Blues Matters 50

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EDITORIAL

Editor-in-Chief

Darren Howells darren@bluesmatters.com

Founder/Publisher

'D' alan@bluesmatters.com

Contributing Writers

Tim Aves, Roy Bainton, Andrew Baldwin, Duncan Beattie, Carol Borrington, Matthew Clarke, Norman Darwen, Joe Geesin, Stuart A Hamilton, Jamie Hailstone, Duncan Jamieson, Nat Harrap, Mark Harrison, Gareth Hayes, Sue Hickling, Steve Hoare, Darren Howells, Randy Jones, Jennifer Moncuse, Noggin, Merv Osborne, Reverend J. Peyton, Frankie Pfeiffer, Graeme Scott, Andy Snipper, M.D. Spenser, Dave Stone, Davide Styles, Al Tait, Richard Thomas, Kevin Wharton, Rhys Williams, Tony Winfield

PRODUCTION

Art Direction/Graphic Design

Darren Howells

Photography

As credited

ADVERTISING

Advertising Team

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

SUBSCRIPTION DEPARTMENT

Jenny Hughes 01656 743406/745628 subs@bluesmatters.com

IT/WEB MANAGEMENT

Geraint David Morgan 01656 745628

webmaster@bluesmatters.com

PRINTERS

HSW Print, Tonypandy, CF40 2XX.

©2009 Blues Matters!

Alan ‘D’ Pearce t/a Blues Matters! Original material in this magazine is © the authors. Reproduction may only be made with prior consent of the editor and provided that acknowledgement is given of the source and copy sent to the editorial address. Care is taken to ensure that the contents of this magazine are accurate but the publishers do not accept any responsibility for errors that may occur or for the statements or views expressed editorially. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without prior permission of the editor.

Submissions: Readers are invited to submit articles, letters and photographs for publication. The publishers reserve the right to amend any submissions, and cannot accept responsibility for loss or damage.

Please note: Once submitted, materials become the intellectual property of Blues Matters! and can only later be withdrawn from publication at the expediency of Blues Matters!

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

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

hen Alan produced the very first Blues Matters! in his living room in July 1998 (stapling the pages together himself), he could never have envisaged the magazine’s importance eleven years on – in fact, producing a second issue seemed unlikely (taking another two years for Alan to bring on board the team and raise the finances necessary).

However, what started out as one man’s disgruntled reaction to the lack of appreciation and recognition for a form of music he loved - in reality to appease the very few he thought shared that view - has become an internationally sold and award winning publication, making a connection with so many disenchanted music fans – and it’s been one helluva ride!

We have one of the smallest teams of any magazine; financial constraints have always strangled us – resulting in some startling risks from our founder to keep us going; we’ve had to battle life threatening illness and seemingly endless IT problems – we are rarely out on the date we’re aiming for, so we can’t thank our readers enough for their patience, understanding and loyalty.

Of course, everything we achieve ensures the difficulties we encounter pale into insignificance: becoming only the second British publication to win The Blues Foundation’s Keeping the Blues Alive Award in 2007; gaining exclusive interviews from artists that would otherwise never speak to a niche/Blues magazine; seeing the transformation of the magazine’s production; reaching stores all over the world; and becoming one of the first music magazines to go digital.

Ultimately, the real gratification has been the response from our readers, who appreciate that we are giving Blues fans a voice, and we ensure that whatever your penchant for the Blues, it is covered in our little bible (just check this very issue, interviews ranging from The Homemade Jamz Blues Band and Jersey Budd to Barry Goldberg and James Cotton).

We’ve sadly lost readers and contributors along the way –family members in effect, equally passionate about keeping the Blues alive’n’kicking in the face of a progressively bleak entertainment industry. We intend to extend the family even further by the time we’ve reached that 100th issue!

DARREN HOWELLS Editor-in-Chief

08 FEEDBACK

The Black Crowes, Johnny Dowd, Alvin Jett

13 HAPPENIN’

Al Basile, Drummer, Coco Montoya, Hey Negrita, Krissy Matthews, Kill It Kid, Sean Costello, Gemma Ray, Alberta Cross, Jon Amor, John Mayall, Chris Smither, ZZ Top

37 SUBSCRIBE TO WIN

The Black Crowes CDs, “Full Moon Lightnin’” DVDs

136

DVD REVIEWS

Julian Sas, Robert Cray, John Lennon & The Plastic Ono Band, Willy DeVille, Jeff Beck, Lynyrd Skynyrd

142 FESTIVAL FEVER

Bushy’s Big Wheel Blues, Chicago Blues

148

GOT LIVE

Eric Clapton, B.B. King, Kings Of Leon, Hokie Joint, Neil Young, The Matt Schofield Band, The Derek Trucks Band

159 MEMBERS’ COMPETITIONS

Buddy Guy CDs, Bob Log III CDs...

