and please the listeners. I'm very

aware of trying to give them something that they want from my guitar playing. You want to also give them a story and something they can relate to, plus great sounds and great melodies. We are having a vinyl of the album out as well, that's going to have a double package, vinyl and CD.

Can you fit the whole album onto the vinyl? No, sadly. I really wanted eleven tracks on the album. It's really hard to lose any of them. Originally I had fifteen songs to choose from and we cut it to ten, but in the end, we added Broken Eyes to the CD because we wanted it on there.

I really like Broken Eyes. It's a great track to end the album on. It's piano based and a closer to the journey. Yes, great playing by Harri Taittonen, my piano player, and some eerie slide guitar. I do like that track. It's not very bluesy but I felt the album kinda needed it.

ERJA LYYTINEN STOLEN HEARTS

TOUHI RECORDS

It's hard to realise that Stolen Hearts is Erja's 12th album including two live releases. However, this is her first studio recording of her own original material since Forbidden Fruit in 2013. I think this just might be her best yet. With the vocals recorded by one time Rolling Stones engineer Chris Kimsey each track has its own character and warmth. The album opens with two very rocky attention grabbers, Stolen Hearts with a lovely Hendrix motif going on followed by Rocking Chair with its definite nod to Led Zeps

Black Dog. Love Laboratory is next, a change of pace, a soft but funky love song. My favourite is 24 Angels, very blues power ballad with an eerie Eastern feel about morality and consequences. Black ocean is a seven minute guitar lover’s epic. Slowly Burning is next and runs 24 Angels close as best track for me, it has a lovely slow intro full of emotional and powerful lyrics. Silver Stones carries a strong message about the effect stress has on our mental wellbeing. Awakening is the realisation that you are falling in love again with the person you're with. City Of Angels is a detailed observational true story from Erja's days spent in LA. The album closes with beautiful piano by Harri Taittonen providing the backdrop to Broken Eyes, a variation to a broken heart. This is strong material and sees Erja really broadening her songwriting in a very successful way and I think this album is going to win her many new fans, I hope it does.

STEVE YOURGLIVCH

I enjoyed it, and it follows City Of Angels so well, which is a very observational song in that you go into such a lot of detail. It is true that City Of Angels has a lot of details in it, maybe it's because in fact it is a real story. I studied in Los Angeles back in 2004 and it was really my first time away from home. I saw a lot of different people from lots of different social classes when I travelled on the bus. LA is a very hot, sunny place with all the glamour of Hollywood - lots of big cars. And I saw these less well-off people on the bus, who were happy to be just the way they were - and some of the rich well-off seemed less satisfied with what they had. So, it’s about being satisfied in life with what you have, like we spoke about earlier.

Songwriting is clearly very important to you. Yes, it is. I've learned that you don't have to use every song you write straight away. Sometimes you have to wait until you're ready for that song, or it is ready for you. I enjoy writing not only for myself, but I'm happy to write for other artists. Most of the songs on this album are very personal - there is a kind of base feel to it that I wanted keep. I've added more fictional elements to make them more

interesting. So, of course, not everything is 100% about my life. It's partly fiction and partly true honesty. Silver Stones I wrote in 2011 and it's about living on the edge of sanity. It seems to be a common theme these days, the world has changed so much. Always people have had mental health issues, but nowadays there seems so much stress on everyone, and everything has to be so great and perfect, so people are stretched to their limits. Some can take it, but others can't. Silver Stones is about losing yourself in the forest and never getting out. It's a big concern of mine. I now take more time out for family.

You mentioned earlier that the vocals were all done in the UK with Chris Kimsey. Was that a different way of doing things for you? Most certainly. I had recorded a lot in Helsinki in past years. I have been recording a lot in my home studio and using other studios nearby. With this album, I felt I needed to step out from all the usual frames. Break the box, so to speak. I got to meet Chris through our mutual friend Alan Darby. Chris liked the stuff straight away and we came up with a time period when we could work together. State Of The Ark Studio seemed to fit the bill best, and as soon as I walked in,

I felt so at ease with him. He is just such a gentleman and such a pro. He knows a lot about the sounds and he gave me a lot of advice. We tried lots of different microphones which was very interesting. We found which mic suited best to each track. We found a lot of character to add to the vocals.

You're in the UK soon I think?

Yes, we have a little tour in April for about a week. Five shows including a record release party at the 100 Club on 11 April, and later in the year we are coming back for a bigger tour. I always enjoy playing in England. You guys really understand the music with such a long history behind you in rock and blues music. I always bring my own sound engineer now as part of the band - it’s good to have someone who knows the music.

Check Erja's website for UK dates.

http://www.erjalyytinen.com/

DISCOGRAPHY

STOLEN HEARTS – 2016

LIVE IN LONDON – 2015

THE SKY IS CRYING – 2014

FORBIDDEN FRUIT – 2013

SONGS FROM THE ROAD – 2012

VORACIOUS LOVE – 2010

GRIP OF THE BLUES – 2008

DREAMLAND BLUES – 2006

IT'S A BLESSING – 2005

PILGRIMAGE – 2005

WILDFLOWER – 2003

ATTENTION! – 2002

Ash Wilson HOLD ON NOW 2017

Ash Wilson is almost certain to figure in the 'ones to watch' lists for 2017. His debut album, Broken Machine, is an impressive body of work. He has some of the best musicians on the circuit supporting him, and if his late stand-in show in Jaks at Skegness is any indication, he has the ability to deliver live too. I'm predicting a very bright future. I caught up with Ash from his Lincolnshire home.

MATTERS!

Verbals: Steve Yourglivch Visuals: Phil Wilson

Hi Ash, how are doing? Thanks for fitting this interview with Blues Matters in. Hi Steve, it's a pleasure. To be honest, since the album launch campaign, it's all a bit of a whirlwind at the moment.

I've been listening to the album and it's interesting, because most blues people will know from your spell with Sean Webster and you've collaborated with Jesse Davey of The Hoax. Yes, that's right, I was with Sean for about three years. I played on the album Jesse released last year. I got to know Jesse through my brother Phil who plays drums with him. I wouldn't say it was a full on project but I have played with him. I mean I started off playing on the blues scene a long time ago when I was about 18 in a band called The Melt. We played a few festivals and whatnot, opened for Mountain and Dr. Feelgood and just when it was going ok, it just fell apart. After that, I didn't do much blues for a while until I got in touch with Sean again.

You've also got a bit of a rock background haven't you?

Yeah, the decision making process behind that was really to do with Wayne Proctor. Before The Melt totally broke up, Wayne left Amor and joined us for a bit. Although that was fairly short lived, I ended up being one of the first people Wayne produced - this is going back about ten years. I'd written a bunch of songs and the one he really liked wasn't very bluesy at all, so we ended up going

down a more mainstream independent route that then lead to rock. So, my musical journey has been one of leapfrogging from one place to another. Blues has always been at the core of it. Once I got a guitar and listened to the likes of Eric Clapton and Stevie Ray Vaughan I was hooked. I think that reflects in the album - blues with some other elements in there. Sadly, I can't sing blues the way I'd like to, especially after working with Sean Webster such a long time. When he sings blues, it's a real magical moment I think. Over the years I've tried to develop my musical sound to suit my voice really.

I think that comes across - the album has lots of light and shade in it. Lots of different things going on, which is good, because it's not another standard blues rock offering which is just in your face with tracks all sounding much the same. The track Out Of Time is quite funky and The Hitcher is a bit haunting. I appreciate that, thanks. I guess some of that comes from the way we recorded. We went in with no material written, which I thought was a good idea at the time. My plan was to go for quite a straight-ahead blues album, a Stevie Ray Vaughan type thing with a classic three guys in a room feel to it. When Roger Inniss, Phil Wilson and I started playing, after about twenty minutes it became obvious that wasn't what was going to happen! I was freaking out, but thankfully Roger said 'don't worry, just let the music happen'. I

definitely think the album turned out better as a result. I guess I'll go to my grave with this ambition of recording a really classic blues album. I'd love to do my own From The Cradle type album.

Now you've added Bob Fridzema of King King into the mix as well. I always felt with Sean, the band had a certain sound because there were two guitars in it. We were pretty loud live and I didn't want that for this band, and I didn't want to do loads of guitar overdubs. The sound needed another element and Bob lived not far away, so that seemed perfect. He recorded his parts to all the songs we had then, which I think was seven, in a single day, which is incredible, and got my brother and I thinking we should go back to the studio and record something live with Bob and Roger. At that point the album was in a different place contextually, so we recorded Out Of Time, which started out just as a jam, it’s all spontaneous, then we did Words Of A Woman from the same session in the studio. Considering it was quite a fragmented writing and recording process, it's turned out well. Once we'd recorded these kinda jams, I had to go back and find the songs - that was really the hard part. It was the first time I'd ever written lyrics retrospectively. Normally I write the words first and then put the music to it.

Your brother Phil produced it. You've worked together on lots of different things. Yeah, I'm really lucky in that

sense. Working with a family member, I think you can be a little more harsh with each other. The age gap is six years, which now is nothing, but was a lot when we were growing up. My music career to start with never really happened, and I got settled into a job and a relationship, while Phil was out playing with Scott McKeon. It was great to get up close to him and I think he re-inspired me to pick the guitar up again. So, Phil was gaining all this experience, which when we started working together a few years ago we formed a good working relationship, and because he's my brother I know I can trust his comments etc. It's been great for me because he always makes me push myself as a musician. And it's

through Phil that I've met all these great musicians too.

I knew you'd played with Sean Webster but didn't know too much else about your background until I researched it, but you've recorded a fair bit. It must feel different having your name on the front though. Yes, it is a bit daunting knowing it's being sent out to people to listen to, knowing that if they don't like it, it's not a case of 'they're not very good' but 'he's not very good'. It's been a bit nerve-wracking, but also very enjoyable. I used to be a teacher and left to do this. I felt if I was going to do it, I had to leave and give it everything.

I can imagine this body of songs working really

well as a live set. I haven't gigged them much yet, but when we have, they do work really well. We stepped into Skegness at the last moment because someone was ill, and we were really well received there. I was lucky because King King were off-duty, so I was able to poach Bob and Wayne. It was nice to play with Wayne too, because when your brother's a drummer, you don't often get the chance to play with anyone else. Having such great people on the album is a bit of a double-edged sword, because they are always in demand and it can be difficult matching the calendars up.

At least going out as a solo artist, you can bring different people in. I hope so. I hope the album

helps me get a little better known, because at the moment, who I have in the line-up helps in getting gigs. Like with Roger; he adds a certain premium.

The opening track, Show Me How To Love You, I love that Zeppelin feel. Oh thank you. I think that was the third track we did and at that point it really felt like, yeh we're getting somewhere with this. That one and Worlds Gone Crazy came the fastest.

And Words Of A Woman is really atmospheric, almost a ballad but not really one. A few people have put it in that box of being a ballad. I suppose the subject matter is interesting. It's the first song I've ever written from someone else's point of view. It’s not really about domestic violence which some reviewers have said, it's more about a domestic event that I witnessed. That was the only song I took into the studio written out already. At that point I didn't think it had enough light and shade, it was pretty full on. I wanted something powerful and emotional. Basically, I witnessed this guy throwing his wife out onto the street to move his new girlfriend in, which was pretty horrendous. My wife had just given birth to our first child, so I was probably more emotionally vulnerable to the situation. It made me think about if I did that, how would it affect my wife. The song really just started with the lyric 'words of a woman'. I've found it a difficult song to sing live to be honest, I get

ASH WILSON BROKEN MACHINE

CADIZ MUSIC

Skegness, Lincolnshire, has much more to offer than Butlins in the shape of Ash Wilson, a blues/ rock singer/guitarist/songwriter of real quality. For the unitiated, Ash and his drummer brother, Phil, were, until recently, with Sean Webster. By way of taking a change in direction, Ash recruited Phil (Laurence Jones) to play and produce this CD, along with go to bassist Roger Innis (ex-Laurence Jones), Bob Fridezma (King King) on keyboards, with the Hoax's guitarist, Jesse Davey guesting on one track. This debut is a watershed achievement for Wilson, expanding his many musical styles, beginning and ending with the blues at its

really emotional. For a long time I was a guitar player who didn't sing, so it's a new experience to give the lyrics and the songs everything emotionally that they need.

Yes, there's a big difference being the songwriter. It can separate the very top artists from the resthaving great songs, not just run of the mill material. Definitely. I've tried hard to give the songs what they need. We deliberately put me on the cover with the guitar, hoping people would get a

core. Opener Show Me How To Love You, with its chain sound at the beginning is delta blues to a tee, The World's Gone Crazy is self explanatory, giving an up to date take on current affairs, home and abroad. The Texas shuffle of Peace And Love is driven by Innis's amazing bass-line. Words Of A Woman refer to a real life domestic situation witnessed by Ash as he sat in his car in a Liverpool street. The unfaithful husband had turned up with his other woman, to collect his belongings, leaving a dumbfounded wife to pick up the pieces. A quieter moment on the album, The Hitcher, relates how Ash was spun a yarn by an ex, who was hitching a ride to her man down south. There is a hypnotic rhythm, akin to driving late at night on the A1(M), featuring Jesse Davey on the second solo. Hold On Now is about channelling his own frustrations with his inner self, give himself a kick up the backside. This is definitely an album I recommend, illustrating the young talent we have on these shores. Catch Ash and band on tour with Dan Patlansky in the spring if you can.

CLIVE RAWLINGS

pleasant surprise when they hear it if they were expecting a full-on guitar album.

What dates have you got coming up?

We've got a few gigs coming up in April and then we're supporting Dan Patlansky in May.

Ash Wilson's debut album

Broken Machine is released on April 21st.

Check out more info at www.ashwilsonmusic.com/

Sean Taylor

TRAVELLING GUITAR MAN ON A MISSION

Blues Matters! caught up with the itinerant musician, poet, peace and justice campaigner at the iconic Green Note venue in Camden, north London where he was performing with his trio.

Sean was showcasing his latest album, another bold and brilliant masterpiece from this highly acclaimed, genre defying and innovative artist.

Verbals: The Bishop Visuals: Jacky Beaugeois

It is Sean’s skills as a lyricist which defi ne him, but when I fi rst saw the Kilburn troubadour at the Monaghan Harvest Time Blues Festival

fi ve years ago, it was his distinctive vocal style, keyboard technique and guitar craftsmanship which set him apart. Taylor is so much more than a performer of country, folk, jazz and blues songs. A political activist, his impassioned plea on his signature song Stand Up is, ‘Wipe away the greed, I’d rather die on my feet than live here on my knees.’

Sean appeared to have reached a pinnacle in his recording career in 2013 with the brilliant Chase The Night album, but he exceeded expectations with the follow up, The Only Good Addiction Is Love. The latter is a celebration of love, truth and beauty reflecting the aesthetic side of Taylor’s personality. February’s release of Flood And Burn raises the bar even higher and propels Taylor to a level surpassed only by Dylan and Cohen in terms of song writing and performance.

Can you start by telling me about your earliest singing/musical experiences and how you came to be a professional musician?

Who were your early influences?

Initially, I started playing guitar because the band of my teens was Oasis. Songs were always the important things to me. Being able to tell a story using words, melodies and textures is what brings me in. As I improved as a musician, I quickly got into the blues. Stevie Ray Vaughan and Robert Cray got me into electric initially, but as I developed further, I got into the early blues players like Skip James and Robert

makes his sound truly distinctive. Again, a really good songwriter and so underrated as an artist. Very few people know about Rainer - it’s a real shame. He was incredible on ‘Later with Jools Holland’, a live performance that blew my mind.

You travel extensively throughout Ireland, the UK and Europe. Is it true that you mainly use public transport to get to gigs? Yes, I love the freedom that it brings, meeting people, watching the world go by and writing songs about the places I visit. Travelling by train also gives me the opportunity to read, which in turn influences my songwriting.

You are an exceptional

“ ”

My first musical memory was live music. I attended the brilliant Irish festival the Fleadh in Finsbury Park from the age of about 7 with my family. It blew my mind. I went to every single Fleadh from 1990-2004 and saw Neil Young, Gary Moore, Bob Dylan, Alabama 3, John Martyn, The Pogues and Mary Coughlan. I have always been drawn to live music and I still go to gigs in London. You can’t beat the buzz of live music. The last gig I went to was the Saharan desert blues band, Tinariwen, in Islington. What a gig and what a band!

BEING ABLE TO TELL A STORY USING WORDS, MELODIES AND TEXTURES IS WHAT BRINGS ME IN.

Johnson. That changed everything. I love the call and response interplay between guitar/piano and vocals that underpins all my favourite music. You can hear it in blues, soul, jazz and rock 'n' roll

Can you remember the fi rst blues record you ever bought yourself? Absolutely, it was Worried Spirits by a great East German bluesman Rainer Ptacek. Rainer is a massive influence on my music. There is a rawness and darkness to his music which

songwriter. Can you talk us through the process of writing a song? Thanks for that. The process changes and develops every time a song happens. When I started out

it was always the guitar and melody that a song came from. Then I got into piano and that dominated for a bit. Then in the last few years the words have been the starting point. I love poetry and the beat poets Jack Kerouac and Allen Ginsberg, which links into a lot of live jazz which the beats would read to when they performed live.

What are your musical ambitions?

I want to keep improving as an artist; that is all you can do. With every song I write, every gig I play and every album I put out it’s a step forward. The

music industry is something I have no control over. The music and the work on the other hand, I do have control over and I’m proud of the music I put out. With the new album, it’s another big step forward. Apart from your hectic touring schedule, you are an active campaigner, having just released Blacklist Number 1 in protest against blacklisting, whereby companies target trade unionists and prevent them from getting work. What are your other main concerns about society and the world in general at present?

2016 has been a crazy year: Trump, Brexit, and the growth of the far right manifested with racism, xenophobia and hatred need to be confronted. We live in scary times and music is one of the key lines of resistance in a world of woe. All we can do is fight and stand together collectively and develop an alternative. We definitely have the best tunes.

A superb violinist who is often part of your band is Hana Piranha; can you tell us what she is like to work with? What other musicians do you rate highly?

She is a one-off as a musician and I’m lucky to have found her. Her sound is truly beautiful and every time we play together it is different. We rarely plan anything onstage. It is very natural and free. That is the best way. I also tour and record with double bass legend Danny Thompson, who is on the new album. He is the master and no one plays like him.

In blues, recently I have got back into Robert Cray and I

love his music. I opened for him in Amsterdam. He was on fire that night and really rocking out. A top player.

Let us talk about your new album, Flood And Burn, which is so different to The Only Good Addiction is Love, notably in its jazz and blues influences and much fuller sound from the ten accompanying musicians on the latest CD. Yes, I have neglected the electric guitar somewhat since Chase The Night a couple of years ago, mainly because I do a lot of blues festivals and I hear so many week-long solos! Similarly, I have got back into playing more harmonica recently and again it is part of the rejuvenation of working in Austin, Texas with my producer Mark Allman, who is an inspirational guy. I sit playing something on the piano and he fi res out ideas like an excited kid; he is so enthusiastic as well as being an amazingly talented multi-instrumentalist. That is why I travel half way around the world to work with him, as I cannot fi nd anyone else that good.

Your voice seems much huskier on this album, is this something you have been working on? I practise singing a lot and I have an excellent singing teacher called Helena Shenel in London who has worked with Joe Cocker, Annie Lennox and George Michael. She has been instrumental in helping and developing my voice and extending my vocal range, so yes, I am aware of the difference.

The opening track, Codeine Dreams, sets a wonderful ambience for the rest of the album with sensational saxophone playing from Joe Morales. What is the meaning behind the song? Joe was great and a real show-off, in a good way! He insisted that he did not need to hear the song first as he prefers to react and he did this perfectly, nailing it confidently in one take with his usual swagger. However, we made him play it again just to wind him up! A taste for codeine, although it does harm, has been around for quite a while. The legendary Townes Van Zandt, who has impacted on this album, was a master of lyrics and in his first serious song, Waitin’ Around To Die he wrote, "Now I'm out of prison/ I got me a friend at last/ He don't steal or cheat or lie/ His name's codeine, he's the nicest thing I've seen/ An' together we're gonna wait around and die." Love that song.

The title track, Flood And Burn, is very challenging to the listener with its plea to, “Get down on your knees/ Follow the Lord/ He will set you free.”

I am an atheist, but I find the power of religion very interesting, especially looking at the way in which people are so heavily influenced by, and follow, something that is probably not there. It is about all religions, but I refer to the Bible because it has the best stories and is a great work of fiction. Take the story of David and Bathsheba for example, and how Uriah was sent “to the big adios.”

SEAN TAYLOR FLOOD AND BURN

SEAN TAYLOR SONGS

Taylor’s eighth album since his debut release in 2006 with Corrugations touches on a broad range of genres and musical influences. However, its roots are firmly in the blues. The opening track, Codeine Dreams sets the mood for what follows, Sean’s impassioned vocals complemented by the sultry tones of Joe Morales’s sax. The imagery of the title track is powerful: a God who will flood and burn, kill and maim, rip and run. Bad Case Of The Blues is a poignant song of lost love, the atmosphere enhanced by Hana Piranha’s delicate, flowing violin interludes. Run To The Water is dripping with blues thanks to Andre Moran’s slide guitar and Sean’s

Leonard Cohen is another influence on your work and his bandleader Roscoe Beck plays double bass on Troubadour.

I did not get Cohen until I saw him live in 2008 at Glastonbury and it was one of the best performances I have ever seen in terms of holding the audience. People call his songs depressing but his lyrics are clever, poetic, melodic and at times funny.

Although his final album was his darkest, his last three have all been great and his musicians were the Harlem Globetrotters of bands, an all-star cast. Roscoe raves about those guys. I’m not surprised.

mood inducing harmonica playing. The upbeat A Good Place To Die is influenced by the American country blues singer and poet Townes Van Zandt and has some of Leonard Cohen’s lyrical prowess. The jaunty Troubadour is a celebration of the freedom of travelling with a guitar on your back and Life Goes On is equally upbeat and optimistic. Completely out of the blue comes the astonishing version of Heartbreak Hotel, which, 60 years after Elvis, brings rock and roll back to the blues. The closing track Better Man, written with accompanying double bassist Danny Thompson in mind, is about the beauty and danger of life on the road as a musician. Hana’s sumptuous, hypnotic violin solos once again transform a very good song into a masterpiece. The talented, multi-instrumentalist Mark Hallman who features on most tracks expertly produced this CD in Austin, Texas and it is undoubtedly Sean Taylor’s best yet. THE

BISHOP

Most of your albums and live gigs include a brilliant original cover such as You’ll Never Walk Alone and Sixteen Tons, and this one is no exception with Heartbreak Hotel. This is one of my favourite songs of all time with its classic lines - we’re all “down at the end of Lonely Street/At Heartbreak Hotel.” The Elvis recording is perfect, with its piano accompaniment and Scotty Moore on guitar. I do not see the point of making covers that are poor copies of the original, we have the X Factor for that! It is important to make them different. I had a strict guitar teacher who used to tell me off if I changed anything on the tune I was

learning, so I changed teachers to one who told me there were no rules and that I could make songs my own by changing them and adding new interpretations.

One of my favourite tracks is Better Man with Danny Thompson outstanding on double bass. Yes, I look up to Danny who has performed with Pentangle, The Blind Boys Of Alabama and many more. He was John Martyn’s musical and drinking partner and the song is about the dangers of a musician’s lifestyle. I often travel for many weeks at a time and when you have been on the road all day you need a lift. The point is no-one is perfect, I know I ain’t but that doesn’t stop you from trying to be a better person.

Many thanks for taking time out tonight to share this with us. Thanks to all those who have supported my music, come to gigs and all the great readers of Blues Matters! ... Rock on x.

www.seantaylorsongs.com

DISCOGRAPHY

FLOOD AND BURN – 2017

THE ONLY GOOD ADDICTION IS LOVE – 2015

CHASE THE NIGHT – 2013

LOVE AGAINST DEATH – 2012

WALK WITH ME – 2010

CALCUTTA GROVE – 2009

ANGELS – 2007

CORRUGATIONS – 2006

FLOOD AND BURN – 2017

Robin Bibi NO MORE A SECRET

Robin Bibi Band has long been one of the busiest bands around the southern venue circuit and have played most, if not all, the major blues festivals in the UK. No More A Secret, the first album of 100% original material was released to great acclaim this summer. Robin took time out to talk to our own Clive Rawlings.

Verbals: Clive Rawlings Visuals: Paul Dubbleman

Hello Robin. Thank you for taking the time to speak with us. How's it going?

Hi Clive. Doing very well thanks! Just had a short break and now back to gigging. 2016 has been good for us. We signed a record deal in the spring with Norwich - based label Ashwood Records and we've had a very exciting and positive few months with the release of our latest album No More A Secret in the summer.

Do you get any downtime?

I eat and sleep! Then eat and sleep some more! Then I'll go for a walk, then it's time for something to eat again. Then, as I am my own manager/ agent/promoter, I'll get on social media and keep waving the Bibi flag in cyberspace. Occasionally I'll pick up my guitar to remind myself how to play the chord of E. No, seriously, I usually listen to music driving the van on the motorway to and from shows. I'm very eclectic in my tastes.

What do you listen to when you're relaxing?

Funnily enough I hardly ever listen to blues/rock for relaxation. Now, I'm listening to a lot of acoustic stuff and jazz.artists like Bert Jansch, Wizz Jones, Nick Drake, Dylan, Doc Watson and jazz artists like Wes Montgomery, Django Reinhardt, Coltrane. Then of course Blind Willie Johnson, Robert Johnson, Broonzy, Earl Hooker, J.L Hooker and of course sometimes SRV, Peter Green, Jimi. More recently the Beatles (1963 BBC sessions) and Amy Winehouse got in there

too as did Wayne Krantz. Anything that inspires me really, guess it tends towards guitar orientated music. Which reminds me, I left out Julian Bream in my list.

What were the fi rst albums you bought? When I was a wee laddie my mum bought me Sergeant Peppers Lonely Hearts Club Band! The first I bought with my own hard earned pocket money were Wheels of Fire by Cream and Electric Ladyland by Jimi. I was very young at the time and my parents didn't approve of the naked ladies on the front cover of the U.K. double album so I had to buy the single albums Part 1 and 2 separately!

What inspired you to take up the blues life? It started very young indeed. I was a baby!! I first heard the Shadows and the sound of Hank's guitar made me bounce up and down in my playpen! Our neighbours had a teenage son who played the drums, he had a band and we could hear them rehearsing through the walls of the house! They played all the Shadows stuff and it sounded amazing to me. Then I heard the Beatles and that was it again. Then Hendrix and all the British blues, Fleetwood Mac etc. I then swapped my Scalextric set for my first very cheap and cheerful electric guitar. I was more into rock to start with but a couple of years later in my late teens, I had another eureka experience listening to Country Boy by John Lee Hooker. In an instant I got the meaning of the blues. It no longer mattered how many

notes I played. It became about expression. The first time I saw BB King play live at the Hammersmith Odeon in the late 70s he killed me with the very first note he played.

How do you describe RBB's sound and what characterises your philosophy?

The RB Band is about expression and freedom and it's very largely improvised. Our sound is really crossover, a fusion of blues/roots/funk/ jazz/rock inspired music. We are all experienced musicians and are totally at ease in all these forms. It does not compromise musically and it will always acknowledge its blues roots but it's not restricted by them. I only use the very finest musicians I can find and I'm lucky they all love doing my band. It's a personal statement of how we feel. It's never the same every night and so is always evolving. Also, and most importantly, we entertain our audiences and get them involved with us. By doing this we get many fans who aren't normally into our style of music and draw them into it and hopefully they may then broaden their outlook beyond what’s played on most national radio stations. So yes, you could say we're on a mission!

I see your fi rst CD as the RBB was released in 1997?

Yes, Blue Trash Therapy, our first album released back in 1997, when I first started this project. We don't sound like that anymore. It was mainly classic Texas blues covers. Just what we were playing when we started. There is

one interesting original song on there called More To Life. I'm going to update it, cos it's got potential.

You also recorded an EP at Muscle Shoals. How did that come about?

The Muscle Shoals EP was recorded in 2014. It was so good to do a session at Fame Studios and I'd like to thank Lucy Pillar for setting that up for me. I've done quite a lot of work in Georgia/ Alabama including a 3-week tour in 2012, again thanks to Lucy, mainly playing clubs. I met some truly wonderful hospitable people and totally awesome musicians. It was a great experience and I hope to return to see all my buddies there soon, especially Henry (Mr Gips) Gipson. He's the real deal. He's over 90 now and runs Gips Place, a genuine juke joint in Bessemer, Alabama. He's truly extraordinary and still works as a gravedigger too! They don't have a liquor licence and you bring your own. Live music every weekend. Every true blues fan must make the pilgrimage there before it goes. His slogan is Where Blessings Meet The Blues. When I went

there and met him I felt a sense of homecoming. Honest! I know it sounds corny but it was emotional. He claims to have known some of Robert Johnson's lady friends. He's very religious too and it's the only place I've played where the MC says a prayer before the main band starts to play. I love the blues and when I went to New Orleans way back in 1997 I had that same sense of homecoming. It blew my mind, like finding your spiritual home or something.