Al Kooper, Booker T., Rick Estrin And The Nightcats, Bob Dylan, Charley Patton, Jeff Lang, Eric Lindell, Kris Morris, Muddy Waters, Creedence

Clearwater Revival, Candye Kane, Colin Linden, The Black Crowes, Kirk Fletcher, Willem Maker, Eric Bibb, Roger Cotton, Leadbelly, The Groanbox Boys, Whitesnake, Robin Trower, John Lee Hooker, Albert King, Eric Clapton, Levon Helm, Yusuf, Johnny Winter

20 INTERVIEWS

Watermelon Slim, Jersey Budd, Aynsley Lister, Gwyn Ashton, Delta Spirit, The Homemade Jamz Blues Band, Little Freddie King, Sonny Landreth, Barry Goldberg, Buckwheat Zydeco...

35 SUBSCRIBE

Support our efforts!

81 EASE THOSE BLUES

With Muddy Waters’ “Folk Singer”.

82 GETTIN' THE BLUES

The Reverend Peyton’s Big Damn Band get the Blues!

132 BLUE BLOOD

The Aces, David Broad, The Wignus Adams Band.

160 NOW, BEFORE WE FORGET…

Blind Lemon Jefferson.

20 WATERMELON SLIM

Following a near-fatal heart-attack, Watermelon Slim has gone on to become most of the most decorated Blues performers today, taking home awards such as Album Of The Year and Band Of The Year at the Blues Music Awards. “The two big ones! In the Oscars, that would be Best Actor and Best Picture! You don’t get any better than that! As far as professional awards and goals, that’s as high as I ever want to have. I also must mention that we won The BB. King International Art Award from The Maple Awards in Toronto also. I don’t care if I ever get any more.”

BACKHANDED COMPLIMENT

After making us wait seven years for a new album proper - nine if you overlook the embarrassing “Lions” – I couldn’t contain myself when I read (Happenin’, issue 49) they are going to release a brand new CD so soon after “Warpaint” and not just one, but two!

I don’t totally understand the merits in having to download the second one however, as digital quality isn’t up-to-scratch, and will surely detract from the music on offer, and it does make it difficult for their fans either without the internet or not adequately set up to listen through a PC.

I’m sure the second album will be on sale in future as a standalone CD, or part of a double album reissue, so instead of a thank you to their fans, as the band claim, this strikes as a more under-

hand way of making more money off them.

Two albums pending, I shouldn’t complain – hopefully another UK visit with more than one date this time – but I don’t feel the manner of this release fits with the band’s philosophy.

Cameron Harrison Bristol

BM! Says: We’re pretty certain Black Crowes fans will be excited at the prospect of two new albums, whatever format they appear in.

YOUR HOPE

Having been a keen reader of your magazine, Blues Matters!, for the last few years, and now a dedicated subscriber, I find it refreshing to find a Blues magazine with its eyes firmly fixed on the present and future of the Blues, rather than looking to the heroes of the past. With regards to bringing the Blues to younger audiences, I feel, as many gigs still fall in the pub circuit, it excludes under 18s from attending, yet I’m a fan who first heard the Blues in the mid-60s - as a young boy. Bands like The Rolling Stones, Yardbirds and Fleetwood Mac had the opportunity to release singles that got into the charts. Today, with downloads, and Blues music being seen still as album based, it seems very difficult for established artists or the newer, young guitar slingers to get their music out to a wider audience, so constant gigging and festival spots still seem to be the only way to gain exposure. It is, therefore, vital that a fantastic, dedicated magazine like Blues Matters! must be easily found at major news and magazine outlets such as WH Smiths, and to be found in the last major high street music outlet, HMV, and have equal shelf space alongside various rock, country, jazz, and even classic and opera music magazines. Then the Blues would have a bright future – just as I hope for many of its young players, who must strive to bring new life, textures and innovation to one of popular music’s most enduring forms. In its truest forms, Blues is a relevant form. Whilst some parts of humanity suffer poverty, oppression, starvation and a need to improve their standard of living and expectations, Blues can have a voice for hope and change for people without a voice – and not just another part of the

The Black Crowes: offering a good deal?

A LEADER

At last an interview (albeit less than one page!) with the incomparable genius that is Johnny Dowd (issue 49). This guy depicts everything that Danny Bryant, also subject to some debate in the Feedback pages, isn't.

I have been a long time supporter of Danny's since he burst on the scene, and predicted a brilliant future. However, is he technically gifted? Undoubtedly! Has he gone on to prove truly innovative? Unfortunately not.

Innovation is Johnny Dowd's middle name. For those not yet aware of this talent, listen to his “Drunkard's Masterpiece”, and marvel at the diversity in each and every track. Johnny does not make easy listening albums, but do we truly want to hear albums once or twice only in a commercial charts vein, or do we want our senses to be challenged so that we can return again and again, and discover new nuances within what the artist is conveying.