Your touring band has had various incarnations of rhythm sections. Do you tend to go for regionalisation? As it says on the website, the rhythm section is subject to regional changes. I only use the best musicians I can, some of the top players in the country. But because of this they are always going to get pulled in other directions from time to time, so I've got a pool of the UK's top bass players and drummers who all know what I do. It's good because it also gives a little bit of contrast to our show. Every musician puts their own little stamp on the material. On the album Craig Bacon played drums and Tony Marten played bass and they are my normal guys. Tony and I have been working together for about 17 years now and we also do acoustic duo gigs. I often use Dave Raeburn ex Hoax, King King & Nimmo Brothers on drums along with Wez Johnson who's worked with Katie Bradley and Kirk Fletcher. Chris Belshaw often plays bass too and we've also had Spy Austin dep for us. I often pop into local jam sessions

to see who's there. I first met Jules Fothergill at a jam years ago and Andy Cortes who's now with James Bay. More recently I met Matthew Long from Catfish at a jam I run at the Swanage Blues Festival. We're all good muso buddies.

Talking about backing musicians, who would be in your dream touring band, living or dead?

Rosco Beck on bass and Keith Carlock on drums, that'd be ok! But I'm just as happy with Tony Marten and Craig Bacon or any of my guys. Ed Spevock from Babe Ruth and Chris Belshaw also play beautifully together.

Your new album No More a Secret has brass on a few tracks. More and more blues bands are doing this, to great effect, what gave you the idea? Yes, I've always wanted to have horns on some of my songs and this is the first time we've got a section in on four of the tracks. I love the Atlantic/Stax horns and I love Tower of Power too and I wanted to get a little element of that rude funky, kick ass horn sound into some of our tracks which were frankly crying out for them. I'm delighted with the result and we are going to do it again. I want to do some shows with the horns too. Watch this space!

Are your lyrics autobiographical?

The songs are indeed autobiographical more often than not. But I'm also trying to write from a point of view of others too. So, the songs which appear to be about

me may be my impression of someone else's situation/ emotions and the ones that are about me I may write in the second or third person if you get my drift. Sorry, I'm just trying to be enigmatic. No, the songs are mostly very autobiographical and somewhat personal. It's the old 'get it off your chest' syndrome. I probably write best when disturbed, upset or just plain angry!

What do you learn about yourself from the blues culture, what does the blues mean to you?

The blues is just a good man trying to make sense of his situation. It's a good man gone bad. Or a bad man come good. It's a bottle half empty, or half full. It's a longing for a better life, it's a yearning to be loved. It's a snapped string just when your solo is coming to a sizzling climax. The blues tells me I've got a heart and tells me to try to follow wherever it takes me. To quote Henry Gipson again ‘The blues is a blessing'! The blues is our emotions. It's what makes us human.

What would you say is your greatest achievement?

Well in all honesty, Clive, my greatest achievement is bringing my two amazing sons into this world and looking after them and giving them security after me and their mum split up. And not giving up on my dream and staying in this crazy business for as long as I have. It's also set an example to my kids to follow their dreams too and I'm proud and happy to say they are doing just that. I guess another obvious career

achievement could be simple, longevity. Robin Bibi Band played their 20th anniversary gig at the Bulls Head Barnes back in March. We are still rocking and I guess we will rock till we drop. Music is my first love and I'm very very passionate about it! I also do enjoy my guitar teaching very much as it’s another way of spreading the love and inspiring and encouraging the love of music. I'm a pretty lucky guy, but it's not always easy. There is a little group of us down in South London who've been doing the circuit for many years and we carry the torch for live music and particularly blues, artists like Bad Influence, Papa George, Tim Hain, Steve Simpson, and we're all on a mission to Keep It Live!

Tell me about your stepdaughter, who I saw join you for a couple of numbers at Swanage Blues Festival. Leads us nicely to Ms Chloee Christmas my beautiful stepdaughter. She's got some heart and she's highly creative, adores the blues and is a gifted songwriter too. Her voice has recently developed a new maturity, a very talented young lady. She's about to complete a degree in music performance and then wants to go into the teaching profession. Sensible girl! Her singing career's currently on hold but she still does guest spots at selected places like the Eel Pie Club, so we will see.

How can our readers fi nd out where to see you live?

To see the Robin Bibi Band, Duo or Robin Bibi perform solo go to

www.robinbibiband.co.uk and visit the gigs page. Also, look us up on Facebook, we have a Robin Bibi Band page.

Finally, my signature question, what's your favourite biscuit? This is indeed the milliondollar question. I'm not telling you! But secretly I love garibaldis, bourbons and obviously plain chocolate digestives but I'm trying to give ‘em up Clive!! Too many carbohydrates!!

DISCOGRAPHY

NO MORE A SECRET –

2016

LIVE @ THE RAM JAM ( WITH TONY MARTEN) – 2015

BIBI @ MUSCLE

SHOALS EP – 2014

LIVE AT THE OVAL ( WITH ALAN GLEN) – 2012

FAST DREAMS COME

ALIVE – 2009

SWITCH ON THE LIVE – 2009

FAST LINE SONGS – 2006

TRIBUTE TO FAST – 2003

LIVE THERAPY – 2003

LANGUAGE OF YOUR

SOUL – 2000

BLUE THRASH THERAPY – 1997

David Bromburg

WORLDWIDE DOMINATION

For fifty years David Bromberg has been picking his guitar, working the blues and Americana scene with an innovative style and eye that is always open to new experiences.

Verbals: Iain Patience Visuals: Supplied by artist

With his latest release, ‘The Blues, The Whole Blues & Nothing But The Blues’ he confirms it’s great to return to his true musical roots.

‘

WORLDWIDE DOMINATION,

’ says David Bromberg when I ask what he hopes to achieve with the release of his latest album, ‘The Blues, the Whole Blues & Nothing But The Blues.’

Bromberg sets the tone with his cheerful, deadpan New York Jewish comedic delivery before returning on a more serious note confirming his belief that the new thirteen track release is the best bit of work he’s produced to date:

‘I’ve done albums that include all styles and genres for years. It was what I did. Now that’s being done by lots of people,’ he says. ‘With this one I wanted to do something different. I wanted it all to move in one direction, so the blues it is.’

‘Larry (Campbell) produced it and it’s wonderful how he puts these things together in the studio. The thing about Larry is that when he hears, say, a band playing, he can pick out individually what each musician is doing – he’ll hear the guitar, he’ll hear the drummer, the bass, the whole thing – he can pick out it all, his mind isolates the patterns. Back at the beginning, he produced Karaoke albums,’ he laughs, ‘so he got to know and understand what everyone was doing.’ He is equally impressed, thankful

and generous in his praise of engineer Justin Guip’s help with the project.

Bromberg was one of those guys, an aspirant and superfast learner back in the day in 1960s New York, playing most of the now legendary clubs and folk/roots music haunts. He recalls playing the Gaslight one night when Skip James was also on the bill, and catching an old buddy, BB King play in California before returning to the Big Apple to spend a few weeks touring around Philly with Mississippi John Hurt. He worked with most of the greats of the period including Bob Dylan and George Harrison, recording with them many times over the years.

He also recalls picking with two old New York buddies, the brothers Happy and Artie Traum, and is clearly saddened by Artie’s passing a few years ago: ‘Both were and are great players but, for me, Artie just had the edge as the better picker,’ he says of the two brothers, both of whom played important roles in promoting the music, mixing with the great US bluesmen as they resurfaced in 1960s New York.

Bromberg learned much of his guitar technique and skills from the late Rev. Gary Davis, a man who had a singular approach and whose reputation remains undimmed despite his passing over forty years ago, in 1973.

‘The Reverend showed me that finger-picking style. He opened my ears and mind to subtlety. I used to take him to church where he’d be the

preacher. So I became real interested in the music and the preachers delivery. I’d set off and attend other black churches around New York, listen to the preachers. I was open to everything going down. I learned so much that way. Take BB (King), I played with BB many times. BB could sure play, listen to his notes, his phrasing is always centre-stage. He always said he was trying to sound like a store-front-church preacher. I get that, BB’s phrasing is like a preacher’s.’

It’s impossible not to ask Bromberg what happened to him, when he seemed to disappear off the music radar for many years in the 1980s and beyond:

‘I JUST FELT BURNT-OUT,’

he instantly responds, going on to explain how he decided it was time to change his lifestyle and reflect a bit on what was happening.

‘I’d spent about two years out on the road, non-stop touring and gigging right across America. (Bromberg’s sometime encore number ‘New Lee Highway Blues’ echoes that same time, he agrees). Something had to give. I felt I had to find another way to live life. I’d been hanging around a violin store, became real interested and thought I might enjoy becoming a guy who can identify a violin, recognise its maker by looking at it and how it was built. I took a course, immersed myself in it all, and now have my own store in Wilmington, Delaware.’

Bromberg adds that he spent around twenty years doing just that, only occasionally picking guitar when needed with buddies: ‘It was a bit like, say, playing soft-ball with buddies at the weekend. You know how you just pitch in, have fun, turn away and forget it till next time, maybe a month or two down the road. I did that with my picking. I spent about twenty years just lying low.’

Bromberg is often known as the crown king, the Godfather of Americana back home in the USA. He shrugs the title aside, dismissing

but he has always remained rooted in the blues idiom, with his albums full of twelvebar touches and stinging fretwork that clearly echoes his first love and influences.

Bromberg kicked-off his career in a New York that was a positive boiling-pot in the sixties. It was an era when long-lost, often forgotten black, southern bluesmen were on the cusp of rediscovery, traveling for gigs and making their appearances felt at burgeoning US festivals like Newport Folk Festival and picking guitar for

incipient skills. Bromberg was also part of the mix, absorbing influences along the way; he often performed at Young’s Folk Lore Centre, with epic sets that could run for over three hours, filled with improvisation and blues fervour.

Young, still deeply involved in the music, now lives in Stockholm where he again runs the city’s much admired Folk Lore Centre where he still promotes music talent and provides gig space for many local players, including BM’s Swedish correspondent, Brooklyn-born Brian Kramer.

it as coming from everyone but the Americana world. ‘I’m a bluesman, always have been. Everybody calls me the Americana Godfather, except the Americana music people!” He laughs at the thought.

Bromberg may appear superficially dismissive of this title but he’s also clearly rather proud of this. His personal arrangement, probably the definitive take on Jerry Jeff Walker’s wonderful song ‘Mister Bojangles,’ has no doubt played a part in gaining the honour. For many years, Bromberg was Walker’s right-hand in the studio and on the stage-weary road.

That Bromberg has returned to his blues roots, should come as little surprise. He might have mastered Americana, bluegrass, jazz and rock styles over the years

enthusiastic young audiences in small, smoky Greenwich Village bars and clubs. Gary Davis, John Hurt, Skip James, Brownie McGhee & Sonny Terry, Hacksaw Harney were all there, eager to play, pick up gigs and happy to share their know-how with anyone who would buy them a drink or a bit of food, or simply find them a bed. They were the bedrock of the city’s music scene at the time.

Central to this scene was the now mid-80 year-old Izzy Young with his Village Folk Lore Centre, where Maria Muldaur, Joan Baez, Bob Dylan, Dave Van Ronk, Jorma Kaukonen, Roy Book Binder, Happy & Artie Traum and a heap of others passed their days drinking coffee, smoking, playing guitar and honing their

Bromberg remembers playing a set for Izzy Young at New York’s Washington Square Church where he forgot the English lyrics at one point and simply picked on, trying to railroad his mind to work way ahead while he recalled where he was and what he was doing and singing: ‘Until then, I’d been mostly an accompanist, but Izzy gave me this gig and it was really my first solo gig where I was a protagonist rather than an accompanist, support player.’

Ultimately, perhaps, Bromberg’s truly iconic status is well deserved for this is a guy who knows no boundaries and has mastered most music genres in the course of a career that now spans over half a century: ‘I always try to make the music more accessible. I try to be open, to communicate with creativity. I enjoy being on-stage and also being in the studio. I’m up for all kinds of music. I never saw any reason to think I can’t play that. I’ll try anything.’

“I’M A BLUESMAN, ALWAYS HAVE BEEN. EVERYBODY CALLS ME THE AMERICANA GODFATHER, EXCEPT THE AMERICANA MUSIC PEOPLE!”

Tim Williams BLUES SO LOW DOWN

For half a century US picker Tim Williams has been out on the road, doing his thing, picking and sliding along just beyond reach. When he picked up two IBC ‘Best Of’ awards in 2014, he was suddenly pushed into the blues spotlight. And yet… somehow or other, he stubbornly remains largely unknown outside of the Americas.

Verbals: Ian Patience Visuals: Laura Carbone

If there is a true mystery about Canada-based, US acoustic bluesman Tim Williams, it must surely be why he’s largely unknown and unrecognised. Williams is no newcomer, no new kid on the blues-block. This is a guy who has sure paid his dues, gigging widely and popularly across his adopted homeland in North America and turning out albums that positively zing with class and style. With his latest release, ‘So Low’, an inevitable play on words, selling well to widespread international acclaim, it’s hard not to think that just maybe his time has come.

Williams himself is a tad self-deprecating about the apparent lack of global recognition, acknowledging the difficulty faced by all bluesmen of whatever stripe and style. He chuckles when asked why he’s remained over-looked for so long, responding with typical humility and modesty: ‘Yea, it’s kinda puzzling at times. I’ve been a pro for many, many years but I guess it’s just the way it is. It can be a tough business, for sure, but I love the life and the music.’

And with a brace of IBC awards in 2014 under his belt, it’s pretty clear that many others in the bluesknow also love his take on life and music. Williams is a truly talented picker, a Piedmont stylist of major significance who is also happy to turn his hand to some electrifying slide work and Delta ringing blues when the fancy takes him. His influences come as little surprise and include many, if not most, of the old traditional acoustic greats together with a few unexpected regional influences that he values enormously:

‘Lightnin’ Hopkins has always been a particular influence, way back from the very beginning, when I first began playing guitar.

Then I’d have to add Bill Broonzy, great thumping, rhythmic style of picking and delivery. Mississippi John Hurt, always a pleasure, a delightful, melodic picker; Skip James and Reverend Gary Davis. All the greats really. I try to take elements of all their various ways of playing and incorporate them in my own work. It’s a natural, near-organic process now, not something I consciously have to think about,’ he says in explanation of his own personal approach to the music.

‘My style draws on all those greats. Their playing and ways of picking have all become style-tools in my own, personal musical tool-box, I have to admit. I guess Sam Hopkins was the one that first really fired me up back in California, before I moved North to Canada. His music has always been with me, a central importance to me. But I also love Hawaiian-style music, and Tex-Mex. Mexico is ignored way too much. Some great music comes out of the place and I’ve been impressed and influenced by this too. What I love about Sam Lightnin’ Hopkins is the ability he had to drive along with great rhythmic mastery and control and speed, when needed, before turning around to pull in,

maybe, a sensitive sounding slow blues piece. Great skill and style. And then there’s always Robert Johnston out there, influencing just about anybody who tries their hand with a slide.’

Williams first began playing local coffee-houses in southern California as a kid back in the sixties, when pop was king and often transitory one-hit wonders pretty much ruled the musical roost worldwide. ‘I reckon I was about eight years old when I started. After about three years, maybe four years, aged around twelve or thirteen, I got my first real, playable guitar. I became interested – maybe fell in love with – the sound of slide guitar way back then. My grandfather introduced me to the music, playing with an old pocket-knife. The sound was amazing. I was hooked. It made me want to figure out, see how they did it, how they made that sound, that incredible style of music. I immersed myself in this kind of playing pretty much exclusively till I was maybe seventeen or eighteen, listening to Mississippi

Fred McDowell and Robert Johnston before also taking up mandolin and ukulele, a tenor uke, and some banjo. I became increasingly interested in the possibilities of the instruments themselves and then the various ways of using them looking out towards bottleneck work and some Hawaiian slackstring styles that were surprising and gripping.’

Williams describes his live sets as being the most

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enjoyable, personal parts of the business, and confi rms he enjoys being out on the road, meeting blues fans and hopefully also turning some onto the music for maybe the fi rst time. His sets might typically break down into roughly equal thirds with some of his beloved Hawaiian focussed material, then maybe straight resonator slide-work and also some blues mandolin material all fi guring in the mix. He just takes it all on, depending on how he’s feeling and how the venue or gig feels to him. It’s very much a sort of ‘play it by ear’ approach that probably has its roots in his own personal musical development and style.

bluesmen across the Pond and he has worked with and alongside them. Among his countless efforts, he has shared stages alongside the likes of Dr John, BB King, Mary Flower, Taj Mahal, Robert Junior Lockwood, Odetta, Rory Block and Bonnie Raitt. He cites Leo Bud Welch, and the much younger current New York based Blind Boy Paxton among his best blues buddies before adding: ‘Now John Hammond, there’s a true bluesman. He’s been around for about forty-five years, maybe more even. Now he’s really blues to the bone.’

TIM WILLIAMS SO LOW

LOWDEN PROUD RECORDS

As a songwriter he looks back to the historical greats, but is keenly aware of the need to look forward and embrace the current life and environment: ‘These days the blues is more important than ever. It has always been the language of struggle, of toughing it out, of pushing the boundaries. Blues is and always will be a real poetic language. Always important, I reckon.’ Both Tom Russell and country music, Nashville giant, Willie Nelson are fans of his writing.

Of course, Williams’ output and ability is admired by many other professional

Although based in Alberta, Canada, Williams travels and plays gigs and festivals throughout the Americas, often pitching up in Mexico, or maybe playing the legendary Arkansas King Biscuit Festival; he also turns up as a tutor from time to time and helped out at Port Townsend’s blues camp in Washington State in 2015. Like most bluesmen, he’s open to suggestions and offers of engagements in the UK or Europe if possible, and recently played in Italy.

In 2014, Williams travelled south to Memphis to play as a contestant at the Blues Foundation annual awards bash. To his seemingly genuine surprise, he didn’t just do well but successfully picked up two major awards for his stunning acoustic blues mastery: Best Solo and Best Guitarist awards were received, a recognition of his true blues mastery, if ever there was one.

So Low is the latest release from Canada-based, US acoustic picker, Tim Williams, an album that has been gaining evidently well-deserved acclaim while also bringing many new fans to the music of this Blues Foundation Award winner and his stunning fretwork. Williams is another of those somewhat self-deprecating bluesmen who has been out there, pushing the boundaries, interpreting and invigorating the music of countless old masters. With So Low, Williams moves effortlessly from Lightnin’ Hopkins through Bill Broonzy and Blind Boy Fuller to the jazzy undertones of Mose Allison and some downright country from Johnny Cash. In short, this is an album that genuinely crosses divides and genres while always remaining firmly rooted in the very best of the acoustic blues tradition. Williams has the confidence and ability to throw in a few of his own compositions here, tracks that give more than a passing hint of his deeply profound understanding and knowledge of the music he clearly loves so much. If you’ve yet to catch this guy, go out and do yourself a favour by buying a copy of this album. As an introduction to Williams and his music, it will certainly whet the appetite leaving you wanting more.

IAIN PATIENCE

DISCOGRAPHY

SO LOW – 2015

BLUE HIGHWAY – 2013 EVENINGS AMONG FRIENDS – 2008

SONGSTER, MUSICIANER, MUSIC PHYICIANER – 2008

WHEN I WAS A COWBOY – 2006 PASSED THROUGH HERE – 2004

“ MY GRANDFATHER SHOWED ME HOW TO PLAY THAT STUFF, WITH HIS POCKET-KNIFE ”

Quinn Sullivan DRIVING FORWARD

Glenn and Quinn met at Buddy Guy’s London show last summer –here they catch up and talk about the young guitar star’s forthcoming Mascot label album release, Midnight Highway. The record covers a lot of styles and moods, enjoy his conversation about it…

Verbals: Glenn Sargeant Visuals: Chuck Lanza

Hey Quinn! how ya doin’?

I’m good, Glenn. It’s great to do this, I’m back home in Massachusetts right now.

Describe your home town in a few words. It’s fun. It’s interesting, diverse, with all different kinds of people, y’know? You get to hear a lot of varied music.

When Dad and I fi rst saw you it was at Hammersmith, with you opening for Buddy Guy. How has the experience of being able to tour with him been for you?

(Sighs) What it comes down to is that man has shown me the world, and helped me so much and yes, I owe everything to Buddy. I think we met when I was 10 or 11 years old and he let me go on the tour bus and meet his crew and band - and then go to lots of very cool places and literally showed me the world, where to go, all over the US and then that European tour. So the way I see it, I owe a lot to him and his kindness. Of course he has the talent and the experience and all that stuff. And to open for him, well. I get to play places I could never have imagined performing in, legendary venues like The Hollywood Bowl and Red Rocks - and of course Hammersmith where we were talking. It has definitely helped me a lot to have that encouragement.

This might make you laugh, but the minute your set fi nished, I turned to Dad and said ‘Mascot ought to sign this guy!’

Oh wow! Thank you very much!

Your record – my favourite track here is Tell Me I’m Not Dreaming. Now how did that number come about as regards the writing/ recording process? That was from Tom Hambridge, who produced the record, with a co-writer. Like you, I immediately fell in love with the song. He had a recorded version of it. I said that it was cool and could we record it to see how it came? We did end up recording it and putting it onto the record. I am grateful for that as it’s a great song, very strong and powerful. A killer track, glad you buy into that one.

You have quite a lot of songs you have written yourself on here – on the cut Eyes For You, was that written about a specific person or what? Hmm, that was a co-write and I think it is maybe more of a general message, there, it wasn’t really a personal thing to an individual, I have eyes for you, not for anyone else at this point, maybe it would if a girl sang it for a guy? You have me thinking now! But another one that was a bit more personal was Going, which is about someone specific, I admit.

My notes here are that you want to develop as a songwriter as much as a musician, so is there any particular area or channel where you fi nd inspiration? Yes, there are quite a few artists that I listen to a lot that make we want to develop the songcraft side. They

inspire me, certainly. It’s a freedom thing, songwriting and lyric writing - there aren’t any limits or boundaries, really. I might come up with a lick on the guitar that I want to use as a trigger for a song, or a melody, and what I do is record it on my phone, to hear it back later. I don’t really have a home studio type set up yet. I’m not really into that whole advanced tech thing. I keep it simple and store ideas that way. If something comes out of it then fine, if not there are others brewing. That’s how it is with me.

I was wondering whether you listened to a guy called Brad Paisley?

(Warmly) Absolutely!!

Cos every now and again there are elements of country rock in your music, along with all the blues and rock and jamming ones. Tom Petty? Oh yeah! He is fantastic, all round. It’s maybe not even a conscious thing, but I do totally get what you’re saying, as that would influence the songs I come up with. As a natural thing, yes. Tom Hambridge is a huge country fan and has produced many country acts.

Tom seems to have the art of making people almost play beyond their skills, to stretch them creatively? Now I would totally agree with that! He is a great guy, singer, writer, drummer, producer. He is fully relaxed the whole time, calm and all - but he gets things done. He doesn't slack off or waste time but he doesn’t rush either. He just has

that way about him and it affects you and helps you.

Let’s talk gear – what hardware did you use on this album project?

Quite a mixture! The main guitars are a mid-60s Strat and a Gibson Les Paul. The studio in Nashville was full of magical vintage stuff and I love all that…a Thunderbird a coupla times. An old 335. An old blonde Telecaster…so there is a bunch of different stuff but the Strat is really my go-to a lot of the time. There’s so many different sounds it can make.

Do you have any favourite tunings?

On stage I pretty much stick to the standard EADGBE tuning, but at home around the house, I do indeed like playing with, say, Open G or Open E, and lately I have worked around D minor tuning just to see what I can do with it. I know Jimi Hendrix used to mess around with different tunings - it can be interesting - so that is something I can be getting more into, over time. It can give you a different taste on the music!

Around this house, I hear a lot of 12-string! Do you have one?

Oh, yeah, I have a Yamaha that my uncle gave me. Haven’t played it in a while so I shall, cheers! A really cool texture and sound.

There’s some acoustic on your record – is it a Martin or a Gibson? Correct, I did use a Martin on a couple of songs there. And a really old Gibson Hummingbird on two.

The action sounds low? Yes, I keep the action low on my guitars, in the main.

Is travelling a bore or a boost, for you?

Oh, seeing the world and experience things, that has to be a boost!

What was the fi rst live music show you went to? How old were you?

I saw Paul McCartney when I was five years old! Boston Gardens. It was the loudest show I had been to in my whole life. There was a very cool band he had put together for that show. It was so electrifying. I am a huge Beatles fan. That was my fi rst love, The Beatles. That was big deal for me back then to see that performance.

Ok Quinn, thanks for this and it’s a great album with a good team aboard so good luck with it

Thank YOU, Glenn – let’s catch up when I am next over!

QUINN SULLIVAN MIDNIGHT HIGHWAY

MASCOT/PROVOGUE RECORDS

Quinn has a deep musical knowledge, it is little wonder that the blues legend Buddy Guy has put the spotlight on Sullivan in his quest to keep the blues as vital part of our culture and push the age range appreciating the music. The programme starts with Something

For Me which starts with a slide whine and disembodied treated vocal over a hint of voodoo. It’s striking and the rolling beat and tinkling piano shouts Saturday Fish Fry. The sharp guitar stings its way across the mix. Tell Me That I’m Not

Dreaming is not the similarly titled Was Not Was funk workout but a ringing-guitar-led country rocker that sounds fresh and heartfelt. Insanely catchy chorus, to boot and the guitar having just as much bite as the opener, in a different vein; Midnight Highway has beautiful acoustic intro, warm Hammond and a John Hiatt moody backdrop with a sweet melody worthy of the Marshall Tucker Band. Crazy Into You is choppy funk brilliantly handled, excellent vocal, tight production, just-so fuzztone and keys-soaked bridge; Eyes For You is an acoustic tumbler and a different vocal timbre. Lifting Off drops us back into the funk and at a brisk tempo, more great singing, romantic lyric OK, edge-of-lust really. She Gets Me is altogether folkier, maybe the best singing here, key perfect, with the backing kept minimal until

mid-point. Rocks throws the dirt in your face, delay on the vocal track. Going takes gentle route into a rather mystic soundscape; Graveyard Stone, has a big sound, the kind that Hambridge gives a Yank Faces vibe to and pulls off. Big Sky is soaked in the evening air over crystal piano and could be the start of a Quicksilver jam as it opens, very beatific and soothing. While My Guitar Gently Weeps has been recorded a little too often to sound really fresh here, but is listenable enough. Closing cut Buffalo Nickel is a graceful cowboy adieu. A lot more than the latest young gunslinger, Sullivan’s vocal and instrumental talents are superbly showcased here on some exceptional compositions. He is using technique to deliver soul, whatever the style selected.

PETE SARGEANT

The Blues Foundation

OUR MISSION BECOME

To preserve blues heritage, celebrate blues recording and performance, expand worldwide awareness of the blues, and ensure the future of this uniquely American art form.

Mick McConnell MUSIC IN THE VEINS

Whilst holding the guitar slot in international touring pop-rock band Smokie, Mick McConnell has a neat line in roots music styling and original songs and a solo album Under My Skin coming out to showcase this side of his work. He meets our man in London to explain all over lunch…

Verbals: Pete Sargeant Visuals: Michael Craft and Tom Balaam

Thanks for travelling down to meet up Mick, to talk about this record of yours –where are you based?

Now that’s a difficult question for me! I live in Ireland in the winter, in the west between Galway and Sligo and then in summer, I live in Spain. Though I’ve come down from Yorkshire today. I’m a bit of a gypsy! I have two kids, one going to university, one at school. When Smokie tours, I’m with the band, of course.

Your record – I listened closely to it and with a completely open mind given that I am always playing all kinds of music and what I like – without being too obsequious – is that it breathes. The songs don’t grab me by the ears and shout in my face. So, is that a deliberate move, Mick or is that just your natural style? (Emphatically) It’s deliberate. In many ways, that is. By the way I choose the music and what to play on each track and I am a great believer –learning this while doing hundreds of recordings – that being a good musician for me is really learning what NOT to play. Does that make sense?

Well yeah! I was friends with the great Andy Fraser of Free and that was his vibe. I did discuss exactly this with Eric Johnson and said ‘There’s a point at which the painter puts down his brush’. Yes! Obviously, you are doing each song individually and the one thing I hate in a recoding process is throwing the kitchen sink at it! You have to do twenty guitars, you gotta do this

and that. A lot of producers subscribed to all that a few years ago. But I think you can attain the atmosphere with the dynamics of the playing. And I go back to the thing again - what not to play. Good musicians learn to understand quite quickly what the other musicians are doing.

I like groups that look at each other. If I see a metal band and they’re all just standing there looking quasi-tough staring forward, it just isn’t happening for me. With us it’s all totally live, the players in the room together. A small handful of overdubs and that is all. So the entire band every time is playing together - and especially on the tracks recorded in the States. So you can really just bounce off one another. I love that way of recording.

The vocals and the backing vocals on this, they’re very good. So what’s the process here? The bv’s evolve as the backing vocalist takes on the task of contributing. Four tracks were done in the UK and the other six in the US. For the UK I gave the brief to the engineer and I did know the girl who sang, so that sorted that out. In America the producer Blue Miller did it, knowing what I was after. He has a Grammy for working with India Arie, so as he lives in Nashville and works there a lot on sessions, he knows all that. It’s the highest-paid trade in Nashville music, backing vocals. He knew Lisa, who got to the semi-finals of America’s Got Talent. Now,

she would spend hours on a single track with him and on a personal level I love what he did. Most people reviewing the album at present do seem to love that aspect too.

How long have you sung? I turned professional as a guitar player when I was eighteen. And I have sung ever since.

Many of us start playing and then try singing later down the line. Yeah! That was me! When I was fifteen I started playing in a blues band called Driving Sideways

Freddie King!

Yes, and I suppose doing bv’s. Then I was in a couple of very heavy rock bands. I was singing and I had a much higher range than what I have now. I have this croaky voice now…

I described it as sandpapered.

(Smiles) Quite – but I hope and think it serves me well and gives me bit of distinction or character!

With the organic band sound you favour, there’s a slight Faces vibe that creeps in. That means it’s not going to be operatic, it’s going to be a more soulful thing. I don’t know your record collection, but, do you like Little Feat?

I LOVE Little Feat!

Nazareth?

Hmm, yep, in parts certainly.

And sometimes your vocal phrasing has a pinch of Boz Scaggs BUT

within your own style… you’re Irish, aren’t you? Yes, born in England but to Irish parents. If I turn the clock back, to when I first picked up an acoustic guitar, those times I was very influenced by all my brother’s records. So yes The Faces, Thin Lizzy - the first one.

Shades Of A Blue Orphanage. I saw that trio at the Lyceum, they ran out of songs and did I’m A Man! Eric Bell. Taste of course, and then a little later the guitar bands of the 70s such as Wishbone Ash with the twin-lead guitar style going on.

Home, Holy Mackerel! But if you dig that, it gives you a tumble into arrangements and arranging, how you want things to blend or counterpoint… Yes! Methodically worked out and structured for effect. Winding the clock forward to where I am today, I want that structured element to the guitar solos, a song within that song and really saying something.

The best people at that are probably Steely Dan, King Charlemagne. Yes! That great phrasing! So when I write today, I usually

get a riff going. Lyrically I write that part of the song on my own, usually. For the US tracks, we agreed that Blue would go away and do what he thought worked best, and then we would review it all later. On the first song, he’d kind of changed the lyrics around BUT without changing anything I’d written. He made lines make sense. He asked if I was happy with that and I just said yes it was great, it was working.

Is it a bit like handing a painted canvas to someone and they come back with it framed?

MICK MCCONNELL UNDER MY SKIN

STUFF MUSIC

Mick plays guitar in the current line-up of pop-rock band Smokie but steps out here on his own project featuring his guitar playing and singing. He comes across as a story-teller. Holdin’ On has a moody slide intro then settles into a light-footed chugging blues rocker, Mick’s sandpaper voice to the fore. Warm Hammond rolls along in the backdrop and in a way it’s a tad early Faces in vibe. Man With A Smokin’ Gun is a fateful tale and again the band sound swings with backing vocals to suit. The lyric could be from a Rory Gallagher number and the bridge is cool, the guitar almost pinch-harmonic. One McConnell characteristic already seems to be not to pile everything on at once but to use dynamics to maximum effect. No She Don’t Like Country is full-blooded country

rock at mid-pace in a Jason Aldean style. Mick’s diction is good so we hear every line; All My Soul is a lovely subtle bluesy song, the kind that Chris Rea can produce when in the mood and once again the backing vocal arrangement is spot on and colourful. The guitar runs are kept clean and fluid. Lock You Out nods to Southern Rock with fine bass playing. Visiting Mr J cruises in on linear guitar and a poetic lyric with damped guitar figure running along behind and big-chord strokes overlay the sound. Moods On A Rainy Day brings in a light chorused guitar sound and an almost bossa beat. His voice sounds excellent here on a catchy song. Cross The Line sets out mean and punchy and should immediately be referred to Mr D Coverdale! Under My Skin twists into earshot with delay and another story lyric. Spell On Me for me is too obvious a nod to Gary Moore, but every album seems to have one! Proper songs with ace vocal arrangements and NOT just expert guitar playing.

PETE SARGEANT

Yeah, exactly and that’s what a producer does with a song. It’s putting the fairy dust on the music…when you are doing a solo album, you need to take step back from it and let someone else put their stamp on it, add their little creative ideas to enhance it all.

Of these songs here, which of them is you at your most emotionally open?

(Ponders) All My Soul. Me and Blue wrote that song in about ten minutes, start to finish. Electric and acoustic guitars…and for some reason Pete, the lyrics just came straight off my tongue, that immediate thing, effortless really.

What Dave Crosby calls

The Muse dropping on your head!

(Laughs) And I just don’t know what happened! A lot of the other songs I wrote in my little music room over in Ireland. I would go back to the lyrics week in and week out. Tweaking this and that.

But there’s a point where you have to run with something.

The players in Driving Sideways, they could presumably sense that they should encourage you and you would come through and develop your talent? Absolutely, they really took me along into the music and looked after me. Under their wing at the time, and we gained a bit of a cult following around Leeds. Eventually we had two or three residencies playing live to the crowds. We became a twin-guitar band. Doing F Mac and Mayall stuff and that, gave me a great grounding not just in playing blues music, but structuring the guitar parts to get the best results. All part of the building blocks.

Will you be doing some promo dates for the record?

Oh yes, that’s the plan – and we’ll make sure you’re invited along.

Jim Dolan (The J.D. of the band’s name) is a highly successful New York businessman. He is extremely successful and in his spare time, he loves to write blues songs with his band and take them out on the road. Success breeds envy, and more than one commentator has branded Mr. Dolan as something less than genuine, who enjoys his success because of who he is, and his powerful connections, than because of the genuine merit of his band. We don’t avoid the difficult questions, so let’s start right there.

JD & The Straight Shot ONE FOR THE ROAD

Verbals: Andy Hughes Visuals: Kirstin Barlowe

I’d like to get the elephant in the room out of the way fi rst off, which is the fact that some people in the media regard this band as a vanity project. What’s your thought about that? I think some people are assholes! Let me tell you something, your ears don’t lie. It’s all about the music. People can say what they like and people can cast aspersions, and they do, but at the end of the day, it’s about the music and you either like it, or you don’t. Trust your ears.

You must have a fair guitar collection by now? I do, I have around a hundred. But I don’t buy guitars because of their collectability; I buy them because I am always searching for different sounds. There is no point buying the same sound twice, so my collection is varied. I have a 1963 Martin D-35 which is my favourite acoustic guitar, and my favourite electric is a ’64 white Strat.

Do you ever have a bad show – when you don’t enjoy it, which is hard to imagine.

I’m one of those people who waits for ideas to come down and I write them down (produces thick notebook full of stickers and page markers). The green sticker pages are pages with song ideas that are being worked on at the moment, and I bring them to the band and we see if we can do anything with what we have there.

Where do you get your song ideas from?

Well, I have the music of Paul Simon, Eric Clapton, The Eagles, Neil Young, basically the people whose music I grew up with. What we do, the music we are making, back in the 1970’s’ they would have called if folk music, and it had its share of big stars, Crosby Stills Nash & Young, people like that. I think we take a lot of inspiration from their music, but we put it into a more modern context and style. It comes under the umbrella of Americana now, but what sets it apart for me is that it is acoustic, and that does make it different from a lot of stuff that is out there now. I think that when you know you are going to see an acousticbased band play live, then you have expectations, and we hope to rise above that and be something special.

To me, a bad show is when you are playing to nobody. This summer we played in Pennsylvania and it was hotter than hell, it was a festival that was really dying, and we got slotted on the stage. They couldn’t get the sound right for the first half of the gig, but it didn’t matter because there was only about ten people spread across the front of the stage. We have had all extremes at various times.

What is the blues song you wish you had written?

You Don’t Love Me. It’s something that changes, you could ask me again in ten minutes, it may be something different. The Allman Brothers played it on their Fillmore East album, and I have always really admired their playing on it.

When you write a song, how do you know it’s ready, and it’s fi nished, and you should not work on it anymore?

You are at a level now, the band has been recording and playing for a long time, you have a successful career as a band, but there is always another level to aim for. How do you work towards that, do you have a plan? You’re right, there is always another level, and we do think about it. The plan for the next record is still to be acousticbased, but to work in more vocal and instrumental harmonies, change up the sound a little bit. I don’t expect it to be a huge change, but we want to move forward. We are aware of keeping the fans we have, and developing new ones, and that does mean change. When we changed from an electric format to an acoustic format, that was a huge change, and I sure there are fans who didn’t like that change, and we have to live with that. When I listen back to the albums we made when we were an electric band, I really like the stuff we did, but I like the acoustic stuff better.

What’s the best song you have ever written, and why is it the best?

It’s the last song I wrote, it’s I Know You Know I Know, and it usually is the last song I’ve written, again that works for most songwriters I think. I am very fond of Don’t Waste

YOUR EARS DON’T LIE. IT’S ALL ABOUT THE MUSIC.

My Time, and that is one of my favourites, I have always enjoyed singing that song.

Are there blues musicians that you admire that you would love to get up on stage with?

There are blues musicians that I admire greatly, and because of that admiration, I would never get up on stage with them. Eric Clapton I admire hugely, but I wouldn’t dream of getting up on stage and playing with him. It’s just not going to happen, I would feel inadequate. I can’t imagine that anything that I do, or could do, would add anything at all to what they do.

What ambitions do you have for the band?

To keep making great music, and to keep trying to get it out there for people to hear it, and to enjoy touring and playing live. I have been asked if I will retire and do this full time, but I am not planning to do that. I love doing this, but I also have a very interesting business career and I have my wife and six sons, and I get pleasure out of all aspects of my life. They give me balance, and I think balance is vital. This is my major passion though, no doubt about it, this takes me to a totally different place. Making music and listening to music, I can’t imagine my life without that.

DISCOGRAPHY

I KNOW, YOU KNOW, I KNOW – 2016

BALLYHOO – 2015 BETTER FIND A CHURCH – 2015

Ronnie Baker Brooks THE BLUES IS THE TRUTH

Born in Chicago, he started playing guitar around age six. At nineteen he played with his father Lonnie Brooks' band for twelve years. Caught up for a chat about his newest release, career influences and values. It went something like this…

Verbals: Colin Campbell Visuals: Paul Natkin

Hi Ronnie, thanks for taking time out from your busy schedule. How’s it going with you? Where are you today? No problem. I'm hanging in there in cold Chicago.

Can you tell us about your new release, Times Have Changed? How did you get the band together, production team, ethos behind the making of it? Is there a theme you chose?

I'm very happy with the release of my new recording Times Have Changed. Also I am very excited to have had a chance to work with the producer, Steve Jordan. Steve put together the musicians, the studios, song selections and guests. I basically went in trusting Steve with a lot of responsibilities. I've always dreamed of working with him and it came true – and then some! Steve told me when I arrived at the studio "I know you are used to doing everything on your previous records, but look around at the talent in the room, We Got Your Back!"

First release in ten years, that must have been a daunting prospect, especially bringing in Steve Jordan to produce it . What a scoop! How did that make you feel? Well, on my previous records, I've worked with platinumselling producer Jellybean Johnson of the band The Time, from Minneapolis, MN (he produced Janet Jackson, Nona Hendrix and Mint Condition to name a few). Working with Jellybean prepared me for this musical challenge, but I must admit,

at first I was a little nervous because of Steve Jordan's history of production credits, the musicians' histories, plus I was getting to know Steve and how he works in the studio. Then we had some very special guests, so it was an adjustment. I wanted a good record that I felt good about and also I wanted to learn from Steve. But when the music started flowing, I felt a deeper connection with Steve and he made me comfortable to be confident in what I do. Even though it was my record, I didn't want to step on anyone's toes because

next to each other. I hope that we can do it again.

What is the process you go through to writing and singing new material? Is it lyrics fi rst or what is it?

I go with what hits me first. Sometimes it could be a lyric, then it might be the music. It’s great when it's both the lyrics and the music. I love writing songs – I wrote every song on all of my previous recordings. Sometimes it can be challenging though. I try to improve on each record with my playing, singing and writing.

I have so much respect for everyone that is involved with this record. Steve made sure we all were on the same vibe!

There are also special guests on this project, including your dad Lonnie on Twine Time. What was that like to play with him again and you being the boss? Any plans for more collaborating with him? My dad was very open to work with me. It was very comfortable for us because we've worked together many times before and we know each other very well. I have to give credit to my buddy, Big Head Todd, because he recorded my dad's part on Twine Time at his house in Chicago, and sent it to us in Memphis after I had already recorded my part. When you listen to Twine Time, it feels like we are playing right

Are you pleased with the result? It certainly sounds amazing. Such a talent. Yes! Thanks!

Did you always want to play guitar and sing? Did you feel pressured into going into the music business? I always wanted to play guitar and sing, but didn't think about it as a career until I got older and was able to go on the road with my dad. He never pressured me but he did say "if you want to do music as a career, you have to be serious and dedicated”.

How did you feel when you fi rst went on stage and what’s your fi rst musical memory of playing big venues? My first time on stage was at Pepper's Hideout in Chicago at the age of 9. My first musical memory

I LOVE SEEING PEOPLE HAPPY AND IF I CAN DO THAT WITH MY MUSIC, THEN THAT'S AN AWESOME FEELING FOR ME

of playing a big venue was nerve-wracking and exciting. I got to play in front of over 200,000 people at the Chicago Blues Festival!

What’s the best musical advice you have been given?

From Albert Collins “Be yourself and not try to be anyone else.” Also, “Take what inspires you and what you can feel, then make it you.”

From Jr. Wells “What comes from the heart reaches the heart.”

From Willie Dixon “When you sing the blues, you got to deliver the song.”

From Lonnie Brooks “You got to leave my band and go out on your own. If it don't work, you can always come back!”

Who are your musical idols, if any, and influences on your career?

I have many! Lonnie Brooks, Albert Collins, BB

King, Freddie King, Albert King, Koko Taylor, Elvin Bishop, Jr. Wells, Buddy Guy, Otis Rush and Luther Allison to name a few!

What would be your earliest musical experience and how has that influenced your career? Did you always want to be a musician? My dad teaching me to play guitar when I was the age of 6, then allowing me to play on stage at Pepper's Hideout at the age of 9. I just wanted to be like my dad, a musician.

What’s the blues music scene like in Chicago these days and how do you see it developing? The blues in Chicago is still surviving pretty strong, considering it's been tough with the economy these days and a lot of the older blues musicians passing on, but we have a strong fan base, some good talented

musicians with many clubs and the Chicago Blues Festival is the biggest free blues festival in the world.

You have dabbled in a lot of other genres such as hip hop especially well with your pal Al Kapone. You seem to have a good relationship with him. How did that come about? Is he an influence on your style? I met Al Kapone around 12 years ago in Memphis, through my friend Niko Lyras at Cotton Row Studios. Al appears on the track, If It Don't Make Dollars Then It Don't Make Sense from my The Torch cd. We've been friends since, so it was fitting for him to rap on the track Times Have Changed, when we recorded it at Royal Studios in Memphis. He grew up around the blues and I grew up around the beginning of the hip hop era, so it's been a nice union.

Do you think the young generation can relate to the blues scene in general?

I really think if they are exposed to the blues with someone they can relate to and feel, they will dig it. But sometimes you got to go through some things to relate to the blues. The key is to expose it to them early on in their life.

What would your advice be to an upcoming musician who wants to play the blues genre in particular?

You have to really love the music and be dedicated to it. “What comes from the heart reaches the heart.” – Jr. Wells.

What music do you listen to and what upcoming artists do you like?

I always listen to the blues, but I keep my ears open to good music that makes me feel something. I got a 14-year old daughter, so I try to keep up with what she likes.

It's a young guitarist/ singer named Jamiah Rogers in Chicago, he's an awesomely talented musician!

Where is your favourite venue to play and what has been your favourite gig?

I love to play in front of all people who appreciate music anywhere. It's always great to get love from your hometown though. I do find a deeper appreciation in Europe. I love seeing people happy and if I can do that with my music, then that's an awesome feeling for me. The people can make the gig good for me. It's cool to play in a nice setting to help create the vibe too. I plan to tour around this release, Times

Have Changed, wherever I'm welcomed because it's been a long time since I've released something new, so I'm excited and proud of this record.

When you are not playing music, what other interests and hobbies do you have? I used to play basketball but not as much anymore. I love spending time with my family. I like to go out and jam with my friends in Chicago also.

The term blues means lots of things to different folks. What’s your handle on it and why? The blues is the truth. Sometimes it hurts, sometimes feels good, but it's always a healer.

What are your favourite blues songs to sing and to play guitar to? My song Born In Chicago is always fun and a crowd favourite, but I dig playing Long Story Short and Times Have Changed from the new record.

If you had a chance, what would be your ultimate blues band players to jam with in a group and why? Wow, good question. I think we may have accomplished that with the guests on my new record!

How important is music in your life and what do you see as successes you have had and what failures? Music is very important in my life. I've been blessed to do what I love to do for a living. I don't mind getting up at 4am to go to work. There will always be ups and downs when doing

something you love to do, but you just keep on going because you can receive so much back if you really love it.

How difficult was it to adapt from being a band member to a band leader and great showman? What qualities do you think make a good showman? It has not been that difficult to me from being a sideman or a leader. I played with my dad Lonnie Brooks for thirteen years. I learned from him how to make the music sound better as a sideman, then I've watched him and some of his legendary friends move the crowd, so I take some of what I do as a leader from that.

What would be your legacy regarding music and how would you like to be remembered?

I don't want to be forgotten. I just want to do my part in keeping the blues alive and hopefully some kid that's not born yet can be inspired to do the same.

Thanks a lot for your time and insight. Good luck for a prosperous future. Thank you Colin and Happy Holidays to you and yours!

TOP

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

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JACK J HUTCHINSON'S BOOM BOOM BROTHERHOOD SET YOUR HEART FOR THE SUN

INDEPENDENT

Jack has been a long-time friend of the Boogie Train, now, even Paul Jones is getting to give him air-play. Emigrating from the northwest of the UK to London a few years ago, Jack originally planned to make it as an artist, but found there could be more money in music, making a name for himself initially at the renowned Ain't Nothing But The Blues Bar jam sessions. Meeting up with bassist Rick Baxendale, he found a kindred spirit, a mutual liking of Peter Green's Fleetwood Mac, Cream, Zeppelin, thrown in with a touch of Southern Rock. Having already met drummer Jim Brazendale at jam sessions, the obvious next move was to form a band. This came about in 2015 and, after a couple of EP’s, the first studio album came about. American harpist Tom Brundage appears as a

ALBUMS DVDS BOOKS

REVIEWS

The big blues reviews guide – accept no substitute!

special guest on what turns out to be a corker. Some of the tracks have appeared on the aforementioned EP’s in acoustic form, but the likes of opener Love Is Gonna Bring You Home benefit from the re-working. Dealing only in original material, there are tales of cheating, Boom!, the lynchpin of the album, Fight Fire With Fire, coming about through messing in the studio, with Beatles harmonies. Brundage adds to the blues/roots authenticity on Souled Out, apparently nailed in fifteen minutes. Jezebel, as the title suggests, is another tale of cheating and is very loud. Loving Man gives a nod to Mac's Drifting, with its atmospheric solo, more straight blues. Long Time Coming is classic rock, again with self-explanatory lyrics. In conclusion, a great full debut by a band busy on the road, try and catch them.

CLIVE RAWLINGS

RONNIE BAKER BROOKS TIMES HAVE CHANGED

PROVOGUE RECORDS

So here we have it the first release in ten years from one of the most innovative Chicago blues players on the scene today. Hailing from blues royalty played with his father Lonnie in his band starting at nineteen. Just forty nine now and he has played with them all. Here he has assembled a band that is dripping in musical talent and experience and to top it all he got Steve Jordan to produce it, in Royal Studios in Memphis, home to such luminaries and influences such as Al Green, Chuck Berry, John Mayer, Buddy Guy etc. There are eleven tracks of pure quality some penned by Ronnie but also he plays guitar instrumental Twine Time with his father it is really

fresh and sounded fun to make. Soul and rhythm n blues influences abound such as the classic Stax starter Show Me featuring Steve Cropper you just have to listen in awe. Doing Too Much has a catchy riff featuring Big Head Todd Mohr. Ronnie’s tune Times Have Changed has long term pal featured Al Kapone bringing hip hop vibes. Long Story Short is a gem and a real crowd pleaser funky tones marrying Chicago drawled lyrics very upbeat. When you can bring in Angie Stone to sing on Curtis Mayfield cover Give Me Your Love it is soul personified great horn section sultry and sensuous. Give The Baby Anything swaggers with funk. Old Love features Bobby Bland on this slow ballad mixed to perfection searing and pleading vocals. Come On Up is bold and brash. Wham Bam Thank You Sam steady rolls. Final track is gorgeous soul When I Was We epitomises this emotionally charged release. Undoubtedly his best to date an eclectic mix of styles and genres.

COLIN CAMPBELL

BETH GARNER SNAKE FARM

THE MUSIC OF NASHVILLE Texas native Beth Garner

TOM BELL FACE TO FACE INDEPENDENT

Was not sure what to expect from this CD with it’s very plain cover image of the artist sitting and smiling at you from his arm chair as if going to conduct a seminar. Well in a way that is what he does BUT he uses his piano to do this and after several listens I must say he does it rather well indeed. (just in case you wonder about the title it is nothing to do with the same by the Kinks). For one so young he is rather accomplished on the ivories and only in his early twenties still. He has made quite a name for himself already and mixes the unlikely combinations of piano music so that if you are a fan of the classics, blues, boogie piano or even a jazz, there should be something here for

moved for work reasons to Tennessee in 2007 where she played mostly in country bands and has now returned to her Texas blues roots on this debut CD. At 27 minutes this is more EP than full album but shows considerable promise. Beth sings, plays lead and slide guitar and

you if you like classy piano music, played with some gusto. The album is a collection of ten piano solos, yes just the piano! Tom gives us three Chopin pieces, one by Beethoven, four original blues/boogie woogie numbers with one by Meade Lux Lewis and one by Pinetop Perkins. Bell is currently the only UK pianist to combine classical and blues/boogiewoogie in his concert repertoire so there are some entertaining nights in store if you go along. This is indeed a strange presentation but Tom makes it work even to this sceptic on first sight. Obviously preferring the blues/ boogie content but also the chill and refinement of the classical pieces in contrast. The press information describes Tom as a young Jools Holland! I’m not sure if Jools would tackle this variety as well as young Tom has, maybe he should get him on ‘Later….’ and sit with him and ‘jam it.’

FRANK LEIGH

wrote or co-wrote six of the seven songs; Rory Hoffman plays baritone sax, harmonica, keys and occasional rhythm guitar, Wes Little drums, Steve Forrest bass and Angela Primm and Gale Mays are on B/V’s. Opener Alright By Me has the bari sax and backing vocalists providing

a swampy background for Beth’s solid vocal and fluid guitar. Backroads Freddie rocks out with piano and harp on a song about driving home at night on the backroads, Beth adding a ZZ Top feel in her solo. Beth plays plenty of slide, using an eerie tone on Drop Down, appropriate for the ‘end of the world’ lyrics, and rocks out on the Elmore James style Used To Be in which Beth tries seeking out an ex before remembering just why he is no longer on the scene, possibly the standout track here; on Rambling Man a groupie stalks a country band with the slide augmented by sax and a full chorus with the backing vocalists. The swampy title track comes from the pen of Ray Wylie Hubbard, apparently written about a real snake farm near San Antonio, Beth sounding a little like Sheryl Crow on this one. Beth closes the disc on another high point with Wish I Was, another slide-driven rocker in which Beth looks back to the past “where the grass is always greener”. A solid debut from an artist we should look out for in the future.

JOHN MITCHELL

OLD CHIMNEY

This album is an excellent

traditional style blues album that showcases the harmonica talents of Jon Gindick, who besides being a great singer and songwriter has sold over a million harmonica tutorial books and runs Delta blues harmonica camps several times a year, with this background I was staggered to fi nd out that this is his debut album release. The fi rst thing to highlight is that this album is not an extension of his harmonica tutorials nor an advert for Hohner harmonicas, these are ten real blues songs sung with a deep emotional feeling and an easy on the ear storytelling style, each song includes some of the best crafted harp you will ever hear but it never takes over, a nod to producer and multiinstrumentalist Ralph Carter for keeping the balance just about right. The title track is probably an epitaph for many a professional musician, this and some other tracks do benefi t from supporting musicians who stay way in the background but do fi ll out the sound nicely where required, my pick of the material is the short closing track Easy Come Easy Go, a plaintive slow blues ballad with just harp and acoustic guitar backing, time seems to stop when it is played, a great ending to a great album which will be of interest to a cross section of blues fans not just Harp enthusiasts.

ADRIAN BLACKLEE

JON GINDICK

WHEN WE DIE, WE ALL COME BACK AS MUSIC

PAT TRAVERS LIVE AT ROCKPALAST – COLOGNE 1976

MIG RECORDS

This live album and DVD is a real blast from my past and it strikes chords literally and physically on your ears. Recorded in November 1976, which coincidentally was the week after I left the Royal Air Force as a closet fan of this form of rock. This album has a real raw and energetic not to say, visceral feel to the sound. The phrasing of the guitar work is so redolent of Hendrix and this instantly transports you back to the halcyon days of the seventies rock. Vocally too this is Travers at his pinnacle, though it can't have been soothing on his larynx it is so energetic. Not only is Hendrix an influence, but from a personal perspective one of my favourite groups of that era Cream, are very much to the fore with this gem. It isn't blues per se; nor does it even imply such, but it is an absolute cracker if you want to treat your ears to the Heavy Metal of the seventies. It is hard to believe this gut-wrenching rock classic is only the product of a trio, such is the quality of production and the energetic music. Bearing in mind it was produced

four decades ago, this is essential material for those who like their music as hot and raw as a vindaloo! There are benefits to being of a certain age inasmuch that I got to listen to this form of rock on the first time of playing. Having both the CD and the visual DVD on the one package makes this real value for money. I'm not going to pick out a favourite track, as to my way of thinking they're all absolute belters! This is not so much a meander down memory lane for me, it is more of a headlong race from start to finish. Canadian Travers has carried me back to my early musical tastes in no uncertain terms and this will have to be toned down when I'm driving as the riffs on his guitar work are certain to have me pushing the accelerator to the floor.

TOM WALKER

GLENN ALEXANDER & SHADOWLAND

GLENN ALEXANDER &SHADOWLAND

RAINBOWS REVENGE

ZOE SCHWARZ BLUE COMMOTION THIS IS THE LIFE I CHOOSE

33 RECORDS

Never has a title been more apt for what is the band’s fourth studio album since 2012 which, on top of two live recordings and a relentless touring schedule, constitutes an unprecedented dedication to playing the blues. However, it is

This is a fun looking band who you can tell enjoy themselves on stage. A neat threefold out card sleeve in b/w gives a brief insight to the ‘core’ of Shadowland and the name from an old ‘roadhouse’ in Wichita where the fi rst electric guitar was debuted (so the web tells us). What we have here is a twelve track CD that holds a treasure chest of styles and of which nine are Alexander originals. Band leader Glenn shares lead vocals with Oria (only name given) and Blues For Me And You is a fi ne example of the two bouncing off each other and includes a fi ne guitar solo to boot! The band provide the excellent backdrop and solid rhythm and grooves for Glenn and Oria to work their magic over. There is some very fi ne brass throughout this CD too. The opener, If Your Phone Don’t Ring, gets you in the mood

to party and is a bit of a teaser with the answer to the title line being ‘you know it’s me!’, that got me smiling and ready to enjoy what follows. Earl Erastus the notes tell us is in honour of Glenn’s Grand Dad and about the hard times farming through the depression to provide for a family of six. He would be proud! Gritty and driving. Memphis Soul pops along very nicely indeed. I love I Picked The Wrong Day (To Stop Drinkin’) talk about mellow, you’ll feel drunk getting’ into this one and bottle saddened too. Get A Life kicks the tempo back up a notch or two, Common Ground is a song on YouTube with notes: ‘In these troubled times, we need to fi nd bridges across the chasms that divide us, to mend what ails our nation and our people, so that we may meet on common ground.’ Come Back Baby literally skips along at a pace and gets you moving whether you wanted to or not! The Odds Are Good gets down with ground out chords, singing brass and a fi ne feel, the album rounds off with the funky, stinging C.O.D. and closes a fi ne, fi ne album that I do indeed recommend to y’all TOBY ORNOTT

JEFF CHAZ THIS SILENCE IS KILLING ME

JPZ MUSIC

Having reviewed some of Jeff Chaz’s earlier work, I sort of knew what to expect, but he has added something new to the mix for this release. The loud electric guitar, funky, slow shuffles, and idiosyncratic vocals are all there, but he has added something new, with full brass, and new guitar sounds. A full band supports Jeff Chaz across the 11 songs, all of which are originals, ranging from the straight forward blues shuffle of Savin’ Everything For You, which opens the

quality not quantity which counts and this latest release, comprising 11 brilliant original songs and two exceptional bonus tracks, further propels the immensely talented Schwarz towards the pinnacle of her musical career. When she started out, comparisons were made with Koko Taylor and Nina Simone but from the opening bars of Hold On the voice is now uniquely and distinctively Zoe Schwarz. The powerful introduction settles into an impeccably phrased story

album, to the brooding I Ain’t Nothin’ Nice, The Blues Is My Drug features some tasteful solos, full of the soulful bends that made BB King so influential, whilst Oncoming Train uses multiple guitar parts to build the propulsive groove, and Self Inflicted Wound makes use of James Brown’s patented funk blues groove. The album closer Creole Mustard Swing is an upbeat instrumental groove that brings to mind T Bone Walker. This is a good release, that can sit alongside Jeff Chaz’s other albums, full of swing, swagger, and his idiosyncratic guitar and vocal styles. They may not be for everyone, but the blues is a big enough church to give a home to many different styles and ways of doing things.

BEN MACNAIR

of a broken relationship, the mood enhanced by fast and furious innovative guitar and Hammond organ interludes from Rob Koral and Pete Whittaker respectively. Zoe’s incredible vocal range and versatility are evident on the contrasting, upbeat My Baby Told Me So making it hard to believe it is the same singer. Not surprisingly, the peerless Broken has been released as a single with proceeds donated to the Crisis charity; this is a tear jerker sung with sincerity

and great empathy, Rob’s weeping guitar sound a perfect complement. By contrast, I Wanna Get Something Started With You is an optimistic blues shuffle which swings along nicely thanks to drummer Paul Robinson and some incredible four bar fills. Rob’s lyrics on This Is The Life I Choose portrays in depth the sacrifices of life as a blues woman even though the music brings great joy, reflected in the climactic vocals and guitar. The pure pleasure of playing the blues is evident on I Can’t Live Like That which showcases the flair of saxophonist Ian Ellis and the trumpet of Andy Urquart. A fitting finale is the balladic Call Of The Night, a moving poem interpreted in her usual inimitable way by Schwarz. Just when it seems it cannot possibly get any better, the imaginative and poignant interpretations of Jack Bruce’s We’re Going Wrong and Anthony Newley’s Feeling Good leave the listener on an emotional high.

THE BISHOP

SON VOLT NOTES OF BLUE THIRTY TIGERS

The first track is entitled Promise The World; there is melodic pedal steel playing over an acoustic

backing, wistful, soulful vocals tackling meaningful lyrics, a fiddle break, yes, this is Americana territory, as purveyed by one of the pioneers of the style. A little history – back in the early 90s Uncle Tupelo helped to kick-start the alternative country movement, and when that group split in 1994, singer/ guitarist/harmonica and piano player Jay Farrar formed Son Volt, with a wide-ranging sound that encompassed many forms of American traditional music. The title gives away the purpose of this album, all ten songs are in fact inspired by the blues in one form or another. A number like Cherokee St rides a crushing riff-driven blues-rock riff with lyrics that reference a couple of blues classics, whilst the gentle, dobro driven The Storm is a little reminiscent of Black Ace and has gospel undertones. The crushing Lost Souls is punky and dirty, with perhaps just a hint of Led Zeppelin, the introduction to Midnight brought to mind both The Animals’ House Of The Rising Sun and The Ramrods’ Ghost Riders In The Sky, and Sinking Down has a huge slide guitar sound. Cairo And Southern is a delicate, folky blues, almost, most importantly, almost, a straight-forward traditional performance in the vein of, say, Furry Lewis. The CD closer is the menacingsounding Threads And Steel, Jimmy Dean’s Big Bad John rewritten for the post-punk generation and

with hints of Bob Dylan and latter-day Johnny Cash. Not a blues set as such then, but pretty close to it and for Americana fans, a must buy.

NORMAN DARWEN

GARY CLARK JNR LIVE/NORTH AMERICA 2016

WARNERS

Well if you are a fan of the fuzz-drenched band sound and earnest vocals of Mr Gary Clark Jnr then this live set gives you just what you want. He features some popular tracks and two unfamiliar and they are pretty much all delivered raw, filth-soaked and from the way these cuts play very loud. From the off and Grinder we are hit with fuzz guitars, heavy bass, clattering drums and shards of legato lead guitar, topped off with characteristic throaty vocals. The Healing is a slow chug of a tune and Our Love very much more lyr-ical with a hint of Jimi. Cold Blooded is startlingly choppy and immediately – to a veteran listener – evokes the ghost of the mighty Curtis Mayfield, bolstered by the convincing fal-setto vocal Clark uses here. It’s the most memorable number on the set and sounds driv-en. When My Train Pulls In, a crowd favourite, then grinds into earshot strewn with har-monics

and then a vocal of John Lee Hooker meanness, the impact is palpable. This is what Gary’s fans want, to wallow in a sonic mud pool as his impassioned singing rings out. You Saved Me brings no let up as its grimy mantra blasts away and distorted guitar bursts fly off like shrapnel. Shake is the kind of number that younger blues followers into Alabama Shakes will like. Church has doomy vibe with clearer axe chording and a reflec-tive mood. Then suddenly Cark is pattering his way through Jimmy Reed’s Honest I Do, not an obvious influence to my ears as surely the belching smokestack adventures of Papa Lightfoot must have been heard by Clark at some point? If not, well there’s a song-book to raid in future, Gary! My Baby’s Gone the other new selection is dispatched with rusty and apocalyptic slide guitar sounding like Homesick James in a very bad frame of mind. Then on a bed of buzzing fuzz with a hint of amp tremolo and a snarly vocal we get closer Numb, another audience pick. This record is not so much of a performance as a blues exorcism.

PETE SARGEANT

KRISSY MATTHEWS LIVE AT FREAK VALLEY

PROPER RECORDS

The last time I saw Krissy, he was singing Happy Birthday to me at the Ranelagh pub in Brighton,

in the early 2000's, as part of a jam session with Ben Poole. To be honest, apart from passing each other at the odd festival, I hadn't heard any more of him until this live CD arrived. This twenty four year old British/ Norwegian blues/rocker has not sat on his laurels, this being his fifth album, the majority recorded at

last years' Freak Valley Festival, in Germany, with three tracks taken from his show at Joldelund. Primarily a power trio consisting of Krissy on guitar/vocals, Sam Weston, bass/vocals and Maz Maxwell on drums, for the final three tracks Colin Henney provides keyboards. Most of the

KAT & CO

BLUES IS THE NEW COOL TONE TRADE

A recent quote that appeared in Blues Matters magazine said, Kat & Co. produced what I would describe as “nightclub blues”…it is smoky, it is sassy and it is very classy. Kat & Co. are led by Tennesseean vocalist Kathleen Pearson who sings from the depths of her soul and through her heart on this album. Producer/ writer Francesco Accurso is on guitars and with his eclectic guitar style and distinguishing production skills he has given the band its very own thumbprint. BAFTA award winning animator Frederico Parodi is on Hammond organ, piano and backing vocals.

Marco Marzola plays double and electric bass and adds that touch of swing, again securing

that trademark classy, nightclub feel. Nicholas Owsianka is on drums, percussion and backing vocals and provides that solid punchy groove which again distinguishes their unique sound. Blues certainly Is The New Cool with this excellent, contemporary, urban blues album which sees this eclectic, multinational quintet share stories and sounds of ordinary cosmopolitan life. This is 21st Century blues, lyrically it's aimed at captivating a new generation of blues lovers, however, expect tradition but also innovation in the sounds and arrangements. Overall, there is a cool bluesy-jazz feel here with lashings of soul and funky grooves. Highlights for me are the contemporary re-working of

Born Under A Bad Sign and Nobody Dies

For Love with its beautiful string arrangements, harmonica and piano to the fore, it's a romantic heartfelt love song with definite blues appeal.

MAIRI MACLENNAN

BLUES TOP 50

tracks are originals either written by Krissy and that stalwart of the blues, Pete Brown, the two covers being Searching The Desert For The Blues and Freedom. Opener Feeling For The Blues was written by a 14 year old Krissy as a dig at some of the purists out there saying you can't play the blues unless you're 70 years old and lived through hard times. All Night Long is about chatting to girls all night, Searching The Desert For The Blues was suggested by Pete Brown, a cover of the Blind Willie McTell standard. The Soul Will Never Die, Krissy refers to a note Krissy left on BB King's chair at Bournemouth, he ended up on stage and backstage with the legend. The Hendrix cover, Freedom, came about after watching Steve Lukather perform it on a German TV show. An accident on the road triggered the aptly titled Hit The Rock, Roadsick Blues describes the love of being on the road and closer, Bubbles And The Seven Phones refers to his late tour manager and the working relationship between the both of them. All in all, musically, this band are tight, Krissy knows his way around a fretboard and has a great voice. If you're into power trios a must.

CLIVE RAWLINGS

MARTIN HARLEY AND DANIEL KIMBRO STATIC IN THE WIRES

DEL MUNDO RECORDS

This superb album of

mostly acoustic blues, pleases the soul from start to finish. The songwriting, the guitar, the singing – all are masterful. Martin Harley grew up in southeast England but his devotion is to the blues and the universal music of the heart. His guitar work is beyond compare, from the delicate finger-picking on I Need A Friend to the tasty slide on Feet Don’t Fail Me Now. He wrote all 11 songs here. But it would be a mistake to underestimate the contributions of Daniel Kimbro. He sings, plays guitar and, mostly, double bass; on many tracks, his bass anchors the song, setting the mood while Harley’s guitar flutters overhead. On the opener, One Horse Town, Harley’s electric guitar is underpinned by wonderful piano as he bemoans his small-town fate. “I dream of romance/With a girl from France/But I’m sleeping in a single bed,” he mourns. On Feet Don’t Fail Me Now, we’re treated to a contribution from dobro player extraordinaire Jerry Douglas, so you know it’ll be good: It’s well-nigh impossible to keep your head from dancing on top of your neck. Postcard From Hamburg is marked by wistfulness, accented by lovely fingerpicking and great chord changes. My Lovers Arms is built largely

on Kimbro’s bass with Harley’s slide carrying the song straight into your heart. “My lover’s arms reach out to me/In the night, when my troubles won’t leave me be” the song begins, before Harley launches into a slide solo to cry for. Then the gorgeous conclusion: “I put my heart in my lover’s hands/And I finally understand/What I’ve been missing/For so

long.” On Trouble, Kimbro bows the double bass instead of plucking it, creating a deep and mournful atmosphere. I Need A Friend features some of the most clean and agile fingerpicking you’ll ever hear. This album takes the listener through many moods with skill and heart. And it features so many layers of beauty that its meaning will unfold

JANET ROBIN

TAKE ME AS I AM JANET ROBIN/LITTLE SISTER RECORDS

Janet Robin has to date, had a very illustrious musical career, as a teenager she received personal guitar tuition from Randy Rhodes which led her to join hard rock female band Precious Metal as their lead guitarist, her career has since gone from strength to strength, besides her guitar playing she is an excellent singer and songwriter. Her material is rock based blues but she can switch to an acoustic style effortlessly, it is clear that her stint supporting Fleetwood Mac’s Lindsey Buckingham has rubbed off on her, as there are some catchy guitar fronted songs that would

not be out of place on a 1990’s Mac album, the stand out track is World Cry which starts with a “chugging” guitar riff and gradually builds but never quite explodes, interspersed with some lovely fluid guitar breaks. The only cover is a version of Patti Smith’s Dancing Barefoot which was the standout track on her Wave album, Janet’s version has a good gritty grunginess feel to it and is a good choice as it sits nicely with the other material, all of which has been produced by renowned Nashville producer John Carter Cash, he usually produces Country style artists but he has done an impressive job here with the more rock influenced music. This album comes highly recommended showcasing a mature artist who has started to spread her wings and incorporates a punchy style of melodic blues rock.

ADRIAN BLACKLEE

MISTY BLUES DARK & SAUCY INDEPENDENT

The Misty Blues band hail from Berkshire County Massachusetts and have been on the music scene since 1999. The core band consists of lead vocalist extraordinaire Gina Coleman born to sing the blues sings with gusto and pure vibrato. Also, features Jason Webster on guitar Bill Patriquin on bass Ben Kohn on keyboards Jeff Dudziak on guitar Rob Tatten on drums and finally Aaron Dean on saxophone. The release has eleven songs written by the band nine by the lead singer herself. They mix up jazz blues funk Cajun to produce a very effective and tight sound very infectious and has a sound groove to it. The

before you for years to come. This one’s a keeper.

M.D. SPENSER

title mixes dark tones on such songs as the ballad Will My Blues and mirrors this with sauciness of Dirty Laundry Blues with fine accordion backing by David Vittone. The sassy laid back approach to Fly With Me is certainly a favourite. There are obvious female blues singers influences such as Koko Taylor on tracks like the opening shuffle number Next Time Is The Right Time but it is the big band feel that makes this release so good. Kohn To The Bone has a Latino feel with fine guitar by guesting Matt Berger a jazzy instrumental. Another tempo change is on funky If I Didn’t Have You with again powerful vocals over riding sharp saxophone and guitar licks. Finishing with the bass infused catchy chorus on Doom Dom Doom with deep vocals jazzy piano licks and fine tone this really is a grower. Consummate band at the top of their game a real treat.

COLIN CAMPBELL

GEORGE THOROGOOD & THE DESTROYERS

LIVE AT ROCKPALAST

This double CD and DVD set takes us back to Thororgood’s visit to Dortmund in Germany back in 1980 and his band has Bill Blough on bass, Jeff Simon on drums and Mark ‘Hur-ricane’ Carter. Rockpalast sets tend to sound and look good and in common with the Herman Brood and Johnny Winter editions this souvenir of the show

captures the power and presence of one of rock blues’ stalwarts. The setlist takes in scoops of Bo, Chuck, J L Hooker and Elmore with plenty of the full-blooded slide sweeps that Thorogood delivers. Muddy’s Bottom Of The Sea gets an airing and it’s from one of my favourite Waters rec-ords After The Rain. The one George original here is Kids From Philly, with its Happy Days beat and honking sax. It is hard and indeed pointless to resist this crew bumping through Hooker’s One Bourbon, One Scotch & One Beer, Thorogood is in his element. It Wasn’t Me is a favourite Chuck song with my ensembles and the original features the Paul Butterfi eld Blues Band! George rattles through it here. Crowd pleaser Madison Blues gets the room shaking. Goodbye Baby is Elmore celebrated. New Hawaiian Boogie gives us a taste of barnstorming slide guitar and sax just about keeping up. Bo Diddley’s Who Do You Love is suitably rattled out, but nobody will ever cut Juicy Lucy on this number. Night Time is bashed out with aplomb. No Particular Place is pumped out as it should be and fi nal song Reelin’ & Rockin’ dispatched the same way. A release for fans of George but equally a good slice of what he is all about for newcomers or younger blues fanciers.

PETE SARGEANT

REVEREND FREAKCHILD PREACHIN’ BLUES TREATED AND RELEASED

The good Reverend is a fine guitarist, with a lovely, heavy touch on the slide as he shows on numerous tracks here, however in several places on this set he comes across very like early Bob Dylan as he plays rack harmonica, and although this set is live in a radio station studio, there are plenty of pithy comments and casual asides, in an accent also akin to Dylan, at least to British ears. Why, the Reverend – studying to become an accredited Reverend, as he tells us, even covers In My Time Of Dyin’, which his Bobness did on his debut album. But don’t think of this as some kind of Dylan pastiche. Freakchild can also turn in excellent covers of Son House (including a powerful acapella Grinnin’ In Your Face recorded in Germany), Blind Lemon Jefferson, Reverend Gary Davis, and even say it quietly – Prince, with a version of Kiss that supports the Reverend’s contention that this is indeed a bluesy purple song. Also, although it takes a bit of work to find it, try using Acrobat, the CD contains an essay on Transcendence Through

Music – Buddha And The Blues. A very enjoyable release, and I am pleased to note that the Reverend F. does actually impart a little personal information about himself for a change.

NORMAN DARWEN

MIKE ZITO MAKE BLUES NOT WAR RUF

If only you could harness the energy and verve coming from this album you could solve the world’s power crisis instantly. Highway Mama, the opening track hits the deck like a high velocity bullet and roars forward from there, this is a mightily busy track, with some superb guitar from the king of 60 million notes per minute, Walter Trout. A great opener! Everyone takes a breather on the bluesy shuffle of Wasted Time before the intro to the longest track on the album (at seven minutes), Redbird. This is a slow but heavy blues reminding me of Robin Trower and a song that is vying for my favourite on this album. Make Blues Not War is Zito’s second album (his 13th in total) since leave the Royal Southern Brotherhood, yet there is a maturity in his music, a notable development in confidence and assuredness on all things

musical. He seems more at ease with himself and his surrounding, so much so that as a proud father, he has his son Zach play guitar on Chip Off The Block, a song written by drummer Tom Hambridge and Richard Fleming about young Zach’s musical voyage played to a classic 12 bar beat. Zach certainly sounds schooled in the Southern blues of Winter and Vaughan, and is no mean slouch when paired in a duet with his father. No wonder dad is looking forward to taking him on the road this summer. Mike also knows how to enjoy himself. Crazy Legs barrels along in a great happy boogie, sounding reminiscent of ZZ Top, whilst at the same time the seriousness of Make Blues Not War is a slow blues that deals with a serious subject. Delightful harmonica playing by Jason Ricci enhances the ambience of this track. Road Dog is the most serious track on the album, an autobiographical story of his own life on the road, a tough but necessary existence. Mike says this album was recorded in a happy and enjoyable environment, everyone laughing and enjoying themselves and this certainly shines through the music. A great blues album!

MERV OSBORNE

The Robins who later became The Coasters were a highly influential black vocal group who bridged the gap between doowop, R&B and rock ‘n’ roll. They certainly made a huge impact and here’s a few covers, dredged from the depths of my memory, which appear in my record/CD collection. The Paramounts (later to become Procol Harum), Dave Clark Five, The Rolling Stones and

Manfred Mann all covered Poison Ivy, The Hollies with Searchin’ and Just Like Me, Downliners Sect with Little Egypt, Alex Harvey with Framed, Roger Chapman with The Shadow Knows, Screaming Lord Sutch and Dr Feelgood with I’m A Hog For You Baby, Blues Brothers and Dr Feelgood with Riot In Cell Block # 9. Yes, of course, all Robins/Coasters singles and most of them

ORION AND THE CONSTELLATIONS TEN YEARS

INDEPENDENT

Orion and the Constellations are a part time three man band from Ohio who are led by Guitarist and vocalist Orion DiFranco, supported with a solid rhythm section formed of brothers Jason & Erik Rau, between them on this their debut album they perform admirably and while only a fairly short seven track taster album there is enough promise here to suggest they have a fine future, especially as there is a Alvin Lee/Ten Years After feel about the way they play, I cannot quite put my finger on it but there is definitely some

similarity. The band sit firmly in the rock/blues no frills pitch but with an underlying funk edge, the album starts with a straightforward rocker titled Along For The Ride, which is followed by Blue Collared Blues which has a stunning lead guitar intro on a more bluesy song, the recording engineer Joe Viers has achieved a very clean and sharp sound which allows every note to be heard, the rumbling bass lines are particularly pleasing. Orion is the natural leader of the band with vocal and guitar skills in abundance, the title track 10 Years particularly highlights this, with its slower more melodic sound and some stinging guitar breaks, just for good measure he has additionally written all the material. A very refreshing debut CD that maintains a solid groove from start to finish.

ADRIAN BLACKLEE

COASTERS THE COMPLETE SINGLES AS & BS 1954-62

HOODOO OPERATORS A HOBO, A BOXCAR AND A JUG OF WINE

WIDE MOUTH RECORDS

There are some blues bands that stick to a tried and tested formula, three chords, 12 bars, soloing for one member, and other members in very much support roles. The Hoodoo Operators are not one of those bands. The album includes all types of strange instruments, and spoken word interludes, a banjo instrumental links tracks, there is a radio broadcast

written and produced by Lieber & Stoller and this incredible run of hits had a huge influence on the early Brit R&B bands and audiences. All the above songs are included on this great value 2CD 56 track collec-tion plus a load more hits and all featuring humorous lyrics, great doowop/harmony vo-cals and honking saxes. The rocking What About Us and the Latin flavoured Down In Mexico are also here along with Charlie Brown, Yakety Yak, Smokey Joe’s Café and even a rocked-up version of My Babe. Wonderful stuff and a great place to start for those readers who missed The Coasters

about the Manson family before others, however, all of these tricks would be for nothing if the playing, and songwriting was not in place, and on this album, it certainly is. As a collective, most of the musicians are multi-instrumentalists, with everything from harmonica, diddley bows, ukulele, banjulele dobro, and percussion instruments used to good effect. Although this level of inventiveness would be difficult to perform live, and the more esoteric moments will not be for everyone, there is enough variety and quality music on this release to make it a very worthwhile addition to your album collection.

BEN MACNAIR

in their heyday or are just familiar with the aforementioned cover versions and would like to hear the original hits in all their glory.

DAVE DRURY

JOHN CEE STANARD & BLUES HORIZON TO THE RIVER

CAST IRON RECORDINGS

This collection is John’s fourth “solo” album following on from 2015s Stone Cold Sober. In a sense, it follows along

similar lines. The Blues Horizon musicians onboard are the same and there are a healthy ten originals along with two covers only in Jelly Roll Morton’s Winin’ Boy Blues and House Of The Rising Sun. The former ambles along in a pretty laid back mellow way and you can imagine sitting on a stoop somewhere in Louisiana enjoying a cool beer. The latter sounds brilliantly like a Mungo Jerry foot stomping jug-band outing although without the jugs. Trust me it works really well. The album opens appropriately with Do It All Over Again. A less than subtle dig at the “haves and haves not” in society, Seperation-2 is a tongue in cheek take on dating five women at the one time and needing to get away from the chaos that comes along with that. How anyone would the energy to do that is beyond me. What is always nice about John’s albums, is the relatively simple and straight ahead production. Each instrument is beautifully clear and sits well beside the others. You can perhaps imagine all the guys just hanging out and playing whilst somebody punches record to capture the jam. Have Your Fun sets out to show how relationships can be open if that’s what you want, just don’t fall in love with anybody in the process. Run To The River however is the exact flip with the advice to ‘pray to the Lord to wash your sins away’ complete with a Gospel

choir. As an album, it does not challenge or push boundaries much but none the less you’ll enjoy it.

GRAEME SCOTT

SUITCASE JOHNNIE CRAZY ABOUT A CADILLAC

PLASTIC MELTDOWN RECORDS

Suitcase Johnnie is a band rather than a person, led by lead vocalist/harpist Marty McPhee and guitarist songwriter Dennis Roger Reed. The quality of the artwork and recording leads me to think this is more of a homegrown release and it is really a flat-out Country album. The tracks seem to be split pretty much 50/50 covers and originals. Opener

Believe That I'll Go Back

Home is quite lively and a bit of a toe tapper that sort of sets the tone of the album. For the most part these a light and breezy songs that don't really call for much deep analysis and the Reed compositions like the title track, Peter Paul Rubens (about the artist) and co-write Up To You are humorous, short ditties that I'm sure were fun to play and will go down well in bars. The instrumental Funky Poultry is exactly what you'd expect from the title. In amongst the tales of cowboys and Pumpkin Pie with lashings of mandolin, lap steel and harmony

vocals there is one little gem, Never Thought I'd Fall, another Reed composition where the band take it into a slightly different direction, pulling against each other and dirtying the chords a bit., more of this please guys.

STEVE YOURGLIVCH

KENNY ‘BLUES BOSS’ WAYNE

JUMPIN’ & BOPPIN’

STONY PLAIN RECORDS

Now, here’s a reason to be cheerful. Big, loud, jovial traditional piano-driven blues, reminiscent of Amos Milburn and Louis Jordan, performed by a master showman, winner of Living Blues Most Outstanding Musician award in 2015. Kenny Wayne’s career began in the 1960s as a child prodigy, and since then he’s developed into a hugely talented, kaleidoscopic blues character, the like of which we haven’t seen for years. He tours all over, even in Russia, for example, where his concerts are regularly sold out, and this album explains why. It takes a brave soul to tackle a Ray Charles classic such as You Don’t Know Me, but Mr Wayne pulls it off with style. This is all zoot-suit, bopping period music played with a 1940s ambience, and lyric-wise, with Bankrupt Blues, he has his flying fingers on

the pulse of 21st century America. In the line-up of his fine 8-piece band Duke Robillard is featured, and prepare yourself for Dave Babcock’s growling baritone sax on Look Out! There’s a Train Coming. Kenny’s left hand on Boogie To Gloryland is a piano fan’s delight, as is the complete album. They don’t call this guy ‘Blues Boss’ for nothing. Highly enjoyable, epic, bright piano blues just the way you’d want it.

ROY BAINTON

REV. BILLY C. WIRTZ FULL CIRCLE

ELLERSOUL

Age is certainly on the good Reverend’s mind to judge from this CD, “too old to rock and roll, and just right to sing the blues” he sings on the opening track Too Old, though several other tracks prove him wrong on the first part of that statement (lend an ear to the Jerry Lee Lewis flavoured Rockin’ Up To Gloryland), though the second half is just about spot-on! Of course, Reverend Billy is somewhat of a humourist, as shown on many of the numbers here, the country tinged One Point Five is a good example, as are also the solo piano and vocal Mama Was A Deadhead (“one of my most requested songs over the years”) and the introductory song Who Dat? (“who put the funk back in dysfunctional”). The D. C. Nighthawks appear as special guests, as does

harmonica player Lil’ Ronnie Owens, filling out the sound on several tracks, achieving a huge sound on Wine Spo-DeeO-Dee and the great Mennonite Surf Party. Throw in two parts of The Bill Black Combo’s very bluesy 1959 hit Smokie and several other less than serious numbers and the result is a real winner. Now I know some of you might be thinking that humour is very much a matter of individual taste, but Billy does it so well that I can’t see too many readers not enjoying it, particularly

THE 69TH STREET BAND A BROOKLYN AFTERNOON

TEPCO

There’s a place in New York called Paris Blues in Harlem, run by a certain Sam Hargress, and the 69th Street Band refer to ‘Sam’s Place’ as their spiritual home. New to me, with this band’s name stirring flavours of Springsteen down along the coast at New Jersey’s Asbury Park, it was hard to know what to expect. Well, it’s a bit of a curate’s egg. Track seven, Never Wanna (Another Loud Band Again) is funny and light-

when set to such excellent rock and roll or blues backings as they are here.

NORMAN DARWEN

JUKE JOINT KINGS LIVE AT THE STONEMASONS INDEPENDENT

In all honesty, my first listening to this album was in my car, and whether because of the quality of stereo system in the car or my having to concentrate on the other traffic, this didn't strike me as the gem it turned out to be when I listened in the quiet of home with a quality stereo

hearted, bouncing along with a touch of New York doo-wop. Another standout track, Neon Blue rolls by with fine cheesy organ, but although this album is stacked with good musicians, it lacks the big urban promise of its packaging. It doesn’t get really bluesy until track six, Big Shot, but some of the other songs would benefit from an alternative to guitarist Tom Paronis’s lightweight vocals. The stand out tracks are both instrumentals - the kind of compositions which would make great TV theme tunes, Martino’s Groove and Sam’s Place. Well played, sophisticated, and no doubt live this band would be a thrill, but I suspect their next CD might make a better calling card.

ROY BAINTON

system. Mea culpa, there is quality in every department here and I'll never judge another disc by using a rubbish source. The Juke Joint Kings have all served their time musically since none of them are Spring Chickens, that though does give them all the more credence having done their apprenticeship over decades. The album opens with Blues standard She Caught The Katey including some super harmonica work. This is quickly followed on track two by the Perkins/Clark original Homework from fifty-five years ago. But this has lost nothing with the passing of five decades, and the guitar combined with the harmonica on this track is top notch. The classic blues number Hoochie Coochie Man written by Willie Dixon and first performed away back in 1954 by Muddy Waters is track four on this pastiche. More importantly on this album is the incontrovertible fact that if you cover a BB King number, you better be at the top of your game. Track six is just that with The Thrill Is Gone, and they do that with panache. Subsequent hearings make this album a winner as it improves with listening.

TOM WALKER

THORBJORN RISAGER & THE BLACK TORNADO CHANGE MY GAME

RUF RECORDS

The clue, as the saying goes, is in the title. With

this release, following on from 2014's Too Many Roads, this Danish blues collective are back with one of the more creative albums in recent memory. Filled with a myriad of songs that spans the gamut from dirty delta influenced blues, to soulful and dynamic ballads and some powerful rockers this album showcases the breadth of their abilities along with the Risager’s unique voice. Whilst it has been compared to the likes of Ray Charles, Bob Seger, and Joe Cocker you can certainly hear those influences but there is definitely something that sets him apart. His guitar playing isn't bad either, added to the amazing brass section, this is a joy to behold. Opening with the ballad I Used To Love You, illustrates the guitar brilliantly, with its muted riff. Long Gone has a bass line that tugs the listener on, whilst Lay My Burden Down, complete with phonographic crackle completes the trio of ballads. The latter definitely has a smokey bar feel to it. There are some straight in your face rock tunes, especially Dreamland, Hold My Lover Tight, Maybe It’s Alright and the funky title track. Holler 'n' Moan is dobro influenced Delta blues. Closer City Of Love turns into a rocking blues jam. This is a great album that proves they are the real deal and that after 14 years and 11 albums they don’t show any signs of decay.

CLIVE RAWLINGS

LISA BIALES THE BEAT OF MY HEART BIG SONG MUSIC

This record’s deceptive. At first you think it’s merely good. It’s got some phat horns, stingin’ sax, impressive guitar and good singing. Not bad! But then you begin to appreciate the stellar songs: Numbers by Allen Toussaint, Nina Simone, Eric Bibb and Lil Green, one of the 1940s’ finest blues singers. And there’s a heck of a slow weeper written by someone called Alberta Roberts. You hear terrific guitar, super piano, great sax and you pick up the album cover wondering, Who ARE these guys? Well, much of the guitar work is done by Johnny Lee Schell, who’s played with Lucinda Williams, B.B. King, Delbert McClinton and Taj Mahal. Jim Pugh, the keyboardist, a member of the Robert Cray Band, has recorded with Etta James, Van Morrison and B.B. King. The sax duties are handled by Joe Sublett, and if I listed all his credits I’d run out of space

– Clapton, Taj, Keb’ Mo’ Buddy Guy, Otis Rush, the Stones. The same for the trumpeter, Darrell Leonard, and the drummer, Tony Braunagel, who produced the album. But the real revelation is Biales. She fools you with her singing because it sounds so easy – but when it sounds easy, you’re in the hands of a hell of a singer. Her voice is warm and supple; her phrasing is impeccable. The album’s mostly full-on blues, with a gospel number thrown in. And that slow weeper, Crying Over You? The songwriter, Alberta Roberts, was Biales’ mother, who never made it as a professional performer. In 2015, Biales found a 78 her mother had recorded in 1947. And there was the song. Through technical magic, the producers removed the scratches, allowing Alberta’s voice to carry the first line, after which Biales takes over. It’s a highlight on an album with many. The closer is Brotherly Love, which includes the line, ‘Don’t you think it’s time we learned brotherly love?’ The song probably has even more resonance now than when it was recorded. First-class musicians making first-class music. This one’s a keeper.

M.D. SPENSER

RUSS PAYNE AND THE UNISON BENDS LIQUOR AND IRON THOUSAND SMILES RECORDS

The album opens brightly with the funky This Life (Gonna Be The Death Of Me), Russ Payne’s vocals and guitar riffs distinctive and engaging. Nigel Summerley’s infectious rhythmic drumming on Saskia’s Got A Gun provides the perfect backcloth to the conversational vocals and clipped guitar style. The pace slows with the balladic It Could Have Been Me; the textured vocal harmonies, Saal Seniveratne’s fluent keyboard skills and Payne’s soulful guitar interludes create moodinducing crescendos.

JONO MANSON ANGELS ON THE OTHER SIDE

CON ARTISTS COLLECTIVE Me, I’m just a simple three-chord 12-bar blues guy. Heck, I don’t even like superbly-crafted introspective albums

The clever tempo changes on All Talk add to the atmosphere of another good original song. The slower burning Waiting At The Gate, Certain Tears and the title track showcase the versatility of Russ and confirms his status as a very fine singer, songwriter and guitarist. Bassist Bill Keller and drummer Summerley maintain the high-energy grooves of Sometimes and Oughta Know By Now in the tradition of great, explosive power trios. Payne’s searing guitar solo and vocal harmonies with Jake Rousham stand out on the catchy, up tempo Good Luck. An impressive album, Liquor and Iron proves that the gap between relative unknown bands and those at the forefront of the current UK blues explosion is very narrow indeed.

THE BISHOP

from American singersongwriters, what with all their sensitive explorations of the male psyche and compression pedalheavy slide guitars and mandolin overdubs and that stuff. But I did like this CD, and that’s one measure of just how high the quality threshold is here. Imagine an American Elvis Costello, but one who eschews venomous relationship failure lyrics in favour of telling ladies how deeply he is in love

with them, generally to the accompaniment of hookladen chord progressions reminiscent of the Beatles or the listenable side of Nashville. The title track, as well as Angelica, The Frame and The Other Yesterday will all appeal hugely to those who appreciate that musical niche. There’s A Whole World On Fire, I’m Gonna Get It and Honky Tonk On My Mind are all well-built country-rockers, and Together Again even draws on hillbilly white gospel inspiration. Little or none of the content can rightly be described as blues, but that observation is beside the point this time round. Jono Manson, it turns out, has been around for nearly 50 years since his first kiddie bands. He has at times garnered a cult following, without ever troubling the big time. That’s surprises me. I have friends to whom I will be recommending him highly. Now where did I put my Howlin’ Wolf box set?

DAVID OSLER

NASHVILLE TEENS TOBACCO ROAD

SECRET RECORDS

It would have been good to receive some press notes with this CD but there was nothing. It raised my interest anyway because of the title track itself being one that so was 60’s sound

and adventure in music. It was of course recorded by numerous artists before and since and I think my particular favourite version has to be Spooky Tooth from their It’s All About album and the way that the dual vocals of Gary Wright and Mike Harrison with the guitar of Luther Grosvenor simply made it into something so different to all other versions. Having said that the Teens has a special place for many of us ‘oldies’ I reckon. The albums notes are informative, if short, and written by original member Arthur Sharp. So, what do we have here then? Twenty-two tracks including original versions plus live and out-takes and unreleased. Mostly fairly standard fare such as Lawdy Miss Clawdy and Chantilly Lace BUT a few gems including the surprising All Along The Watchtower done in a very different way and well worth the listen! Ex Kay On LX was written by Arthur Sharp and was rather interesting with a decent set groove to it.

Sun Dog ends the studio takes then we proceed to live tracks from 1967-8 by the original line-up for radio broadcast, four recorded in Budapest in 1968 with two more in 1970 noted ‘by Arizona Swamp Company’. The final four tracks are unreleased and include NY Mining Disaster (yes Bee Gees song) all done in 1971. As an album, this is a bit sketchy but has its’ interesting moments.

FRANK LEIGH

ZOOT MONEY THE BOOK OF LIFE…I’VE READ IT TREASURE ISLAND MUSIC

Still bashing the keys in the Barnes area and elsewhere, veteran blues rocker Zoot Mon-ey is a real survivor with the skills and character to capture and keep the attention of any audience. Here he is tackling a set of compositions by Steve and Mark Owers plus one by ace vocalist and writer Michael d’Abo of Manfreds fame and beyond. Mr Money pounds the keys with zeal and invention, as you would expect.

Songwise Mr Money has scream-ing guitar and a lively piano chording with a lyric taking in speed cameras and other grouseworthy matters. Still Alive has a choppy beat, dirty guitar riffing and emphatic vocal. It’s all wellrecorded so all the witty lyrics can be appreciated. Sunny Skies is a lovely blues-soaked number with fluid guitar and a well-paced vocal brimming with character and soul, a real gem. Liberty almost sounds like Albert King at his pokiest and the organ break sounds terrific.

Jack Tar Blues is softly taken and has an airy, lonesome feel. It Could Be That Way is a choppy

rocker and Zoot sings well over an ascending chord pro-gression. Wouldn’t You Just Know It is night music with another soulful vocal perfor-mance and entertaining chords. If Age Brings Wisdom is a stomping final track. The rec-ord shows Money off well as a singer with a rich personality and experience. For me the harsh hatchet-faced Gary Moore fuzz guitar is overused – there are so many other tones to use but this is the fallback sound for players who just HAVE to sound mean, for what-ever reason. The guitar playing itself is very good and this is a quality clutch of songs.

PETE SARGEANT

title track makes a really strong opener with Peter’s slide work and Till You Get Home is great with excellent piano. Peter’s moody slide sets up That’s

How I Like It which adds Dennis Gruenling’s dirty harp to the rebellious lyrics and Blues In Mind adds some swing. Mick Taylor plays some stellar guitar

TORIAH FONTAINE BLACK WATER

INDEPENDENT

PETER KARP ALABAMA TOWN

ROSE COTTAGE RECORDS

Peter Karp’s live album The Arson’s Match was well received and this follow-up features several of the members of the same Turning Point band. Mick Taylor is again featured on guitar on two tracks and everything here was written by Peter whose slide playing is a strong element, especially on the upbeat cuts. Some of the material is autobiographical as Peter lived in rural Alabama in his teens and absorbed some of the soul and blues roots there. The

The cover of this CD actually looks quite threatening and I expected something a lot more in the vein of metal music so it was a thrill to hesitantly place the disc in the player and hear the tumbling drum introduce the wails of Toriah as she takes you into the title track Black Water. A song about pollution and what we do to ourselves without thinking. There is a touch of THE Mick Fleetwood drum sound here, but not as prominent, but it is very effective while the bass is incessant. Toriah’s vocals are a great mix of bluesy, jazzy gravel that take turns at oozing at you one song then amusing you and next warning you, a fine blues voice that connects with the listener as some of the classic voices of the past. These ten tracks have eight self-penned by Toriah and on this evidence,

she is a name to keep an eye on. I spotted on her web site that she has already played on the British stage at Colne and the 100 Club in London., I’m sure that her name will catch on out there and you will be able to see her around the UK soon. She pleads on Give Back My Loving, she rocks on Howling At My Door, the backing is laid back here but I’m sure would be pushing her and great live. I reckon Adele would be proud of Sunday Best as wistful piano (Ethan Thomas) accompanies plaintive voice. Marked By Sin reveals a sad, tragic story with a world worn vocal and gentle guitar solo. Bitter About Being Bitter probably relates to some feelings we’ve all had at some point. This is moody, tense and tantalising, a treat! To keep us on our toes Toriah even gives us an Appalachian folk song, In The Pines, oh yes it did keep us on our toes and after that she roused us up with her working of Come On In My Kitchen before closing with the rousing Blood Runs Thin where she lets go. Recommended? Oh yes!!! TOBY ORNOTT

No o Ne shOuld face c A ncer aloNe

No mums. No dads. No brothers or sisters. Not your next-door neighbour or the lady from the corner shop. No grandmas. No grandpas. Not the chap from the chip shop or the noisy lads at the back of the bus. Not your best mate. Not a single stranger. No one whatsoever. No one should face cancer alone.

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on the ballad I’m Not Giving Up and Her And My Blues which is the longest track here and includes plenty of slide as it builds in inten-sity as Peter spins his lyrical web: “faith is ironic and irony is God’s joke”. The second half of the album tends towards the acoustic side of Peter’s music such as the catchy Kiss The Bride with John Zarra’s mandolin leading the tune and The Prophet in which Peter claims that “Confucius and Mohammed ain’t got nothing on me”! Nobody Really Knows and Lost Highway both have minimal instrumentation beyond the piano that takes the lead, the latter having some cynical lyrics about life. Y’All Be Lookin’ provides a rocking interlude between the acoustic pieces before I Walk Alone with its introspective lyrics and Garth Hudson’s accordion returns to the singer/songwriter style. Closer Beautiful Girl is a duet between Peter and Dennis’ mournful harp. Not as immediately rocking and accessi-ble as The Arson’s Match, this CD shows several sides to Peter’s writing and repays re-peated listening.

JOHN MITCHELL

KNICKERBOCKER ALL-STARS

TEXAS RHODY BLUES

JP CADILLAC RECORDS

two star names feature on this album, in the form of Jimmie Vaughan and Duke Robillard, across a series of brass heavy blues songs, which feature a revolving assortment of players and singers. This album is the third in a series, that has been evolving for a while, as a way of showcasing the many talented musicians that developed in the scene, and the many that they influenced, ranging from Bonnie Raitt to Mike Bloomfi eld. Although the songs are all blues based, there is a lot of variety here, from the opening barrelhouse boogie of Texas Cadillac and You’ve Got Me

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MAC14175

(604).

Texas is well known for its blues guitarists, and

Licked, to the slow piano based Have I Got News for You? Whilst Blood Stains on the Wall is a slow and brooding piece, telling the story that the title suggests. A spirited reading of Clarence Brown’s Aint’t That Dandy gives a chance for the brass section to shine, with some fi ne soloing from Rich Lataille and Doug James on Saxophones and Mike Welch on guitar. Although the music does not stray far from its blues roots, it is superior blues music, played by musicians in love with the form, and staying away from many more famous songs, this album allows the light to be shone on some of the more neglected classics by the likes of Eddie ‘Guitar’ Slim and Lowell Fulson to be heard.

BEN MACNAIR

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and the Isle of Man

JOHN LATINI THE BLUES JUST MAKES ME FEEL GOOD

SMOKIN’

SLEDDOG RECORDS

John Latini is from Detroit and this is his debut album, a solid set of blues that should have wide appeal. John sings and plays guitar with Brian Roscoe White on second gui-tar, Nolan Mendenhall on bass and Todd Glass on drums. A three man horn section ap-pears on five tracks and John wrote eleven of the thirteen tracks. John’s clear, slightly gruff vocals work fine across all these songs as he talks of playing various types of music from country to soul but prefers Black Eyed Blues, a great opener with the horns beefing up the sound, as they also do on the funky Pull Me Up. The two covers are both road-house rockers: Dave Boutette’s Three AM has a double entendre lyric equating food and love; John’s brother Michael contributed the amusing Woodchuck Blues featuring some great slide guitar. The band sets a swampy background to Rutabaga Cheesecake, the tale of a guy whose lady “left me with just a recipe” while John confesses to having several simultaneous relationships on the rousing Gotta Have My Babies, the horns accentuating

the chorus. Broken Man finds John lamenting his lot over a classic blues riff, the rhythm section shifting gear for the middle section where John plays a sparkling solo with a touch of jazz. John demonstrates his range with the moody description of My Town’s Got A River And A Train which brings a country blues dimension to the set. John’s portrait of a lady wearing uncomfortable shoes Hard Walkin’ Woman is played at an impressive pace with the horns pushing things along – try keeping your hands and feet still to this one! The title track is a relaxed affair with autobiographical lyrics, the horns in the back-ground, warm organ from Dale Grisa and a fine, clear solo from John. John Latini proves himself to be a musician with writing and playing talent and is well worth a listen for those who are looking for original blues that avoids the blues-rock style.

JOHN MITCHELL

JOHN WEEKS BAND DARK ANGEL INDEPENDENT

The John Weeks Band works out of Denver, Colorado, but has a rather cosmopolitan background when the five members’ collective experience is taken into account. The

band’s music is similarly diverse; it is always rooted in the blues, whether it be the lovely, piano driven The Blues Just Got More Blue, written by keyboards player Dan Haynes and beautifully sung by Stacey Turpenoff, with a slight classic Ray Charles influence, the slowly building seven minutes long How Can You Love Me? (with an excellent guitar break from leader John that varies from extremely brittle to vintage Jimmy Page), the

blues-rocking opener

The Hole or the slow-ish tour-de-force title track with Stacey’s best singing of the set – and that’s saying a lot. Elsewhere John and his crew bring other ele-ments into their music, such as the reggae tinged What Does It Take?, the jazzy sing-along Side Number and the Americana into rock anthem Impossible. The One can be lis-tened to either as a slow blues or a moody rock number. Take a listen to Devil In

BLUES ARCADIA BLUES ARCADIA

INDEPENDENT

First impressions are important to me and from listening to the first track Corner Girl on this extended EP I immediately came to the conclusion that this band were very very good, hailing from Brisbane in Australia they formed under a year ago, from the ashes of a previous band called The Bella Reunion and have all the attributes to make a significant name for themselves, not only in Australia. The band’s music probably falls in the soulful blues category but there is a lot more to their sound than this, Alan

Boyle

is sublime, he has a real depth to his vocals and really drives the songs from the front, supported by some excellent material, the writing is shared by all the band members, songs of note include the upbeat Here Comes The Rain and a very laid back piano led Time & Again. There are just seven tracks on this independent release but as previously noted there is sufficient evidence to suggest the A&R men will be rushing forward to get the band signed up, this EP is the perfect showcase for the five piece band, I have just seen that the band have been nominated in three separate categories for the 2017 Australian Blues awards, so I am not alone in recognising their talent, definitely a CD to have on repeat as it flows effortlessly between the tracks.

ADRIAN BLACKLEE

CURSE OF LONO SEVERED

SUBMARINE CAT

Not too long ago we had the eponymous four track EP from this London based blues quintet which left our Dave Scott frustrated and wanting to hear more. To quote from the promo blurb which came along with the CD it is ‘a stunning collection of spaced out, harmony laden Americana with driving gothic indie-rock’. That is a good description as for sure there is a touch of The Doors (L.A. Woman) in there mixed with Yello (The Race) and Kraftwerk (Autobahn). Those may be some of the influences but these guys, fronted by ex Hey Negrita songsmith Felix Bechtolsheimer have a unique sound to most of what is available at the moment. They have been together since 2015 and this EP is the first release from the band who have been fermenting this brew. The EP songs Five Mile, London Rain, He Takes My Place and

Saturday Night (this one not on the album) have their own International award winning soundtrack films and the band also plan to release monthly over the next ten months one video of a live performance for us to enjoy. The full album has now followed while this EP has been an intriguing sampler. So, to the album which I have to say does hypnotise you as it flows and plays you a landscape of quality sounds that although not blues as we know it (Jim) are so damn good. If you followed Hey Negrita then make sure you check this out. The songs ooze out an atmospheric mellowness and peace, the lyrics ask questions and the verses answer, there’s a sadness in places and some challenges and the music makes it easier to take on board. There is some wonderful slide playing, harmonies and mood setting soundscapes. The album bears a dedication to Annelies Bechtolsheimer who passed in 2010 as Felix was formulating the band. She would have been very pleased with the outcome I feel. A gorgeous album that we do recommend.

GRAEME SCOTT/TOBY ORNOTT

My House too, where the band subtly include a whole range of genres into what seems ini-tially to be a straight-forward

blues, a little reminiscent of classic Free. I was even more impressed to note too that four of these tracks were the numbers

with which they won the right to represent the Colorado Blues Society at the International Blues Challenge - which for any already established followers of the band is why John chose to rerecord the aforementioned Devil In My House and How Can You Love Me? Look out for these guys –they are good! Very good!

NORMAN DARWEN

RON BEER FROM AUSTIN WITH LOVE

INDEPENDENT

Ron Beer, sending the blues From Austin With Love on his third album. Once again, the unlucky for some thirteen tracks have been co-written with his writing partner Lou Sabatini. It is his lyrics across the tracks that adds a contemporary vibe. Opening with luscious horns and keys we are drawn into a big sound as I Love Nobody gets the album started. Ron’s lead vocals are distinctive as he shapes the lyrics. This is a bright and breezy number which Canadian Beer now living in Texas brings the heat of the south to the number. Again, the horns stamp their mark with You Make Me Crazy, they are warm luscious and beguiling contrasting with the gruffer vocals, not so

much sung as spoken. The tempo is flat at times we need a spark to really ignite these blues. The guitar is sharp and we have a Latino dance, hip swinging up beat number as Your Love kicks in. Once again, the instrumental intro promises much but doesn’t quiet deliver as the vocals kick in. Sweetest of blues guitar as Breakaway pours from the speaker with backing vocals colouring Beer’s vocals that just do not hit the mark for me. Closing out with Winds Of Change the band’s sound is so strong you have such high expectations, the lyrics have power even if at times the choice of words appear contrived not quite flowing making Beers job as vocalist harder. Yes, the album is sent From Austin With Love but just doesn’t hit the high-water mark for me.

LIZ AIKEN

JEFF HEALEY HOLDING ON: A HEAL MY SOUL COMPANION PROVOGUE

Jeff Healey’s fans do not need a review to determine whether or not to buy this posthumous album. Rather, they will already have sought solace in this latest release which complements last year’s lost Heal My Soul album comprising 12 previously

unheard tracks rescued and restored by Jeff’s estate. Holding On features five rare studio tracks from 1996 to 1998 and a live Norwegian concert recording from 1999. The rocking Love Takes Time with its unmistakable searing trademark guitar is a superb introduction followed by the bluesier sound of Every Other Guy. Next up is the funky rhythm of Dancing With Monsters with its infectious refrain. The catchy, balladic All That I Believe precedes the short instrumental and final studio track, CNI Blues. Rockefeller’s Music Hall in Oslo hosted the live show and what a blast it is. Healey’s extended interpretations of Dust My Broom and BB King’s How Blue Can You Get are breathtaking, the guitar solos taking the songs to another level. I Think I Love You Too Much and I Can’t Get My Hands On You from the Hell To Pay album are given further dimensions performed live as Healey responds to the enthusiasm of the audience. Macon Georgia Blue from Get Me Some is beautifully sung straight from the heart. Jeff’s rapport with the fans is a reminder of the warmth of his personality and how much at home he was performing on stage. The sheer energy and fretwork genius of the title track set the scene perfectly for the blockbusting finale, See The Light which most of us remember as our first introduction to the very special talent which is Jeff

Healey. The high quality, depth and range of Jeff’s musicality at the time of these recordings make it even more regrettable that we can never know how much more was to come from this true legend.

THE BISHOP

VEXINE LITTLE SIN

ZAP RECORDS

This four-piece outfit from Virginia in the United States have only been on the go for, approaching five years. However, in such a relatively short time scale they've collected a following around the East Coast of America with their high-energy performances, this is especially demonstrated on this album, their third since their formation. Musically they are principally rock, however with the almost incendiary singing voice of Sarah Gleason, this vocally is the blues personified and combines with technically superb guitar and percussion works from Paul Pearce, Michael Skiffington and Jorge Santamaria to blend into a first class rock/blues album cocktail. With the exception of a cover version of the Elvis Costello number I Want You on track ten, the rest of the tracks on this eleven number album are all from the pens of their

collective efforts. Lyrically this is very much to their credit as there are no dumb lyrics in any of their own songs. Track seven, Empty Hole is where you'll get the true sense of the vocal talents of Gleason, allied to Pearce's masterful lead guitar playing. It seems churlish to pick out tracks as special, since they are all quality, and bode well for the group and their future. Getting back to track ten from the pen of Declan Patrick McManus or as we all know him as, Elvis Costello. This is the one track on this album that slows down to a relative canter compared with the speedway tracks from their own repertoire. If you like a combination of rock and blues in your cocktail, then is for you.

TOM WALKER

JOANNA CONNOR SIX STRING STORIES

MC RECORDS

The title says it all, Joanna Connor’s album her first studio recording for fourteen months is about bending those six strings of her guitars. As the guitars flex their muscles, we hear through the album, rock, gospel and the ring of the blues. Opening fast and furious with It’s A Women Way, the guitar is sharp and the focal point of the track as it squeals at break

neck speed. This is her second album released on MC Records and sets a stamp that Joanna is a guitarist that sings with bluesy vocals, the guitar though is queen of the show on every track, written predominately by her bandmate Marion Lance Lewis. The two covers, slipped in for full measure are Golden and The Sky Is Crying. The pace slows, for Jill Scott’s Golden; time to sit, back and relax in Joanne’s company. Elmore James’ classic The Sky Is Crying towards the end of the album is her own take and the six-strings phrasing is beguiling. Other high points in this excellently produced album, are the instrumental Halstead Street, this brooding number needs no lyrics to display its meaning as the guitar using effects to the max. Do not be cajoled into thinking this is a slow number as a guitar solo begins the tempo heats up and hard rock is Joanne’s intent. What a contrast to the earlier blues number We Stayed Together full of control showing once again that Connor understands the power of creating the right tone, timing & tempo with her guitar so the songs are shaped and not dictated by the six strings. The album has shape and the middle is not just a route to get to the end with a trio of tracks that show the dexterity of Connor. With the addition of a horn section in Heaven we have deep, deep tonal textures. The ten tracks show every side of the six-

strings with Joanne’s talent in getting every ounce of emotion out of the guitar.

LIZ AIKEN

LANDON SPRADLIN NO MORE BLUE MONDAYS INDEPENDENT

This is an interesting rerelease. Originally recorded in London in 1995 Landon managed to get the then Clapton rhythm section of Henry Spinetti drums and Dave Markee bass on board alongside some other session musicians and Landon shows himself to be a top-level blues singer and guitarist. I fear the overly religious content of most of the album will put off some potential fans which is a shame. The first two tracks are the most out and out blues, I've Never Been To Seminary

(written by Dan Smith) and No More Blue Mondays showcases Landon’s great Southern barrelhouse voice and some Texas style blues guitar. From there it’s into First Fruits which is gospel through and through and none the worse for that even at over 6 minutes long. Track 4 is a lovely cover of the Dobie Gray classic Drift Away that really hits the spot. From thereon in its overtly religion all the way, I Got Jesus' Name, My God, He Is There, My

Friend Jesus and My Help. Nothing wrong with that and the big powerful vocal and snappy almost Johnny Winter guitar playing are there in abundance but I wonder if the album falls between two stools a little? Landon is definitely an accomplished performer and in 2009 won the Piedmont Blues and Preservation Society’s Blues Challenge. I imagine he and his band are a hot act live. It will be interesting if this re-release sparks enough interest for Landon to release a brand new album. He sure has the chops and I'm going to watch this space.

STEVE YOURGLIVCH

DAWSON SMITH & THE DISSENTERS THE MILEAGE ANNSON RECORDS

Opening with the title track, The Mileage the tone of the album is set down, we are in for a roadhouse blues journey with Dawson Smith and The Dissenters. Dawson hails from Abertillery, South Wales through Leicester up route 66 via life’s stops and detours on the road. The Dissenters are a powerful band, with Martin Burch on lead and slinky slide guitar, and a rhythm section that set down greasy grooves drummer Graham Summers and bassist

Andrew Molloy. They enable Dawson to explore Americana smoking blues, no pale imitations on The Mileage with six new tracks among the ten that made the final cut for an album that stings with blues joy and the energy of a band who has played many gigs on the road. With a sharp opener, we are introduced to Grampa George a tribute to a hardworking man that tells the tale through lyrics that harmonise with the melody, an upbeat song. Master Plan’s guitar opening is full of intent as the rocky beat is woven into the mix but never driving out the blues. We all need a master plan and Dawson Smith & The Dissenters certainly have one to entertain with their unique blending of the blues worth spicing up with ZZ Top verve, a dollop of Creedence and to the blues rocking sound of Britain in the seventies. Closing with Last Time Again, a perfect encore number and an album that sits well within your collection.

LIZ AIKEN

HUSKY TONES WHO WILL I TURN TO NOW?

INDEPENDENT

Husky Tones are a Bristol based punk blues duo comprising Victoria Bourne

on vocals, drums and percussion and Chris Harper on guitar, vocals and percussion and their mate-rial is all self-penned. Opening track Round The Wrekin grabs the attention with a blast of rough ‘n’ ready heavy riffing guitar and crashing drums broken up with occasional quieter passages. Bourne is the main vocalist and although she has a measured tone the ap-proach is often raw and energetic. Next up is Momentum a song of hope for the future. Jungle Blues has a much more measured approach initially featuring acoustic guitar and Victoria’s eloquent vocals but builds in intensity. One Good Reason crashes straight out of the speakers and grabs you by the gonads until you are squealing along with the fran-tic guitar riffing. Phew! The Island Of Barbed Wire is a gentle but harrowing tale about Victoria’s great uncle (a German national) being interned on the Isle Of Man during WW1. Title track Who Will I Turn To Now? is a dark tale of life on the road, loneliness and despair which is presented at a suitably funereal pace. The pace is raised again with the up-lifting stomper These Hips Were Made For You. The pretty love song Put Your Arms Around Someone You Love features Victoria crooning softly backed only by a beautiful acoustic guitar from Chris. Closing track World’s End Lane is a howl of rage at the state of the world and closes out this

fine album of contemporary punk blues delivered with ener-gy, attitude, anger and sometimes primal rage. I look forward to hearing more and trying to catch them live.

DAVE DRURY

CHAMPION

JACK DUPREE

LIVE AT ROCKPALAST COLOGNE 1980

WDR/ROCKPALAST 2 CD+DVD SET

Some fi ne, hoary old jokes, a few cans of beer, Shakespearian anachronisms (he tells us that ‘Shakespeare said ‘man who plays piano needs beer’’; terrifi c songs and, without being detrimental, a ruggedly raw Leroy Carr-influenced piano style. That’s all on the superbly filmed DVD of this concert. German TV’s Rockpalast and record label represent a laudable repository of recorded music from a very fertile period in Europe when many of the greats were still around and at the height of their power. Their CD+DVD catalogue is studded with live gems, from Albert Collins to Johnny Winter and Ian Dury. Champion Jack Dupree was 70 when this concert took place. Hailing from New Orleans he learned his craft in Chicago. WW2 US Navy cook, a prisoner

of war for two years under the Japanese, one time professional boxer (hence ‘Champion’) if anyone was steeped in barrelhouse blues culture it was Jack. And leaving the USA in 1959, he moved around a lot, living in various places such as Switzerland, Denmark and Germany, and from the late 70s to around the time of this recording, he was resident in Halifax, Yorkshire, where he seemed to be very happy indeed. Here he’s subtly joined by one musician, then 25 year old Danish blues guitarist Kenn Lending. There are 18 terrifi c tracks on the 2 CDs, all of which you’ll fi nd as live performances on the 2 utterly enjoyable hours of the 18-song DVD, but the fi nal filmed track, a colourful rendering of Elvis’s It’s Now or Never just leaves you with a broad smile on your face. There’s lots of New Orleans here; Fats Domino numbers such as Blueberry Hill and Ain’t That A Shame, the wonderful Bring Me Flowers (While I’m Living’) and totally uplifting solos such as Jack’s Pinetop Boogie and Rockin’ The Boogie. In between numbers he’s the supreme raconteur and joker. This release is a box of delights, and a fi ne monument for a legend who was fi nally struck down by cancer in 1992. Blues heritage in the fl esh; colourful, entertaining and immortal.

ROY BAINTON

GARY GUITAR LAMMIN

GARY GUITAR LAMMIN

REQUESTONE RECORDS

Sometimes you just want to listen to something very different and this release certainly is left field. Definitely not all out blues but has tinges of gritty delta slide rhythms on such tracks as Memo To Anita. Mostly it is a psychedelic punk rock blues mix of ten tunes very atmospheric and ethereal in places. It was created and produced in collaboration with late Sex Pistols producer Dave Goodman at his famous Mandala Studios in London around the start of 2000. Gary Guitar Lammin has been around the music scene for a long time and has been mostly associated with punk rock. He is best known as guitarist of The Bermondsey Joyriders who play loud and raw. During his career, he has played with Joe Strummer and Jah Wobble. This is a release with lyrics that grasp ideas of identity suppose all life is here set to a twisted enchanting beat. The track Value encapsulates the full-on effect of haunting vocals about lost love a real favourite. The acoustic tones on Take More Care resonate through well. Much of the introspective lyrical content owes

itself to conversations with Goodman who spurred him on to do a solo release. Dave Goodman’s contributions on sitar, tabla and Tibetan flute complement the shimmering slide guitar. The musical layers are plentiful from ripples of melody on the instrumental Silver White Shadow and the eerie bluesy tinged take on Last Night I Dreamt I Met My Enemy leaves the listener somewhat perplexed. A very progressive solo jaunt a real treat for the senses.

COLIN CAMPBELL

AWEK LONG DISTANCE INDEPENDENT

Real home Toulouse 2017, spiritual home Southside Chicago, 60 years ago. Just think, if it wasn’t for the French-accented vocals, you could play this to your mates and kid them on that you had somehow got your hands on a clutch of never-before-released vintage Chess out-takes. The first two cuts pretty much set the tone for the rest of the recording. Both self-penned opener Don’t Leave Me All Alone and a remake of Muddy Waters’ Long Distance Call unmistakably scream ‘these guys have spent a lot of time listening to McKinley

Morganfield.’. After that, we are presented with a succession more or less successful stabs at a range of pre-rock blues styles. Indeed, the amusingly quirky rhumba reading of Hound Dog might even have Elvis bopping in his Graceland grave. There’s even a brace of early period Johnny Guitar Watson numbers, She Moves Me and Gonna Hit That Highway, as well as Jimmy McCracklin’s Think, T-Bone Walker’s The Hustle Is On and Jimmy Reed’s Take Out Some Insurance. Meanwhile, the band’s own song Scratch Blues is a linear descendent of Slim Harpo’s Scratch My Back. You can’t fault the choice of covers, except perhaps for being unadventurous, while a handful of compositions by guitarist and vocalist Bernard Sellam blend in seamlessly. The solid musicianship guarantees a pleasant listen for fans of the old stuff. But ultimately this album is a bit meat and potatoes. That’s a slight let-down, given the gastronomic delights normally expected from French cuisine.

DAVID OSLER

Wow this is one cracker of an album and I am so glad it landed in my lap. In truth, I have never heard of this artist who has been making music for over forty years. Rather annoyingly there is not too much in the way of background info to be found on his website but he seems to be based in Cleveland. This album is a joy with its mix of blues, jazz, funk and a host of other genre crossing music. The weakest part lies in the vocals but even those are perfectly acceptable. The playing is exemplary throughout from this seven piece band. Yes, it has Gaetano’s name at the head but this is very much an ensemble outing. The first few bars of the opening cut Resurrection play and for a moment you think of Carlos Santana. The textures are a mix of latin, jazz and rock as the rhythm section lays down a solid backdrop for a twin guitar attack instrumental which shuffles along nicely. Old Guitar Player is, as you might expect, fairly autobiographical with his less than subtle views on the machinations of government and politics. The punchy horn driven Hot & Cold Woman provides the funk. So, it goes throughout the album with each track bringing something different, challenging and fresh in the way of musical influences. I think this is one of the main reasons I like this album so much. You are just never exactly sure what is around the corner. These differences might

have proved jarring and yet the sequencing smoothes out any possible wrinkles. The line in the closing track Ascension goes ‘I believe the blues is here to stay’ and I say Amen to that.

GRAEME SCOTT

continue to pour out with track three, when Sonny Moorman gives you You Make All My Blues Come

VARIOUS INTERNATIONAL BLUES

CHALLENGE NO 32

THE BLUES FOUNDATION

This is without a shadow of doubt one of the finest blues music collations you'll ever lay your hands on! Unless of course you have the previous albums, which may or may not have been released since the inception of the organisation in Memphis in 1980. The album opens with the Canadian Maple Blues award winning Paul Deslauriers Band with I'm Your Man. The Maple Blues Awards is Canada’s national blues awards program. Deslauriers has had a diverse and accomplished career and it shows on this opener. The very next track features two sublime musicians Genene Blackwell and Sam Shepherd who are visually impaired, that's a euphemism because they're actually blind. Nothing of which impairs their musical ability, as their version of Hound Dog on track two is simply divine blues. The audio treasures

True as being the very epitome of blues guitar and vocal diamonds. Every single track on this superbly produced album is a treat. I probably could wax lyrical about each of the nine tracks, but in its simplest terms, this is quintessentially the pinnacle of blues music from the best of the best, in terms of the genre. Of the rest of the tracks, I pick out Bing Futch on track seven Drinkin' And Drivin' to give a sort of piquancy to the whole musical dish. This album is a genuine winner and if you never buy another CD then make this one your last, as it is doubtful that something this good will appear till next year’s version of the Blues Challenge is issued.

TOM WALKER

DAVE FIELDS UNLEASHED

FMI RECORDS

The website of New York City-based blues multiinstrumentalist and Hall Of Fame inductee Dave Fields claims that his seventh studio album is, “the next instalment in the evolution of a blues rock master and beyond.” This proves to be a massive understatement with the sensational

GAETANO LETIZIA & THE UNDERWORLD BLUES BAND RESURRECTION LETIZIA MUSIC

opening live instrumental, Anticipating You, a jazz classic featuring the nimble Jeff Beck-like fingers of Fields and brilliant percussion technique from Doug Hinrichs on congas and Kenny Soules, drums. Inventive contributions from bassist Erik Boyd and Vlad Barsky on keys add to the intoxicating mix and make this track alone worth the price of the CD. However, there is so much more to come especially when Dave gets back to his blues roots, for example on the gut wrenching, slow burning Pocket Full Of Dust and the faster, intensive groove of Better Be Good, both favourites at his gigs. My Mama’s Got The Blues sums up life on the road for a blues-rocker: “Well I come home from gigging at 4 am, guitar on my shoulder amp on my hip, smelling like cigars, whiskey on my breath, she’s looking at me like she’s the angel of death.” Only two of the 14 tracks are covers, the classics Hey Joe/Star Spangled Banner and a hard driving Going Down. The poignant Child Of The World was written after the Paris terrorist attacks and is a call to find the single thread of love which binds humans together. Dave’s crooning on New York City Nights reveals the smooth side of the full on, rocking bluesman whilst the instrumental L.E.S. Hoedown provides a further stylistic contract of a bluegrass, rockabilly rumble! With every new release, Fields continues

to impress as he unleashes an increasingly eclectic musical mix.

THE

BISHOP

TRUDY LYNN I’LL SING THE BLUES FOR YOU

CONNOR RAY MUSIC

Fancy a tasty boxful of southern fried Koko Taylor? Here’s your perfect takeaway. Houston scene veteran Trudy Lynn may be pushing 70, but she handles the ten blues and soul shouters on her twelfth solo outing in a sassy fashion that would do credit to many a younger big-voiced gal. Strongest track is Thru Chasing You, which is cut from funkier cloth than the rest of the CD, although the band keeps things resolutely 12-bar. Make no mistake, the dude she is singing about is on his way out. Also of note is opener Alright Baby, a harmonica heavy Big Mama Thornton remake celebrating a man who is ‘a jockey, sure knows how to ride’. And as you might have guessed, such prowess is just fine with Miss Trudy. Still My Angel Child pays homage to the classic New Orleans piano style, while full-on Texas shuffle workout If It’s News To You benefits from some nifty guitar fills. Also featured are covers of Lowell

Fulsom, Memphis Minnie and Johnny Copeland, while some of the other material is an obvious nod to sundry well-known tunes. But even the lesser offerings - and there are a few - feature fine singing and fine playing, every time. Yes, there are plenty of other vocalists inhabiting similar musical territory coming out of the US right now, but Lynn is several notches above the pack.

DAVID OSLER

EIGHT O'FIVE JIVE SWING SET INDEPENDENT

This album is more of a tribute to the swing era of the 1940's but with a sense of jive and blues. The lead vocalist Lee Shropshire has a voice that exudes sensuality. That said, unusually in this day and age, all the members of this band contribute vocally in addition to their individual skills on their instruments, and there isn't a bad note to be heard from them. Their new style of an older form of jive/blues/swing is infectious and guaranteed to have you at least bopping in your head, if not physically! I particularly enjoyed Shropshire's singing in track two Ragged, she needs time on her own, well she may well get her wish but not with the honeyed voice.

Patrick Mosser and his tenor sax is sublimely used to enhance the very next track Get Away, but the track six made me smile with the lyrics in I Won't Wear Flats To Your Funeral. There's been some people to whom I could empathise with this sentiment, but not about wearing stiletto shoes! The saxophone and guitar playing on track eight is bordering on spectacular with the only cover track My Mumblin' Baby and it fairly zips along. The penultimate track ten Back Of My Hand features the uber sexy Lee Shropshire issuing an ultimatum to her beau to toe the line and not to wander, or if he does then the consequences are down to him. Andy Schienman's guitar playing on this track is a joy too. This album may not be to everyone's taste, but speaking as someone with an eclectic taste in music, it is surely to mine.

TOM WALKER

MATT ANDERSEN HONEST MAN INDEPENDENT

Matt is a big guy with a great big voice hailing from Canada and sounding at times like Gregory Porter.10 tracks on offer, all written by Matt for this his seventh studio album and being released to coincide with his forthcoming European tour that kicks off in May. There is a theme of sorts running through the songs as they have a political slant but don’t let that put you off, this is not Billy Bragg. Unless you are sitting there with

a notebook taking in the detail, most of the time you won’t pick up on the references, but that doesn’t matter because these are great songs. The last track One good song should be compulsory listening for any singer/songwriter as it sums up just what most of us are looking for. Look forward to seeing Matt later in the year.

DAVE STONE

Give Me One Reason

(the former) and He’ll Make A Way and Cookies

Gonna Kill Me (the latter). Add in his forthcoming tour as part of the RUF Blues Caravan 2017 and it should be a banner year for Big Daddy. Most of the songs fit into that slightly retro soul meets blues crossover and it all makes for a fine album with splendid musicianship and production throughout. The core band certainly know their way around the blues with the only misstep being the title track which turns into a reggae tune half way through. That aside this is an excellent release.

STUART A HAMILTON

BIG DADDY WILSON NECKBONE STEW RUF RECORDS

www.unisonbends.com

“confirms Russ Payne’s status as a very fine singer, songwriter and guitarist...“

“An impressive album, Liquor and Iron proves that the gap between relative unknown bands and those at the forefront of the current UK blues explosion is very narrow indeed.”

Blues Matters magazine

RUSS PAYNE AND THE

Big Daddy Wilson discovered the blues not in his US home but in Germany when he was stationed there with the US army. The German blues scene took his warm, soulful voice to heart and he found a ready home in that market. That led to his debut album back in 2004, Get On Your Knees And Pray. He eventually signed to Ruf Records in 2009 with Love Is The Key his breakthrough album. It’s easy to hear why he’s such a popular draw on the European blues circuit when you’re listening to this, his eleventh album. Recorded in Italy it should make his name even better known with Ruthie Foster and Eric Bibb popping in for some cameo appearances on the Tracey Chapman cover

OTIS TAYLOR FANTASIZING ABOUT BEING BLACK INAKUSTIK RECORDS

Otis Taylor’s a guy who has been around a while now, a guy who knows the music and how to work it hard. Here he takes a theme and pushes it mercilessly all the while anchoring himself in a sort of Mississippi Hill Country groove that spins and ripples with quality at every turn. Taylor’s fretwork matches his gutsy, ballsy voice near perfectly and the eleven tracks here show him to be a mighty fine song-writer with a keen eye on modern Americana and the blues tradition,

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with shades of RL Burnside echoing throughout. Taylor rips into the racial undercurrent of modern USA while also hi-lighting the importance of the civil liberties movement in the blues tradition across the Pond. Surprisingly, to some extent, one track –the opener, Twelve String Mile – features the lap-steel work of one of Nashville and Americana’s most significant musicians, Jerry Douglas, here stirring the blues-based pot with apparent comfortable ease. Part of the magic of this excellent release is surely its near-mesmeric, rhythmic power – a quality that Taylor exploits to the full and to great effect.

IAIN PATIENCE

ELVIN BISHOP ELVIN BISHOP’S BIG FUN TRIO ALLIGATOR RECORDS

Fun is the nature and feel of this highly infectious new release by multi award winning singer songwriter guitarist Elvin Bishop. Here is a raw rootsy down home blues infused stew of the highest calibre. For this he has joined forces with long term chums and band mates Bob Welsh on piano and bass guitar and Willy Jordan on cajón which is a South American percussion type instrument, adding to that

authentic production he also has a great vocals and fine rhythm. The band jammed for a while and played a few gigs and decided to put this together it is pure quality. Charlie Musselwhite on the wry tongue in cheek 100 Years Of The Blues, Kim Wilson on It’s You Baby and Rick Estrin on the laid back honky tonk Delta Lowdown also feature as guests adding more tone and volume and authentic feel. Elvin has written seven of the twelve tracks a remake of his Ace In The Hole and does an upbeat cover of Bobby Womack’s It’s All Over Now and the Fats Domino song Let The Four Winds Flow. The opener Keep On Rollin is a tremendous romp of a tune and captures a thunderous vibe funky and fulsome very catchy. The hollering Can’t Take No More is also a treat. They are all masterful musicians and the deft slide guitar flicks on instrumental Southside Slide just make you smile. Surely this will let new listeners to the blues genre see that it can be fun. This maintains Elvin Bishop’s right to blues legend status catch them live it will be a real party.

COLIN CAMPBELL

KRIS POHLMANN

10 YEARS LIVE BLACK

PENNY RECORDS

How can somebody like this be around the European Blues scene for ten years without my having come across him before? Still, I

don’t suppose that he has heard of me either so honours even! Seriously though, what we have here is one of Germanys top blues artists who having been touring and recording for the last ten years has decide to put out a commemorative album to celebrate. It consists of fourteen tracks, nine of which are written by Kris, all recorded live in one of two venues, his own studios in Germany and the rest at the Blues Moose Club in the Netherlands. Sound quality is superb in both cases and to be honest, you don’t really get much of any live feel, apart from a few numbers that he introduces, and some reserved applause. All that aside, this is as you might expect a bloody good blues album, erring towards blues rock and with honours split fairly evenly between a 1964 Telecaster and A Gary Moore tribute Les Paul. Kris appears to play as a trio, and he name checks Jonas & Janosch but without revealing who plays what! Any one of these numbers would be up for release as a single (if anybody does that anymore?) with the possible exception of track six Fallin’ Down, which plays out at 10.50! I thoroughly enjoyed this album and will certainly keep an eye out for any appearances in the coming months. Looking forward to the next ten years!

DAVE STONE

ROLL ALWYN JAMES THE BLUES NO.6

WHIT LABEL

Here’s music of grit and determination offering proof of the healing power of the blues. Originally formed in 1993, the Roll Alwyn James band were successful playing throughout Britain and France. However, the music hit a brick wall in 1995 when Alwyn had a severe stroke which left him unable to use his right hand at all. Struck down like this he gave up music until his children talked him into attending the MacKinnon Centre in Dundee, which includes a Skills Centre for adults with physical disabilities or progressive illness. Slowly, Alwyn re-discovered his love of the blues when he realised that with the formula of just one hand+passion+soul and the love of family and friends he still had much to offer. Listening to Bombshed Blues, track 6 on this terrific 12 track album, Alwyn’s plaintive harmonica playing corroborates his children’s faith. Paul Henderson adds great vocals and exceptional lead guitar, with rhythm guitar from Scott Henderson and two more Henderson’s, Martin and Stephen, providing a powerhouse

rhythm section on bass and drums. But as well as Alwyn’s story, this band has another inspirational asset in the form of keyboard player Nial Brown, a successful producer and composer for the BBC who had worked at Abbey Road, whose work was even featured on Blue Peter. Then, in his late 40s, a massive stroke resulted in half of his skull removed and replaced with titanium. Despite being left with a raft of problems including aphasia, (a condition shared with Alwyn, which affects the brain and leads to problems using language correctly) you’ll be amazed at his keyboard contribution to this album. In the final analysis, tragic illnesses aside, this is modern blues played with verve, skill and confidence, and bonus tracks such as Boom Boom and Ice Cream Freezer are the icing on a rich cake. Perhaps the blues is an analgesic the NHS has overlooked.

ROY BAINTON

JACK MACK & THE HEART ATTACK HORNS BACK TO THE SHACK FREEROLL RECORDS

When a band has a name like that, it gives the game away immediately. Big, brassy, driving r&b.

If you’re a fan of Sam Cooke, all things Stax, Wilson Pickett and driving southern blues, (and who at BM isn’t) this is right up your street. After being blown away by the first four minutes of Standin’ Before The King, you’re grabbed by the shoulders and given a good shaking by keyboardist Mike Finnigan with Somethin’ In The Water, and for the remaining 8 tracks you’re hooked. The Heart Attack Horns, Les Lovett, Bill Bergman and Lee Thornburg embody all that’s finest about US horn sections; from New Orleans to Detroit and Chicago, they offer a punchy range of styles over a rock solid rhythm section. We may not have heard of this outfit as much as we should have over in the UK, but we all know the sounds of Philadelphia and Motown, which this package encompasses with ease. With a Grammy-winning blues producer, Tom Hambridge, at the desk and New Orleans vocalist Mark Campbell and singer Melanie Taylor, who has performed with Aerosmith, this is a big, steaming locomotive pulling some fine, driving music. Back to the shack? Wherever it is, take me there.

ROY BAINTON

THE VELDMAN BROTHERS REFUEL INDEPENDENT

Eleven tracks from a Dutch 4 piece band that I haven’t previously heard of.

Their very well packaged offering carries the rider “blues & roots straight from the heart. All tracks are written by one or other of the two Veldman Brothers and I would be happy to have written and recorded any one of them. Traditional blues combo line up of guitar, organ, harp, bass and drums and once again just the way I like it, good steady music with no indulgent solos or pyrotechnics, just well crafted songs, played well. The label says recorded and mixed at Roy’s Kitchen, and the photos certainly seem to be in a fairly friendly space, but it gets a great sound. No real stand out track here as they would all stand up to close scrutiny and air play. Like the label says “straight from the heart” Nice one boys.

DAVE STONE

LUCAS HANEMAN EXPRESS TEARING UP THE RAILS

MAPL

Canada has proved over the years to be a very fertile breeding ground for many genres of music, the blues benefitting in many ways from this. The Lucas Haneman Express are an Ottawa based band and Tearing Up The Rails, their second release is a solid body of work

that really showcases their talent, both in the writing of the songs and their instrumental and vocal prowess. The band comprises a standard four piece set up with Lucas Haneman on vocals and guitar, Jeff Asselin on drums, Martin Newman on bass and Megan Laurence on vocals and tambourine, but on the CD they are augmented on various tracks with Steve Marriner on harmonica and Jesse Whiteley on keys and organ. Of the fourteen tracks here, twelve are band originals with two covers, namely Bryan Adams, Run To You, given a complete makeover so much so that at first I failed to recognise the song. It has been slowed down and possesses a degree of menace and heaviness that has completely changed the feel of this track. The other cover is Steppenwolf’s, Magic Carpet Ride, again given a makeover that seems to make the song belong to the Express. The majority of tracks were recorded in Ottawa, but three tracks were cut in Sun Studios, Memphis, probably when they were appearing as semi finalists at the 2016 International Blues Challenge. One of these, Blind Man’s is possibly autobiographical to Haneman himself as he is visually impaired and has appeared in London at the Visually Impaired Musicians Live conference. Tracks veer between melodic and heavy and incorporate soul and

funk alongside the blues feel, with both Lucas and Megan possessing good voices. In Storybook Love, they move effortlessly from melody to a threatening heaviness and back again, plumbing the depths when necessary but allowing light to shine through. On Love Shine, Haneman’s voice is superb on this acoustic solo blues, yet on the following track, it’s his fingers that really do the singing on the fret board in a delightful intro to a track well driven by busy bass. A very enjoyable album.

MERV OSBORNE

TOM MCCARTNEY WELL DRESSED MAN INDEPENDENT

The Bottle Ain’t For Me, sings Tom McCartney on his debut EP, Well Dressed Man. And just as well, given that the Nottinghambased 17-year-old is not yet legally old enough to down a pint in a pub. This fourtracker features a quartet of self-penned ditties, all belted out in what presumably is the regional accent of the fine Midlands town once home to Robin Hood. Unusually for a young Brit blueser, he’s a traditionalist, who would rather write good songs than set the fretboard on fire. Indeed, he could almost be classified as a back-to-basics twenty-first

century skiffle merchant. The title track is a classic 12-bar shuffle paean to the inestimable joys of being a dapper young dude, sporting ‘a new suit every week’. Not only has Tom got the duds, but the promo video shows him playing a red Telecaster. Let’s face it, that’s one cool teen. The song benefits from myriad storming harmonica licks courtesy of Martin Sheills, not to mention slightly too far down-inthe-mix electric piano from Raphael Achache, too. The aforementioned The Bottle Ain’t For Me turns the country-o-meter up to 11, even though the theme comes across as incongruous from a lad who won’t even have dented his liver yet. Not From This Town documents how music from Mississippi goes down in this country, while Hard Times A’Comin breathes new life into some time-honoured blues riffs. Everything here augurs well for the future.

DAVID OSLER

EDDIE BO & CHRIS BARBER THE 1991 SEASAINT SESSIONS

PROPER RECORDS

What can be said about the truly legendary work of Chris Barber that

hasn’t been repeated time and time before? With this wonderful offering, the one thing that can be said, or asked, is why has it taken so long for this 1991 session to see the light of day? The answer it appears is that Chris Barber had largely forgotten the session and only discovered it in 2015 when rooting through a box of archive recordings. Fortunately, he sensed the importance of these tracks and they have at last been released for others to now enjoy and savour. Recorded in the fi ne tradition of jazz improvisation – here pretty much at its best with two of its best men – when Barber was out in New Orleans playing with Doctor John, the suggestion was made that he hook up at Allen Toussaint’s Sea-Saint studios with local keys wizard, Eddie Bo. Bobby Bland’s old guitarist buddy Wayne Bennet also turned up the heat while other local, Crescent City sidemen also provided a solid backbeat and a driving, earthy fl avour that needed no rehearsal, instead a few days together in the studio with the main guys simply making up their parts as the session unfolded. The result is little short of a minor masterpiece and a delightful expression of just how to make quality music that clearly comes straight from the heart and soul.

IAIN

PATIENCE

STARLITE CAMPBELL BAND BLUEBERRY PIE

SUPERTONE RECORDS

This is a British blues retrospective release with all the ingredients and instrumental layers for a tasty pie. A debut by a very talented duo Suzy Starlit who plays a mean bass guitar sings sultry vocals and her partner Simon Campbell on guitar and vocals. Added to the mix are the stunning Hammond organ and Wurlitzer playing of much lauded Jonny Henderson, Steve Gibson on drums and you have a sweet recipe for success. Eleven contrasting tracks take the listener on a journey well travelled before but with differing shades and moods. Walkin’ Out

The Door starts it up with a blast of keys reminiscent of Booker T just to get the taste buds drooling and a groovy bass line. The mellow tones of I Need A Light just makes you feel the honesty and depth of talent this release has. Cry Over You is a favourite with dripping guitar licks interpreting the gritty lead vocals on this slow ballad. Say What You Want rolls on with a good burst of harmonica by Danny Boy Sanchez. Title track is stripped down acoustic with slide and tone with family values added to the

mix. The soulful melting vocals on Guilty by Suzy Starlit mirror the angst driven guitar solo. Empire rocks the joint and ups the temperature driving guitar licks blending with resonating percussion. The multi layered instrumental Shimmy has tones of jazz with the right seasoning of heavy organ. Final track Thrill You keeps up the blistering pace and makes you want to keep gorging on this musical gem.

COLIN CAMPBELL

right on the message, and is done well. Busy on the European rock-scene, the band has had a 15-year lay-off and is now firing once again still using the same vintage amps; a retro-sound of the 1970s classic soulful rock and blues has emerged into the download generation. Big guitar tracks and power vocals are the heart of River Blindness; Hurricane Sister; Millstones and Wheels of Steel; Memory Lane; and Death Rides a Pale Horse. They are all at times bitter-sweet and observing the need to head back to some-kind of safe retro object-filled culture of the 70s, while embracing the dangers of all things digital. This album grows on you and is worth the effort.

THE OUTSIDERS UK EVERYTHING’S GONE VINTAGE PLANET

The Outsiders UK are a British band and not to be confused with the American combo of the same name. They consist of Adrian Melling on vocals, Chris Hartley, Liam McCartan and Matt Pawson on guitar, and Peat Hicks on percussion. Think of Dr Hook mixed with The Eagles guitar-work and you have The Outsiders UK. The songs are all selfpenned and are articulately perfect. The harmonies are beautifully executed. The concept of the album as the title indicates, is lamenting the change in technology and harking back to what life used to be. It sounds heavy, but is

BOB BONSEY

DERRICK PROCELL WHY I CHOOSE TO SING THE BLUES

HEAR AND NOW MUSIC

Multi-instrumentalist/ vocalist Derrick Procell has been writing story songs with songwriter, author and playwright Terry Abrahamson as demos to pitch to contemporary blues artists. Overwhelmingly positive feedback on the songs and performance led to this album of 12 original tracks being produced

with the help of various guests. The album kicks off with a superb homage to Howling Wolf where Procell is joined on vocals by long time Wolf sideman Eddie Shaw on The Wolf Will Howl Again. This is a classic Chicago blues with both men howling splendidly also featuring great guitar from Woody Johnson plus Procell’s atmospheric harmonica licks. Procell follows that with the soulful Southern rock belter Trouble Me No More featuring his gritty vocals and pumping piano plus stinging guitar licks from Bob Baglione. This one is sounding like the real deal already. Bob Margolin adds his considerable slide guitar skills to the shuffling The Eyes Of Mississippi with Procell again excelling on vocal, harp and piano. The epic title track Why I Choose To Sing The Blues takes us on a marvellous journey from Mississippi to Memphis and Chicago with varied tempo changes and references to The Crossroads, Beale St and New Orleans along the way. The soul stomper They All Found Out and the relaxed Ain’t Nuthin’ More About It both feature Zoey Witz on guitar. Who Will Tell Lucille is a moving tribute to B. B. King with a heartfelt vocal from Procell and some nice clean guitar licks from Alex Smith with lots of bent notes. The great Billy Branch adds his harmonica to the gospel flavoured Back In The Game which also features Baglione’s searing slide guitar and Procell’s vocal sounds

for all the world like Greg Allman. The blues-ballad Don’t Waste Your Wish On Me features jazzy, relaxed guitar from Zoey Witz and cooing backing singers as Procell croons his sardonic lyrics. This man is a seasoned performer in other genres but this is his debut blues album and it’s an absolute cracker.

DAVE DRURY

GUY CLARK THE BEST OF THE DUALTONE YEARS

DUALTONE

This is a double-disc compilation celebrating the music made by the late, legendary songwriter Clark while signed to Dualtone. It includes several live cuts and three previously unreleased released demo tracks. The Texas troubadour’s voice was famously described in Rolling Stone magazine as, “a mix of oak, musk and wisdom.” These words could describe many blues veterans but Clark’s music always appears in the genre category labelled folk. However, many of his smouldering songs with their poetic lyrics, visual imagery, search for truth and observations of humanity cross-reference the blues. In the same way that artists like Sean Taylor, Brooks Williams and Michael Chaplin

grace the stages of both folk and blues festivals, if Clark was alive today he would have similar appeal. Hemingway’s Whiskey oozes the blues: “Live hard, die hard, this one’s for him/ He did not like it watered down, liked it straight up and neat/ if it was bad enough for him it was bad enough for me.” Dublin Blues yearns for a lover who has gone, the intoxication of romance never far from the surface of Clark’s songs. An acquaintance of the legendary Townes Van Zandt, the latter’s influence is evident on the beautifully crafted lyrics of the memorable My Favourite Picture Of You. Van Zandt’s If I Needed You presents the vulnerability inherent with being a badass. Clark was a singer/songwriter and storyteller in the mould of Cohen, a fine guitarist and a man who lived life hard and to the full. Several of the songs are inspirational but this is not a mainstream blues album and if I had not been sent a review copy I would never have listened to it. I am glad that I did.

THE BISHOP

ADRIAN + MEREDITH MORE THAN A LITTLE INDEPENDENT

This is the debut album by husband and wife

duo Adrian and Meredith Krygowski who are based in Nashville. Adrian is the main vocalist and plays guitar with Meredith providing vocals and fiddle. Opener, Take A Boat grabs your attention with its kind of off kilter chords and interesting vocals. It reminded me very much of The Handsome Family and if you're into that kind of Americana this is an album well worth checking out. All the tracks on here are atmospheric and slightly quirky but in a thought provoking lyrically interesting way. Some tracks in particular make good use of a small brass section, I especially enjoyed the effect on the title track More Than A Little. Adrian has a raspy rocky kind of voice that suits his writing well and is beautifully offset by Meredith’s harmonies and backing. Like all the best Americana the music blends a bit of rock n roll with blues, soul and country and this record is one that is sure to reward repeated listens. Adrian does have a back catalogue of solo work and second guitarist Paul Niehaus has collaborated with him for a number of years and that experience does shine through. Certainly, not a blues album in the traditional sense but one I think I'm sure to explore a bit more and recommended to those who enjoy Americana.

STEVE YOURGLIVCH

THE FURIOUS SEASONS LOOK WEST STONE GARDEN RECORDS

The Furious Seasons are the Steinhardt Brothers, David on acoustic guitars and vocals, and Jeff on bass, with P.A Nelson on acoustic, high strung and electric guitars, and vocals, with contributions from Ray Chang on violin, and pianist Tim Boland. Although, there is nothing in the way of blues, or instrumental soloing, there is plenty to appeal to fans of more adult themed music. In many ways, the songs are reminiscent of a less commercial Crowded House, or any group that places melodicism above grandstanding. Simple And Clean with its bluesy guitar part, and catchy rhythm guitar figures is a song from a film that has never been made, whilst Bad Man is a narrative story telling song with hidden depths. Roll Out The Future is a gentle murmur of a song, with African like guitar parts adding to the lyrics, and the piano led The Tape, and album closer Glad It’s Mine, with its stacked guitar parts and world weary vocal timbre show just how on the ball this talented collection of musicians are when it comes to producing

songs and music of undeniably high quality.

BEN MACNAIR

SCOTT TAYLOR (FEATURING TONY FAZIO) BLUES KITCHEN

FETAL RECORDS

Every once in a while, an album oozes out of the speakers, and this is one of those. Scott Taylor is from Detroit but his head must be in the Deep South. He has a vocal-style not unlike Robert Cray and is supported throughout by an intuitive guitarist in Tony Fazio. Painting The Town sets the scene with a laid-back vibe stating ‘Put your dress on, we’re going out to night and going to party all night long’. I’m Gonna Getchu’ has a sensual harmonica floating in and out thanks to Charlie Sayles. Tennessee has a Bobby Womack feel to it and is about going home to the woman he yearns for. Give Me Shelter is pure blues about a lost lover; full of angst and remorse. I Wasn’t In The Right Mind tells of a wronged woman and is full of regret. Good And Plenty again is a down-beat blues with stunning guitarwork by Tony Fazio. This collection of self-penned songs is perfect late-night listening; the essential accessory for a ride home in the car or just chilling

back and listening to Southern-style blues.

BOB BONSEY

BLIND WILLIE JOHNSON DARK WAS THE NIGHT

SOUL JAM

As a long time, writer and reviewer for Blues Matters, I have been privileged to be educated by the hundreds of CD sleeve notes and liner booklets received over the years. The dedication and erudition of blues writers is laudable, and sometimes I read their words with envy. Michael Hall’s addition to Gary Blailock’s 9 pages of detailed information on Blind Willie Johnson is a case in point. I wish I’d written it. It reminds us that Johnson’s recording Dark Was The Night, Cold Was The Ground was sent into the eternity of deep space on NASA’s Voyager 1 spacecraft in 1971. Along with Beethoven’s 13th string quartet, Johnson’s eerie, spine-tingling voice and slide guitar are out there for at least the next 60,000 years. As Hall writes of its potential discovery by aliens; “Maybe they’ll wonder what kind of creature made that music?” So here are 24 essential recordings dating from sessions in Dallas, Atlanta and New

Orleans 1927-1930. Blind Willie Johnson (18971945) has left us a brilliant workshop manual on how to deliver the blues - and gospel - underpinned by a slide guitar technique which is never short of thrilling. As well as the haunting title track, there’s the uplifting John The Revelator, and a song I’d last heard years ago (from Lonnie Donegan), Let Your Light Shine On Me and the moving Bye And Bye I’m Goin’ To See The King’. These records may be 87 years old, but they’ll set your faith in the blues in solid concrete for all time. Blind Willie Johnson was a rock, a beacon, a blues milestone. If you want to know the genre in its purer, unadulterated state of grace, you need this CD.

ROY BAINTON

JOHN RICHARD LOST IN DUBLIN

MNB MUSIC

This is John Richard’s second album following his 2014 debut which was called Blue Valley and was nominated for a Blues Artist of the Year. The inspiration for this album was the experience of Canadian John Richard who on a visit to Dublin found himself fascinated and inspired by the sights and sounds of that timeless and history-rich city. Alone,

and without an agenda, he explored the city and found the sights, buildings and people had a lasting impression on him and provided kernels of ideas which he was later able to develop into these songs. The opening track, Rory Gallagher’s, I Fall Apart, has a real passionate feel to it and is augmented by some fine guitar work from Carter Chaplin. Can’t Help It, is full of echo and has a lot of reverb that reminded me of Gary Moore. Black Church is the story of a drunk hobo’s visit to a church and his subsequent conversation with a priest. I Wish You Would Come With Me has a soulful horn arrangement and is very Lindsey Buckingham in style. All The Proof I Need is a pure blues ballad which is full of Hendrix guitar salvos. He is quoted as saying ‘Blues is always a big inspiration for subject matter and vocal delivery and song structure. This time around I wanted to sweeten it up a bit and drew from guys like Otis Redding, Sam Cook and Lee Moses.’ Despite my references to other musicians, John Richard’s is his own man and has his own style. If you like your blues soulful and with Irish influences, this is worth listening to.

BOB BONSEY

ANDRES ROOTS WINTER

ROOTS ART RECORDS

Andres Roots is appropriately enough a roots musician, with a complete grasp of

traditional blues and an abundant passion for the music. From Estonia, a smallish Baltic state in northern Europe, this sophomore CD release follows his Canadian award-winning, debut album Live In Lerwick, a live festival take featuring his harp-playing buddy from England, Steve Lury who again features here. After twenty years playing acoustic blues and slidedriven guitar, Roots last year released a celebratory vinyl only compilation disc, Roots Music, that made history in his homeland by being the first vinyl disc produced in the country and also then soaring to the number one spot in the Estonian charts while also proving to be the bestselling album in the Baltic region. On Winter, Roots, who wrote all 13-tracks, is joined by a number of Finnish musicians and a few from neighbouring Latvia, the UK, USA and US-Swedish import Bert Deivert, a veritable United Nations of blues talent. The result is an album that is truly excellent, with fine vocals and classy, zinging slide and down and dirty blues punch. This really is an album to catch and won’t disappoint lovers of traditional, fiery, impassioned blues.

IAIN PATIENCE

LUKE HILLY AND THE CAVALRY SHAKE YOUR BONES INDEPENDENT

Pop this crowdfunded CD into your player and you’re immediately blasted

with so much noise your clothes almost ripple in the breeze. This is primitive stuff, highly amplified and fuzzed up. One might even use the term “racket.” One wonders whether the only people who could warm up to an album like this also wear black lipstick and have holes in their earlobes big enough to accommodate a man’s fist. Believe it or not, only two guys are making all this noise – Gianluca Cavalera on harmonica and Luke Hilly singing and playing cigar box guitar and drums. Shake your bones indeed! The two met in southern Switzerland and, united by their love of primitive blues and folk, started playing together in 2012. There’s nothing delicate, wistful or reflective here. This is the blues, full-throated and raw. When we reach track

four, I Still Believe

In

The

Ghost

Of

Robert Johnson, we find ourselves smack dab in Howlin’ Wolf territory. Yeah, it’s noisy,

but this is the real deal. The urge to rock and roll in your chair is almost irresistible. That song’s followed by I’ve Never Seen My Home, a gravelly voiced number punctuated by hand claps. And then you’re offered, of all songs, Will The Circle Be Unbroken, an early 20th Century hymn that’s been warbled by everyone from The Staple Singers to Susan Boyle. But, damn, this version is good! With the following song, Oh Lord Stay Away From Me, you’re hooked. Great harp, frenetic acoustic strumming. The whole album opens to you. It’s pulled you in and you understand its vocabulary – its emotion, its rhythm, its truth. One is reminded of Mark Twain’s quip, “Wagner’s music is better than it sounds.” You think back to how taken aback – even put off – you were by the racket when the CD began. But now you’re a convert. And you think to yourself -- Yeah, this music,

too, is a hell of a lot better than it sounds. Good stuff.

M.D. SPENSER

TOM CRAIG AND SOUL PATCH GET READY FOR ME INDEPENDENT

Tom Craig has a belting voice in the Lou Rawls style and a powerful band behind him including a quality horn section. The album? Very, very good. Craig plays guitar as well as leading with his vocals and writing all the songs but it feels like a band performance, not just a bunch of pickup session players. Eric Johnson’s keyboards – especially his Hammond play – really makes the music flow while Johnny O’Connell lays down subtle and

sassy drums that push the music forwards. Randy Branning is a supremely funky bass player but, for me, it’s the use of three sax players that really brings out the jazzy side of the music, blues and soul doesn’t get much better than this. Louita opens the album with some sassy and sleazy soul, funky as hell and all the right punctuation while Johnson’s Hammond builds the pressure and drops it into a boiling hot gumbo. I Can’t Help Myself is a classic dirty shuffle while Captain Funk is a real dance number – hot and groovy with all the swing your ass can handle. Even when he slows it down and gets sensitive as he does on Please Forgive Me Baby he loses none of the soul in his writing. No question that these are sounds we’ve all heard before but he does them so well and the album is so much all of a piece, that it feels fresh and new.

ANDY SNIPPER

SLIDIN’ SLIM & ERIC HANSSON BETTER LATE THAN NEVER

EBB RECORDS

I’m guessing that Slidin' Slim is probably not his real name unless things have changed dramatically in Östergötland in Sweden.

Eric Hansson, however, makes a lot more sense. Slim and Eric are both blues performers in their own right and they’ve been talking about making an album together for nigh on a decade now. And here it is. It’s traditional Delta blues with a few Chicago touches in there and you can well imagine that this will go down a storm in the late-night blues club of your choice. Slidin’ Slim takes care of most of the vocals and Eric Hansson the guitars although they do swop roles in a few places. The songs are all self-penned but as they each sing on their own songs it’s less a duet album and more of a split release. The recording band are all top notch and there are some lovely organ touches from Janne Pettersson which really add to the arrangements. Songwise it’s straight down the middle blues and the lies of Would You Kick Somebody, I Believe and The Woman

You Used To Be are all extremely competent. Slim aka Anders Landelius has a good voice and even if you’re unlikely to travel to Sweden to catch a show, the record is worth a passing listen.

STUART A HAMILTON

ERIC STREET BAND PURPLE PASSAGE

SOUTHSIDE MUSIC

The journey taken over the years to the production of this album is a very interesting story and one that cannot be told here due to space. Suffi ce to

say that Dennis Siggery, a.k.a Eric has undertaken a full and interesting life to arrive at his present position. This Berkshire based band is relatively new together, Dennis on vocals and includes Gordon Vaughan on guitars, Henry Smithson on bass and former Mick Ralphs drummer, Adam J Perry, but Purple Passage is the Eric Street Band’s 10th release. Having reformed last year as the Southside Blues Band, they released an EP from which BB King’s The Thrill Is Gone made no.1 in the US internet chart. This inspired Dennis to write with Gordon and fi fteen songs were produced, nine of which found their way onto disc, with four from the EP as bonus tracks. Their sound is most certainly blues based but without it being a blues album, with soul, rock and even a little country included in their sound. What is not in question is their musical ability, Gordon is most certainly a very able player, his solos being both empathic and aggressive as needed. The music changes from the heavy rock sound of I Like What I See through the funky beat of Ruby’s Bar, the polished blues of I’m Coming Home and Payback Time to the smooth sound of Jack The Lad, a gentle ballad suited to dance fl oor intimacy. Of the four bonus tracks, three are covers, with The Thrill Is Gone covered in a

reverential but somewhat different way. Can’t help but think that Dennis sounds somewhat like Stan Webb here. Also covered is Willie Dixon’s Hoochie Coochie Man and Ellington Jordan’s I’d Rather Go Blind. My favourite track is Stop, Take A Listen which opens as a mournful blues before breaking out into a full tilt boogie with Gordon playing screaming slide before returning to the fully controlled slow blues. The band has previously been described as “...mature, polished and well produced”, all of which I totally concur.

MERV OSBORNE

LEO KEY THE LUV ZONE INDEPENDENT

Leo Key has been a professional musician for over twenty years but this is only his second solo album, a mere thirteen years after his Leo Key Unlocked debut. And there is no doubting his musical chops which led to him recording with Motown Records, MCA

Records, Death Row Records, Chuck Rainey

(Steely Dan, Quincy Jones), George Clinton, Patrice Rushen and members of Confunkshun and The Commodores amongst many. But the blues is where it’s at for him after growing up in Birmingham, Alabama listening to gospel, blues and old school R’n’B. His own music takes a basic blues rock template and adds in tasty flourishes from all over, no doubt influenced by his lengthy musical education. So, you’ll find jazz and fusion licks creeping in to the mainstream blues rock sound of Jealous Hearted Man, Sweet Betsy Mae, Blames Gonna Fall On You and Down at the Joint. His main strength is the guitar but his songs are strong and he is a more than capable singer who brings the best out of his songs. He ends up with a fine rendition of Amazing Grace on what is a really enjoyable release. Try and get past the dreadful title and give this a go.

STUART A HAMILTON

STEVIE J BLUES BACK 2 BLUES INDEPENDENT

Stephen Johnson who is the Stevie J Blues of the album title has not only written nine of the

eleven tracks here, but he has also produced the album which is released on Mississippi Delta records, which appears to be his own record label. Stevie’s intention here is to bring blues back to the mainstream, mixing in some soul and gospel on the way. You can hear the influences of Robert Cray, Prince and Ray Charles as well as some Will Smith style rap. All of it beautifully orchestrated and played by the various talented musicians featured on the album. Stevie is the son of a Gospel preacher and track nine, Son Of A Sanctified Preacher tells the story of the young Stevie’s introduction to the world of blues guitar, and at the same time reveals that his daddy was good old blues guitarist too, (But don’t let the wife know!) This is a real class act and deserves a lot more exposure than I think it will get. Paul Jones if you are reading this, get hold of a copy, it really is damn good.

DAVE STONE

BLUE TOUCH NOTHING LEFT TO HIDE

Left To Hide is the sixth release from Blue Touch, yet I’ve no doubt there

are many blues/rock lovers out there who have never heard of this group. Competent and confident are just two of the words to describe their offering. All ten tracks here are band originals and there isn’t really a limp song amongst them. Comprising Andrea Marie on vocals, Alan Cleaves and Neil Sadler on guitars/vocals, Merv Griffi n on bass and Hugh Lawrenson on drums, they are an extremely tight unit, with variation in the vocal department. Heavily steeped in the blues/ rock genre, they certainly sound as if they are enjoying themselves in the more up-tempo songs.

I’m Moving On is a case in point, the instruments solidly behind Andrea’s vocals, all punching to accentuate her vocals, and she doesn’t have a bad voice. Yet with three vocalists in the band they can vary the overall sound to allow any one of them to take the vocal limelight. Andrea’s voice however comes to the fore on the slow blues of Don’t Wanna Walk That Road. Her strength and power shine through over the constant melody of the guitar, making this an outstanding song. The opening track, Let Your Hair Down, is a heavy menacing set but with a guitar lick that you’ll end up humming hours later.

Trying To Find My Way

Back Home starts like a mandolin infused Zeppelin song, sharing both the lightness and depth of the

stringed instruments. One of the guys takes vocal duties for When The Spirit Moves and this is where the contrast between the vocal genders really shows. They change style for the Latin infused song So Wrong, sounding very much like Santana circa the 90’s, with some deft percussion and defi nite Carlos styled licks, another superb track. I can’t fi nd anything wrong with this release so when all is said and done, light the Blue Touch paper, stand back and enjoy.

MERV OSBORNE

61 GHOST TO THE EDGE BLUZPIK

A power trio based in Clarksdale, Mississippi with a 6 track EP featuring Joe Mazzari on vocals and lead guitar, Dixie on drums and back-up vocals and J. D. Sipe on bass. This is down and dirty rock ‘n’ roll fl avoured with touches of Americana and Mississippi hill country blues created with passion and fervour. Opener Heartbeat displays all the aforementioned qualities in abundance but also has a commendable feeling of restraint with the band always remaining in control and not getting

into a noise/thrash fest. No One At Your Door is a hard driving groove featuring heavy riffi ng guitar and Mazzari’s vocals sound like early unfettered Springsteen. There is a slightly more relaxed feel to the bluesy World Gone Crazy which still rocks but also uses dynamics effectively in quieter passages with Mazzari almost speaking into the mic. If Tears Were Dirt is an Americana rocker which builds in intensity with pumping bass and thumping drums and Mazzarri lets rip on his guitar solos. The hurt filled Show Me Your Scars features whispered emotive vocals and acoustic guitar and this style continues with the soul baring closing track Passion Tipped Arrow. A short and sweet EP which gets a short and sweet review from me with a big thumbs up. More please.

DAVE DRURY

JOSH HYDE CALL OF THE NIGHT INDEPENDENT

Yet another independent offering, this defi nitely seems to be the way to go. Perhaps I should try it! 9 tracks, all written by Josh who was born in Baton Rouge so he has the Louisiana blues heritage to follow. As

far as I can tell, this is either his third or possibly fourth album and on it he has managed to get Sonny Landreth to join him on 2 tracks, with contribution also from guitarists Buddy Flett and Tony Diagle, piano from James Westfi eld and backing vocals from Laura Mayo and what a great sound they all make! I particularly liked track 5, Its not too late, which has Sonny, James and Tony giving their all to the mix, terrifi c! I am still a techno dinosaur, I like to get the CD in my hand and the sleeve notes with it, I am not into downloading stuff, but I did catch up with the boys on YouTube. Realistically, that is probably the only way that you might get to hear the album as I can’t see any of today’s rather few record shops going out of their way to import it. Great shame!

DAVE STONE

IZO FITZROY SKYLINE

JALOPENO RECORDS

Here comes a very fine release from a young lady with a foot in both the modern blues and light jazz music worlds. With a dozen tracks, Skyline moves along nicely, featuring, good, solid song-writing and a

powerful, soul-infused voice that holds echoes of Memphis in the mix. Londoner, Fitzroy cites Susan Tedeschi, Beth Hart and Janis Joplin amongst her main influences but, if anything, her voice owes its rootsy depth as much to the US soul movement and Mavis Staples with her huge gospel grounding and tradition. For many years she has been involved with UK gospel choirs and this searing, smoky soul-sound comes clearly to the fore with this release. The material here came from her own reserves following some jam session work with Jon Cleary’s band The Absolute Monster Gentleman, while she was living out in New Orleans. The swampy, funky feel of the Deep South, Louisiana heartlands bubble to the top at times here with some fine keyboards, sultry sax, drums and fretwork. Skyline is an album worth catching for those who prefer their blues with a rhythmic soul foundation.

IAIN PATIENCE

JIM KOEPPEL RSVP TO PARADISE JONGLEUR

Listening to this on a damp and chilly Sunday morning and from the opening

notes of Johnny’s, In The Doghouse if puts warmth through you and fills you with energy – terrific set of blues. By rights it is an EP but that doesn’t matter; what matters is that every one of the 5 tracks have a great sense of blues both historical and of the moment. Koeppel is a musician with a long history, playing with the likes of Taj Mahal, David Bromberg, Les Paul, Bilbo Walker and even Watermelon Slim. He hasn’t recorded a lot of his own material (this is his third release) but anyone who is into contemporary American blues has been listening to him for years. He has a fine band around him including harp player Billy Branch and Hammond player John Christy plus a full horn section and bass and drums courtesy of Welton Gite and James Gadson. This is real roadhouse blues, the kind that can spark off live and develop into a full-on jam or groove as a studio recording going places that are both familiar and fresh. Koeppel’s vocals are hearty and deep and his guitar picking is, as you might expect, quite superb. The songs sit in the fairly familiar blues & soul genre and Hurry Sundown and the title track really sit in that BST or Cold Blood type of full blown West Coast groove. All around, a release well worth investigating and playing the ass off of – especially on a winter’s morning.

ANDY SNIPPER

WAITING FOR BUDDY GUY – CHICAGO BLUES AT THE CROSSROADS ALAN HARPER

UNIVERSITY OF ILLINOIS PRESS.

ISBN 978-0-252-08157-6

Nice, strikingly plain and simple soft cover to this volume by British author Alan Harper this is indeed a good read for any blues fan. Alan gives you a depth that he has learned about over the years he visited Chicago and he takes you on his journey with him if you let yourself go. You ‘meet’ the people he met and you talk to them and you learn to appreciate them along the way. I noted one reviewer call this a ‘memoir’ and indeed that is what it is, and a fine one to boot. The personal side of this book is what gives it it’s own strength and depth and holds you page by page. We

THE BLUES - WHY IT STILL HURTS SO GOOD MARIE B. TROUT PHD

YAKABIZ PUBLISHERS

The Blues – Why It Still Hurts So Good, examines various aspects of blues music, the roles that it plays in the lives of fans, and why their hearts hold it so closely to them. Dr Marie Trout, PhD is a familiar name to most blues fans, the wife and manager of blues-rock guitar legend Walter Trout, Marie has spent much of her life immersed in the blues as both a fan and an industry professional. First of all, she’s not your typical blues journalist, a middle-aged male obsessed with the blues as an adult outlet for adolescent excesses at the altar of pop rock. No, she earned her Ph.D. writing her doctoral dissertation in Wisdom Studies on the healing effects of the blues. That dissertation became this book. Trout studied blues fans, musicians, and industry professionals about the role that blues music plays with modern audiences. Dr. Trout surveyed over a thousand blues

have wonderful quotes by some of the most glorious artists through the times and you almost get to sense how it felt to play some of the joints and duck the flying chairs when fights broke out. There are so many sides to Chicago that are interpreted here for you that you will be engrossed and the way that Alan has shared these life stories with you impressed me, his style is easy, self-effacing and pleasurable to partake in. This is historical, tackles the racial side of Chicago and a depth of issues that created so many boundaries that needed to be broken, shares proud memories with you, carries a super b/w photo section in the centre pages. This volume has to be recommended read.

FRANK LEIGH

fans, and interviewed many others as well as musicians and others in the blues business, coming to the conclusion that the role of blues music for contemporary audiences, as well as its transformative musical potential, had not been sufficiently explored in literature. She found that today’s blues fans (primarily white baby boomers) are encouraged and strengthened by and find healing power in their love of the blues. This book documents the amazing healing qualities of this music, not just for the artists obsessed by it but by the fans who form a bond with the artists and their work. They also confirm that while rock music touches the same chords, blues cuts way deeper with the honesty that comes from a life if not well spent, certainly just plain spent. Her husband’s horror story has turned into an adult fairy tale. Not only did he cheat death and recover from a liver transplant, but he wrote a whole CD about the experience, Battle Scars, that defines catharsis. He totally supports his wife’s work on this book,

and that’s not simply nepotism. It is refreshing to read a book about blues that lends scholarly validity to many of the positions blues journalists have been preaching at least since the ’60s. Some of Dr. Trout’s positions may be controversial, but her perspective is healthy both for the genre and for people who are hurting in so many ways and searching for a positive antidote. CLIVE RAWLINGS.

Thiswas the first blues-cruise of the Trump era and it was not an auspicious start. Only 24 hours after the new President had promised to “Make America Great Again”, a three-hour power outage in this ‘first world nation with a third world infrastructure’ left thousands of disheartened cruisers standing in the Floridian sunshine unable to board the MS Koningsdam.

Certainly, a favourite visitor to the UK, Larry McCray, had picked the short straw in playing by the Lido Pool for the sailaway barbecue, with delayed passengers and band-members

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The BM! round-up of live blues

still navigating their way around the huge vessel. However, his incisive guitar and the band’s soulful harmonies on songs like Don’t Need A Woman Like That and Smooth Sailing provided salve for the foot-weary, whilst the antics of gurning bass-man Kerry Clark couldn’t fail to amuse.

The beauty of this floating festival is that if you love an act, you can catch it three, or four times in the week, and if you loathe it, there are always multiple alternatives with six venues hosting twenty-seven acts, plus piano-bar hosts and jams running

well into the early hours. Like an all-you-can-eat-buffet, the trick is not to try to eat it all but to pick out the prime dishes!

Former busking ensemble, The California Honeydrops, may have seemed an incongruous choice to launch the 700-seat World Stage, the largest and plushest venue on-board, but they filled it (and each of the others they played during the week). Fronted by Lech Wierzynski, this high-energy, multi-instrumental outfit is slicker than it looks, with a repertoire ranging from washboard/jug-band classics (The Stuff You’ve Got to Watch) to suave, brass-laden '60s soul, like the Intruders’ Cowboys To Girls. They were definitely the 'hot ticket’ of the week, equally renowned for shows

Doug McLeod by Christine Moore

and for all-night jam-sessions.

Jamming and musical collaboration is the USP of this event, sometimes scheduled but often spontaneous.

One of the highlights of the week was the ‘Big Ton of Horns’, in which it seemed every brass player on board joined the Phantom Blues Band for a joyful blast. Mel Torme’s, Comin' Home Baby, was given an extended workout, with especially wellreceived solos from Randy Oxford (trombone) and Nancy Wright (sax). Taj Mahal joined them as featured vocalist with an imperious take on Kansas City. Taj is the much-loved ‘Godfather of the Cruise’ but, in his eighth decade, his fingers, understandably, aren’t as dextrous as they were. With so many wonderful, supportive musicians around him, perhaps it’s time for him to favour vocal over guitar chords in performing his peerless back-catalogue.

Affable singer-songwriter Doug MacLeod will be visiting the UK again in 2017 and will be greeted equally as a musician and as a raconteur. He drew a large crowd to the tiny Explorers Bar, which welcomed the apt Dubb’s Talking Politician Blues like an old friend. He was joined, briefly, by Nighthawks' harpistextraordinaire Mark Wenner, for an exquisite Key To The Highway.

An ‘H&S Nightmarecollaboration’ occurred on the Lido Deck, when zydeco-ace Terrance Simien coaxed-up to the stage a cruiser straight from the jacuzzi, having heard that he’d previously played washboard for Pete Seeger. The dripping frottoirist made a commendable contribution to a very electrified version of 500 Miles.

LRBC cruisers are known to refer to each other as ‘family’ but there were genuine familial links on board. Fretmeister Walter Trout was a particularly welcome

presence given his recent medical history. In addition to his son Jon, on rhythm guitar, his wife Marie was present, launching her new book exploring the healing power of blues music. Marcella Simien played fine accordion in her dad’s ‘Zydeco Experience’, Steve McCray drummed in his brother Larry’s band, whilst Kate Moss played rhythm in husband Nick’s hard-rocking outfit. We had ‘the-children-of’ too, with Mud Morganfield paying tribute to his father to great acclaim, whilst Johnny Taylor’s lovely daughter, Tasha, sang sweet soul in the Legendary Rhythm & Blues Revue.

In both vocal and instrumentalist capacities, women are to the fore in these events; sibling in former cruiser-favourites ‘TUF’ and now leading her own quartet, Danielle Nicole drew big crowds for her soulful vocals and engaging rapport, whilst newcomer Sister Sparrow pleased the ‘Joplin faction’. Without doubt though, the two top chanteuses aboard were Austin’s irrepressible dynamo Ruthie Foster and the ’Soul Queen of New Orleans’, Irma Thomas. Ruthie is a firm favourite of the cruiser crowd, as much for her broad smile as for her palpable sincerity; as did Curtis Mayfi eld, she blends uplifting themes – both secular and spiritual –which promise and deliver joy. Her wonderful rendering of Phenomenal Woman never fails to bring an audience to its feet. Irma’s longevity has provided a soul-career of almost sixty years, with her fi rst hit You Can Have My Husband (But Please Don’t Mess With My Man) charting in the 1950s. She was happy to take requests from her huge back-catalogue, and if some of the more obscure ones produced perfunctory performances from her eight-piece band, her audiences were very forgiving.

Some of the most memorable moments, for me, weren’t in the stand-alone concerts at all – Dick Shuman’s ‘The Chicago Scene

Today’ brought together current Windy City exponents in an extended Q&A. Billy Branch, formerly harpist for Willie Dixon, fascinated in describing his introduction to Junior Wells, before performing a sublime harp and violin blues duo with the willowy, effervescent Anne Harris. It was a priceless, unrepeatable improvisational gem.

Ask a dozen cruisers for their memories of the week and you’d have described a dozen weeks different from mine. Some would talk of Tab Benoit’s Bingo (so sold-out that they opened another venue to televise a live transmission), or of Guy Davies’ ‘Blues in Schools’ assembly in a primary school on the island of St John, or of Mitch Wood’s late-night piano bar tribute to Fats Domino. Some would have attended song-writing workshops with Curtis Salgado, slide guitar sessions with Doug MacLeod, or a blues-harp masterclass with Lee Oskar. Or steaming sets on the Seaview Stage from newbies JJ Grey & Mofro or old-hands the Ronnie Baker Brooks Band...

In a blues world where such cruises are proliferating, the LRBC remains the market leader. But the demographic is changing quickly – fewer doors are decorated, fewer join-in the fancy-dress theme nights, fewer recognise and cheer namechecked blues giants of yesteryear.

It’s inevitable, perhaps, that such luxurious accommodation, cornucopian catering and escalating price-tag (especially to post-Brexit Brits), will steer this particular boat yet further away from the conditions that gave birth to the music that launched it. www.bluescruise.com

KEITH LEE

SKEGNESS GREAT BRITISH ROCK & BLUES FESTIVAL

JAKS STAGE

Jaks this year had an element of Spinal Tap about it concerning missing drummers. The first act up on Friday night appeared to suffer from theirs being unwell, forcing him to cancel. Billed as Fran McGillvray Band, it was just a duo of her on bass/vocals and Mike Burke on guitar/vocals. They made a valiant effort, but the Jaks crowd are an unforgiving bunch, making it difficult for them to make an impression. Bristol's own Husky Tones did have a

drummer in Victoria Bourne, also doubling on vocals, accompanied on guitar by Chris Harper. Have to say from the outset, their style of punk blues is not to my taste, but can see a lot of hard work goes into it, not to mention noise! They have been receiving rave reviews both for their live performances and the new Who Will I Turn To Now, so they must be doing something right, but in my opinion, like their predecessors, not really suited to Jaks. In their defence, it is the perennial problem with Skeggy, as to who else is playing

at the same time on the other stages having an effect on Jaks attendance figures. The closing act had no such problems, though. As last year, County Durham's Revolutionaires packed the venue to the 700 maximum, for their own brand of rock/blues/ bop, call it what you will. Led by the multi - instrumentalist/ vocalist Ed Stephenson, along with brother Rich on bass, Gary Hoole, sax and drummer Mark Matthews, they rip through a set largely influenced in style by R&B going back to the 40's and 50's,

SKEGNESS RESORT FRI 20 TH - MON 23RD JANUARY 2017

Jo Jo Burgess of La Vendore Rogue by Christine Moore

but with a modern approach. Just one criticism though: perhaps think about updating the set-list?

So on to Saturday afternoon and the institution known as the Roadhouse jam. At very short notice, Roadhouse had to cancel this year (get well soon, Gary), and it was decided that Team BM! would attempt to carry on the tradition. Mikey Maclennan, son of our own Mairi, along with his mate Steve Ryan have experience of running jams in their native Scotland, so they stepped into the breech. Like Roadhouse, they treated us to a set of original material - Mikey on guitar/vocals and Stevie on bass - which was a joy to behold. For the next two hours or so, as it says on the tin, the stage was handed over to some talented musicians, who had a great time expressing themselves. After a little rest, it was all go for another night of full-on music.

First up Saturday night were the amazing Catfish. Anyone who knows me will know that I choose my adjectives carefully, but the opening bars of Hit The Ground Running could not have been more apt. They oozed confidence from the opening bars and in guitarist/vocalist Matthew Long have a major talent in the making. Along with dad Paul on keyboards/ vocals, they are backed up by Dusty Bones and Kevin Yatesone of the tightest rhythm sections I've heard for a while. Yes, they do their fair share of covers, but there is an intensity, especially in the solos - So Many Roads, for example - that puts Matthew way above many of his contemporaries. Great stuff! Widely accepted as one of Britain's best exponents of New Orleans piano, Dom Pipkin and his band, The Ikos, were up next, something of a departure from what went before them, but I suppose that is the diversity of

FROM TOP-LEFT

Kris Barras, Ash Wilson, Kent Duchaine and Will Johns Band by Christine Moore. Catfish by Liz Aiken.

blues music. I found the opening In The Night, Blue Monday, I'm Walkin' a breath of fresh air, but have to say, after a while, the music, brilliantly executed as it was, became a little 'samey'. There's no doubting Dom's talent, along with his tremendous band accentuated with keyboards and sax, but I wanted some variation. The audience, the people who matter, were enthralled by his call and response moments, especially on the classic Iko Iko, where Dom joined them on the floor (not literally!). Maybe I'm sad, but a cold Saturday night in Skegness, did not quite have a Mardi Gras feel to it? By way of a complete contrast, LaVendore Rogue made a welcome return visit to Jaks. The flamboyant frontman JoJo Burgess, aided by guitarist extraordinaire Joel Fisk and drummer Stephen 'Cupsey' Cutmore were the mainstays of the now defunct Hokie Joint, Rob 'Tank' Barry on bass and Warren Lynn on keys, complete the lineup. OK, they're not strictly a blues band, but they are a collection of fine musicians performing various genres exceptionally well. They mixed the set between Hokie Joint favourites like Mrs Jones, Chocolate Cake and newer stuff from their amazing recent Light Up With....release. But the highlight for me had to be their take on Get Off Of My Cloud, played in their own inimitable style.

After all the frivolities of Saturday night, Sunday lunchtime brings things down to earth with the traditional acoustic interlude. Newcastle's own Michael Woods had the unenviable task of opening proceedings to a sparse, bleary-eyed audience, with a set containing both originals and covers in equal measure. Unfortunately, and to the ire of a few people, the next act up was billed as Jo Ann Kelly. I was

well aware that the lady herself was long deceased, as did the people who came to see me, but a potentially embarrassing situation was averted. What had been left off was the word 'Celebration' and it was our old friends Fran McGillvray and Mike Burke from Friday night who more or less duplicated their set. The unfortunate part to this was that Dave, Jo Ann's brother, was playing a set with Paul Jones on another stage at the same time, which didn't help with the audience in Jaks. No such problems, however, for the final set, from the wonderful journeyman Kent DuChaine. The place filled up considerably and the faithful were rewarded with an hour, should/could have been more of his stories from the road and associated songs, especially poignant when referring to his musical partnership with the late Johnny Shines.

The old saying 'save the best for last' never rang truer than Sunday night. With due respect to normal opening band Roadhouse, at very short notice, local guitarist/ vocalist Ash Wilson stepped into the breech. It's pure coincidence that he has his debut album coming out in April, but he also managed to persuade half of King King, drummer Wayne Proctor and Bob Fridzema on keys, along with Roger Innis on bass, to join him. What a fantastic set they put on. The band were so together, the album sounds like it'll be a winner. Will Johns and Friends followed, keeping up the theme of great guitarists, though in a different style. Will also had drummer trouble, but young Mikey Maclennan stepped in again at five minutes notice and did a sterling job. In Emma Wilson, Will has found a fantastic vocal partner, bringing the house down with her take on I'd Rather Go Blind.

Much of the set was dedicated to BB King, which was a good touch. Special mention goes to Will's version of Dylan's All Along The Watchtower and Glen Frey's Smugglers Blues. I'd heard a lot of great things about the fi nal act of the weekend, Torquay's own Kris Barras – who, when not playing, is a writer on this magazine. However, I was not prepared for the explosion of great guitar playing that hit us from the opening Never Too Late. With Ricky Mitchell on bass, Matty Vowells, keys and drummer Will Beavis, a veritable storm hit Skegness. Cleverly mixing the set with original material from his two albums and covers, like Red House and All Along The Watchtower, the full house was whipped into a frenzy by the sheer musicianship coming from the stage. Amazing stuff and what a way to finish the weekend! Thanks go to Alan Pearce and Christine Moore for booking the bands - a thankless task on the odd occasion. Let's do it all again in 2018, hopefully with the return of Roadhouse.

CLIVE RAWLINGS

REDS & CENTRE STAGE

WithJanuary drawing to a close, Christmas lights are a fading memory. Then your calendar clicks around to Butlins, Skegness for the Great Rock & Blues Festival and the next year of musical journeys begins. This year the emphasis on all stages was blues in its many forms. This definitely changed the dynamics and balance - and for me not for the better. Without the balance of rock and blues we didn’t have the contrast of razor sharp, sparkling blues guitar and the full-on power chords and stinging licks of granite fueled rock.

This year Centre Stage was designated The Rock Stage, and what was missing was rock. Friday night opened with one of last year’s winners Sugarman Sam & The Voodoo Men. They delivered hefty blues-rock, punctuated with authentic blues licks that curled around the rhythm section. Sugarman Sam is growing, as the new number, She’s A Woman. demonstrated. The other two bands from the Introducing Stage 2016, both delivered blinding sets that excited. Texas Flood brought some stylish Welsh rock to the party and The Rainbreakers with their artful blending of soulful blues rock, confirmed the depth and breadth of talent across the U.K. The mix of pleasure and pain was the shape of Centre Stage, with Eric Sardinas a huge let-down. Occasionally the band played together and that was good, but the flow of the set was disjointed and definitely an off night for this colourful performer of rock-blues. Kenney Jones & The Jones Gang may not be classic rock, but this was a band that delighted the crowds with songs from their vast back catalogue. Kenney Jones, the drummer, was the heart of

three of the great bands; The Small Faces, Faces and The Who. The crowd sang along with delight to Itchycoo Park and more. Popa Chubby Band closed out the Saturday afternoon with his own brand of blues and r'n’b featuring his trademark lead breaks, as he described his music as “working class blues”. Sunday night was not about rock but the three acts pleased the listening festival goers. Kicking off the double celebration of rocking blues was Laurence Jones with his new line-up. He built the energy, exciting the packed house. The guitar was sweet. The set was one-hundred percent Laurence with ribbons and bells as he showcased his latest album, Take Me High - and that is definitely what he did for this crowd. Then a performance that was the best I have seen from Joanne Shaw Taylor. She is definitely on top of her game. It is no surprise she is getting lots of airplay and attention. Joanne and her band took us on a wild ride of rocked out blues. Reflecting her current album, the set was full of deep blues riffs and licks that curled around the audience with a sensuous and stylish flow. The

interaction between Joanne and her bassist Luigi Casanova adds energy and a visual focal point. Then she breaks away and soars into her renowned guitar solos that hit the spot where musical memories are made. Closing out the festival on Centre Stage was Steve Harley & Cockney Rebel, where many re-lived memories of the soundtrack of their youth. The clashes this year were not between Centre and Reds but between Jaks and Reds. With Reds coloured blue we were certainly entertained. Two nights dedicated to a theme. A new approach that worked if the theme connected to your musical tastes. Friday night was a harp explosion, hosted by harp supremo Giles Robson and his band. A night where this German folk instrument was re-shaped in tone and playing by southern states blues musicians to be forever connected. Blues and harmonica are a perfect pairing. Throughout the evening, Giles was joined by three harp men who play in their own unique way. Magic Dick, who for me was off-form tonight; James Harman, beset by technical issues that led to

Marcia Ball by Christine Moore Toronzo Cannon by Christine Moore

frustration and the abandonment of his harp; then the cream on top tonight, Billy Branch’s sublime harp playing. When they all played together at the end of the evening, we were treated to a harp firework display. The acoustic set from Martin Harley on Saturday afternoon was a melodic delight, as he explored the tonal ranges of his lap slide Weissenborn guitar. The covers took us deep into the Delta, full of acoustic twists and turns, gently kickstarting a harmonious Saturday in Reds turned Blue. The tempo changed and Reds was packed for a musical display from Nine Below Zero, delivering blues that the crowd wanted to hear. If they had their way they would have stayed on stage for the rest of the day. A celebration of all things Alligator was Saturday’s theme. With a first for Skeggie; a Q&A session with Bruce Iglauer, President and founder of Alligator records. Lots of interesting questions and we all gained an insight into how a blues label works. Three blinding sets unfurled showing the diversity of electric blues. Marcia Ball got the party rocking for this ‘Blues Spectacular’. Proper Chicago

blues played by a wonderful group of musicians who with a smile opened up the joy of the blues and entertained. Marcia Ball sang like an angel, accompanying herself on the piano with the musicians who pulled together to showcase the sound they just love to share. Blues is heavenly when played this well. Wow! How do you follow that? Easy when you have the depth of Alligator artists to choose from. Next up, blues with a difference - the trio Moreland and Arbuckle. All eyes are focused on Moreland with his cigar box guitar and Arbuckle’s harp and vocals. A high octane band playing roots music that rocks you to your core. Electrifying raw delta infused music that was for many a highlight of the whole weekend. Closing tonight, we headed deep into Southside Chicago for authentic urban blues with Toronzo Cannon. He learned his craft in the competitive and demanding club scene, where it takes a special blues magic to rise above the crowds. Toronzo has that with style and a flourish as he melds smooth vocals and stinging guitar chords. What a dynamic end to an evening that enveloped you in

Chicago blues and so much more.

Sunday at Reds was a mixed package for me, opening with Lil Jimmy Reid featuring Bob Hall on keys. This was the perfect blues smoothie for early Sunday afternoon. Followed by Paul Jones and Dave Kelly as a duet, Sunday was a smooth affair. The evening was a mix: David Knopfler on acoustic guitar, disappointed; The Blues Band as ever delivered British blues with style and aplomb; and rounding off the night we had Jamie Williams and The Roots Collective playing blues infused with English folk and roots music. Closing the festival on Reds, they delivered a stylish set that didn’t for me shout out the blues. Not a celebration but a party we all enjoyed.

There were many highlights of every blue hue in Skeggie 2017 but the harder edge of rock was definitely missed.

LIZ AIKEN

INTRODUCING STAGE

Afew years ago, the Skyline Area at Butlin's Rock and Blues Festival was a large space with just a couple of stalls selling wares (Blues Matters! included), where intermittently, impromptu acoustic artists would jump on stage and give some memorable performances. Now this has been

Ben Edwards of Rainbreakers by Christine Moore

Tom Walker by Christine Moore

taken to another level by Solid Entertainment who programme the stage, giving new bands a chance to play in front of an audience of several hundred people, who are given the chance to vote for their favourite band. The winner every day, plays one of the main stages at the next year’s festival. The Introducing Stage started three years ago and is now very popular. The proceedings started at 4pm on the Friday before the main stage doors opened, giving the seated crowd in the coffee bar area and the long queue for Centre Stage a great chance to see new bands. Friday kicked-off with GT’s Boos Band, followed by Tom Walker Trio, Leeds City Stompers and finished with Backwater Roll. Any one of them could have easily won the vote to play the main

stage next year, but the winners on this first day were Tom Walker Trio - silky smooth vocals with a powerful blues tinge. Saturday's line-up was: Matt Edwards Band, Southbound, Amy Eftekhari and Bourbon Street Revival, again all worthy of winning, but the most votes went to Southbound, playing southern rock. Sunday started earlier at 3pm, with The Zoe Green Band, Lol Goodman Band, Wang Dang Doodle, Greg Coulson and Elles Bailey. Sunday's worthy winner was Greg Coulson, with an energetic stage performance, playing guitar, keyboard and note perfect singing. Once again, it was a difficult call to choose a favourite from the quality acts who performed. Roll on next year to see what new talent will be on show.

CHRISTINE MOORE

CONCERTS

BEN & TOM WATERS

ROYAL MANOR THEATRE

– PORTLAND, DORSET

22 ND DECEMBER 2016

For the uninitiated, Portland is an island steeped with history, famous for its stone, prison and former Naval base. The Royal Manor is a converted church, holds about 90 people and was packed for a rare gig by local boogie-woogie pianist Ben, tonight performing with his sixteen year old son, Tom, predominantly on saxophone, but also piano and drums. From the opening Sticky Finger Boogie, we knew we were in for a great night. Ben having such a brilliant rapport with the audience, many of them on first name terms adding to the intimacy of the evening. Drawing his set list from a catalogue of greats, including Louis Jordan's Caldonia, Fats Domino's Blueberry Hill, Blue Monday and Glen Miller's Tuxedo Junction, it's clear where his influences lie. All the time, it's clear to see the father/ son telepathy, pride exuding from both of them. Ben comes out with some amazing anecdotes, apologising for name-dropping (he's worked with some famous people), but unfortunately, most of them are not for repeating here! Chicken Shack and C'est La Vie, interspersed with some Christmas songs brought the first half to an end, but not before a stunning duet on the piano. Down The Road Apiece and Taxman opened the second half before an interesting story re. The Kinks' You Really Got Me (to do with the guitar break and a conversation Ben had with Ray Davies). Uncle was a song about pawning, which Ben had recorded with Chris Jagger, requested by his mum, great stuff. Ben then called up his guitarist from the audience, Micky Biggs, for a couple of Chuck Berry songs,

Zoe Green by Christine Moore

Johnny B Goode and Route 66. Tom took drumming duties for a couple of New Orleans standards, including Tipitina, segueing into I'm A Believer. All too soon, the evening drew to a close. Both musicians and audience had a great evening, Ben promising to return to the venue with his band and brass section, to do a free concert for subsequent CD/DVD release. Somehow, I think he won't be able to wriggle out of that one!

CLIVE RAWINGS

AYNSLEY LISTER

HALF MOON PUTNEY

1ST DECEMBER 2016

Any pre-Christmas Aynsley Lister gig is obviously going to be a seasonal treat for blues rock guitar fans. But a pre-Christmas Aynsley Lister gig featuring a guest appearance from Ben Poole, is proof positive that Santa has the audience down on his list of good kids for the year in question. Such was the night in store for those who turned up at the Half Moon for Lister’s recent London outing, where the headliner was joined by the talented newcomer for a twin-lead workout on the Mark Knopfler-penned classic, I Think I Love You Too Much. That particular performance ranks as one of my blues highlights of 2016. Almost all of the rest of the show was of equally stellar standard, with Lister delivering his usual potent blend of insistent riffage and fluid soloing prowess. The sidemen - including Andy Price on keys, Steve Amadeo on bass and Boneto Dryden on drumsaugmented the leader with some faultless musicianship. OK, so the guys have got an album to plug, Eyes Wide Open, and inevitably drew heavily on it, playing songs such as the flamenco-tinged Il Grande Mafioso and the soulful Other Part of Me. Otherwise, a cover of Champagne and Reefer

unfortunately gets docked a couple of points because Lister can’t quite sing like Muddy did. But set closer Purple Rain, the crowd-pleasing sing-along backbone of his live act in recent years, was as spot on as ever.

DAVID OSLER

CATFISH

HALF MOON PUTNEY

29TH JANUARY 2017

Can’t wait for the next Joe Bonamassa tour? Or maybe just don’t fancy re-mortgaging your home to make that guy’s infamously sky-high ticket prices? Then check out this storming Sussex-based blues-rock fourpiece, led by twenty-something guitarist/vocalist Matt Long. From

the minute Long stepped on stage and picked up his Bonamassa lookalike Les Paul gold top, his debt to the maestro shone through. And I’m not saying that like it’s a bad thing. Both his riffing and his soloing were immaculate all evening, and his style is topped off with a nice turn of speed when the music requires that. The set opened with the band’s rendition of Your Funeral And My Trial, and let’s just say it was stylistically closer to JoBo’s 2006 cover than Sonny Boy Williamson II’s original. After another couple of songs, including Otis Rush’s Too Many Roads, it was on to the night’s main business. This was an album launch event, and the band gave us a straight run

Aynsley Lister by Christine Moore

through of its second full length recording, Broken Man. Long quickly dispelled my earlier slight cynicism, proving himself no mere one trick pony. Hit The Ground

Running was ZZ Top without the long beards, while Leading Me

On saw the Catfish frontman strap on a Strat and go all SRV on the audience. Better Days was soulful in inspiration, even though the guitar work was too distorted to qualify as soul proper, and the title track delivered an appreciable slice of back-in-theday prog that gave an intriguing indication of one possible direction in which Catfish could develop in

the future. The minor key Make

It Rain was dedicated to Matt’s recently-deceased guitar teacher, and would have moved anyone who has been through a recent bereavement. Part As Strangers took us into ballad territory, with a softer jazz edge, courtesy of appropriate keyboard work and vocals from Paul Long, who also wrote the track. The rest of the line-up was comprised of Dusty Bones on bass and Kevin Yates on drums, two older guys who are blues jam veterans. Together they made up a tight rhythm section that consistently laid down groove without ever getting intrusive. The

show ended on a trio of standards, namely BB King’s Never Make Your Move Too Soon, Buddy Guy’s Man Of Many Words, and lastly a seriously rocking finale in the shape of Freddie King’s Going Down. But it probably won’t escape the attention of seasoned blues trainspotters that all three have been known to feature in live sets from a certain currently fashionable US blues guitar hero. Guess which one?

DAVID OSLER

KING KING/BROKEN WITT REBELS

ISLINGTON ASSEMBLY HALL

29TH NOVEMBER 2016

Even the dogs in the street know that King King have emerged as one of the most acclaimed bands on the UK blues rock circuit in recent years. Until this evening, I never quite understood why. Their studio output somehow never quite won me over, coming across as just a bit too derivative of the golden era for this 1970s teenager’s taste. And the less said about the kilt, the better. But watch this outfit live, and the reasons for their popularity suddenly become entirely clear. The gig context gives the material a freshness that it perhaps lacks on CD. Highlights include the openers, the Bad Companytinged Lose Control, and a cover of the Fabulous Thunderbirds’ Wait On Time. The almost poppy Waking Up is carefully crafted, and boasts hooks in all the right places. Long History Of Love, a showcase for the Hammond talents of keys merchant Bob Fridzema, is as close as these boys get to a ballad. Stranger

To Love, the last one before the encore, gives band leader Alan Nimmo the chance to max out the guitar heroism. OK, I’m late to the King King party, but put me down as a fan from now on. Keep an eye

Alan Nimmo by Laurence Harvey

out for opening act Broken Witt Rebels, also currently generating a buzz on the blues scene. Lots of raw energy on display, although the song writing isn’t quite there yet. But they’re still young guys, and that will surely come.

DAVID OSLER

KING PLEASURE AND THE BISCUIT BOYS LICHFIELD GUILDHALL

There are few things that can be guaranteed in life, but a large audience at a King Pleasure concert is usually one of them, and the six-piece ensemble played to a packed house when they appeared at Lichfield Guildhall.

With their bright blue suits, slick musicianship and easy stage manner they played a set of feel-good jump jive classics, which featured a full brass section, and some fine, genre-defining solos on keyboards and guitar.

The ensemble of lead vocalist and saxophonist King Pleasure, guitarist Bulmoose K Shirley, drummer Gary Barber, pianist Matt Foundling and group clown, bassist Shark Von Schtoop, played music that, as well as being feel good party music, was also extremely well played. Behind the good time façade, the six-piece is a very sharp and tight ensemble, with a full sound. Their set ranged from the opening driving rhythms of Ginhouse Boogie, which featured some fine keyboard, whilst the early pop of Wishing, Hoping had a toe-tapping beat. The classic rock ‘n’ roll song Shake, Rattle and Roll was well received, whilst the long instrumental, The Popular Blues gave all six members a chance to show their musical pedigree.

The ever-popular sax fuelled Tequilla had some of the crowd on their feet, whilst Back to Birmingham, which closed the second half, was a brassy heavy

stomp that featured an exciting solo and a heavy beat. The Christmas songs that filled the encore sent the large audience out into the cold December night.

BEN MACNAIR

STEVE ‘BIG MAN’ CLAYTON LICHFIELD GUILDHALL

4TH FEBRUARY 2017

The popular boogie woogie and blues pianist Steve ‘Big Man’ Clayton bought his talented quartet to play at Lichfield Guildhall as part of his tour. With a song-book that took from the classics of the genre, and some surprises, the ensemble of Steve “Big Man” Clayton on piano and vocal, guitarist and violin player Howard Gregory, double bassist Bob Boucher, and drummer Howard Smith, the evening was one of musical invention, audience participation, and foot-tapping tunes. Although the musicians were all very good players, they played together as a unit, with no grandstanding, and no songs outstaying their welcome.

A sense of fun always occurs at a Steve Clayton gig, so although they are serious musicians, they are entertainers first and foremost, with the piano being played by Clayton’s feet during some of the songs, train noises from the audience during others, and audience participation throughout the show.

The songs included many from the early rock ‘n’ roll era, such as Shake, Rattle And Roll, or Blueberry Hill and Whole Lot of Shaking Going on, although there were older, oddities as well, such as Honky Tonk Train Blues which started off quickly, and only got faster, or Twilight Time by The Platters, which showed off the group’s talent as harmony singers. Songs from the rock genre also featured, including

an inventive version of Led Zeppelin’s Whole Lotta Love, whilst drummer Howard Smith led the ensemble through Little Walter’s My Babe and Sea Cruise by Frankie Vaughan. The show was closed, and stolen by the band’s roof raising version of What I Say by Ray Charles, which featured everything from playing piano with the feet, contrapuntal piano, and energetic playing from the band.

If you want a fun night out, with some seriously good musicians, Steve ‘Big Man’ Clayton and the 44s always deliver.

BEN MACNAIR

TORONZO CANNON AND THE CANNONBALL EXPRESS

EDINBURGH BLUES CLUB, THE VOODOO ROOMS, EDINBURGH

19TH JANUARY 2017

There may be 3700 miles between the ‘Windy City’ and ‘Auld Reekie’ but the blues is a common denominator. Chicago’s heritage includes Buddy Guy, Carl Weathersby and Nellie ‘Tiger’ Travis but the Scottish capital boasts the impressive Jed Potts, John Bruce and Dana Dixon. It’s almost a draw on venues too with Legends and Blue Chicago matched by the 900 capacity Stramash and the opulent, Victorian Voodoo Rooms, the setting for tonight’s extravaganza. As if to prove a point, the support act, Redfish from the Scottish Borders, sets the scene with a scintillating performance including a master class in keyboard playing from Fraser Clark. Accompanying Cannon and his band on this ‘Chicago Way’ global tour is Bruce Iglauer the legendary owner of Alligator Records, who introduced his latest recruit to the blues club faithful. Resplendent in tartan scarf, Toronzo milked the applause and launched straight into the rollicking Mrs From Mississippi and the first glimpse of his blistering

guitar, clever rhythms and impassioned vocals. Midlife Crisis, Bad Contract and When Will You Tell Him About Me are all from the latest album, which is essentially a series of stories about real life on the streets of the city. These experiences set Toronzo apart from most of his contemporaries, because he is a bus driver by day and plays at least 85 gigs a year worldwide in his spare time, a schedule he has maintained for a quarter of a century. Walk It Off is rich in metaphor, each verse a mini movie shot: “Her husband gets home at seven/ I’m gone by six/ I get to my house and open the door/ There he is with my woman on my living room floor.” Extolling the virtues of mature ladies,

Fine Seasoned Woman, with its swinging jazz introduction by keyboard player Sonny Edwards, won’t win any awards for political correctness, but the audience loves the exchange of banter with the engaging Cannon. The power drumming of the inimitable Pookie Styx and the steady pulsating bass lines of the deadpan David Forte create the atmosphere for darker songs such as The Pain Around Me, which is a grim portrait of the dangers of urban Chicago life. The precise rhythm section also lays down the grooves and facilitates the extended, fluent and riveting, killer guitar solos, notably on Chickens Coming Home To Roost. Toronzo’s vocal versatility enables him to sound

both humorous and anguished as the lyrics demand, with a larger dose of the latter reflecting the pain of love and loss, temptation and jealousy on tracks like I Am and Jealous Love. The set finished on a high with two songs from his last album for Delmark, the popular John The Conquer Root with its blistering Hendrix-esque moves and guitar licks followed by the slide guitar boogie, Sweet Sweet Sweet. This show may not have been Sweet Home Chicago but has given genuine insights into the Chicago Way.

THE BISHOP

Toronzo Cannon by Billy Hutchinson

Gina Coleman (Lead Vocals), Jason Webster (Guitar), Bill Patriquin (Bass), Ben Kohn (Keys), Rob Tatten (Drums), Jeff Dudziak (Guitar), Aaron Dean (Sax)