Some may disagree with the likes of him being covered in your magazine, as he is not labelled as a basic Blues performer. Thankfully your contemporary approach to the broad church of the music, at which we readers all worship, allows us to appreciate that he is welcome into our congregation, as he is as emotionally steeped into our musically traditions as all the former Blues legends. Certainly Johnny's Blues matters!.

Phil Broadurst Tamworth

BM! Says: As we say, “Blues without the blinkers!” Remember we’ve run a full Johnny Dowd interview/feature previously, and I’m sure we’ll look to do another ahead of his next album release.

corporate music industry whose sole concern for years has been just to make money!

Stephen Wilkinson Sheffield

BM! Says: We have made big strides over the years to get into more retail stores, and you can find us in the likes of Borders and Barnes & Noble internationally. With the support of the Blues community, we hope to be in a position to take that next step and gain shelf space in the likes of WH Smith in the near future.

DON’T PUSH IT

I was in fits of laughter reading Thomas Rankin’s (presumably?) tongue-in-cheek punk Blues feature this issue (49). I’ll definitely have to put his advice to the test. And what an interesting character Alex Gomez is. Not sure how many artists would admit to being a drug pusher previously – let alone currently!

Steve Beard Cannock

BM! Says: You should listen to his albums for more revelations!

STRENGTH IN NUMBERS

I’ve been noticing a number of releases each issue from the same label being highlighted – many appear-

ing issue after issue. It’s great to see labels releasing so many Blues CDs nowadays.

I’ve been picking up quite a few of the Blues Boulevard albums – and the quality is staggering (in both the brand new material and reissues). Given their output is so broad, they are illustrating well how

This issue Paul will receive a copy of the “Woodstock Diary 1969” DVD. The ‘fly on the wall’ documentary features over three hours of footage from the event, including live footage of the likes of Jimi Hendrix and Johnny Winter.

Johnny Dowd: a Bluesman at heart.

strong Blues-based music is, and has been in recent times.

I’ve discovered some absolute gems that I missed previously and new artists that should surely have a better standing in international circles. Alvin Jett & The Phat Noiz Blues Band’s “Honey Bowl” is a stormer, whilst Sweet Suzi’s (“Unbroken”) vocal is simply thrilling – up there with the Blues greats.

It’s heartening for a Blues fan like me to know that there are labels out there still supporting the music so well – and great that your magazine is around, of course, to let me know about it!

Alex Kenny London

BM! Says: The Blues Boulevard imprint has certainly done its best to take over the office stereo!

REVIVAL EFFORTS

I just wanted to send you and your magazine a personal thanks for featuring us in Issue 48 of Blues Matters!

My copies arrived last night, and I guess even at 27, and being the youngest member of the band by a few years, I’m the most driven, ambitious and possibly most foolish in still chasing the dream of playing music for a living. Saying that, I do spend most my time routed in reality and so even if I/we are never fortunate enough to live the dream; it's always great to have something tangible like your magazine to look back on!

Personally, I’m hoping for a resurgence of the kind of Blues/rock music that made a number of British bands so great back in the ‘60s/’70s, the likes of which I have been heavily influenced by. I would love to be a part of that resurgence! Who knows, eh?

Kier Pell (C.M. Arnold & The Delta Breaks) Portsmouth

BM! Says: Hopefully the feature will help the band gain bookings and increased media profile, as it has for other acts who have featured – and that dream can be set on its way to reality!

MUCH-LOVED

Really sad to read (Happenin’, issue 49) about the passing of the legend that is Koko Taylor. I must confess that I’ve not kept up with her music/output in recent years – but the songs she recorded for Chess (‘Wang Dang Doodle’, of course) are amongst my favourite songs released by the seminal label.

Koko has never been held in the same regard as Etta James, but she was definitely up there!

William Michel Bicester

BM! Says: Koko Taylor produced fine music throughout her career - her last album, “Old School”, garnering particular praise.

WHATEVER IT TAKES

Good on Andy Weaver (Chicken Legs Weaver, interview issue 49)! To move down to London on his own in an effort to increase the band’s profile shows real dedication to his art – and a desire to be successful playing the Blues (great that there are outfits, even older performers, with this drive and ambition).

I wish him all the best. It sounds like he has got the right supporters (Johnny Dowd ) anyway!

Vanessa Peat Manchester

BM! Says: Andy is intent on making a success of the band – an achievement few would begrudge him.

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

Alvin Jett & The Phat Noiz Band: more quality Blues from Blues Boulevard.

CHARACTER-DRIVEN

New songs you can relate to

Singer-cornetist Al Basile (pictured below) will release new album “Soul Blue 7” via Sweetspot Records on 22nd September 2009. The new collection was produced by Duke Robillard and recorded at Duke’s Mood Room studio in Pawtucket, and once again teams Basile up with many of his former Roomful Of Blues bandmates, such as Robillard (guitar), Doug James (sax) and Richard Lataille (sax). Other guests include Sugar Ray Norcia (harmonica) and Bruce Katz (keyboards). Basile’s seventh solo album is said to prove he remains one of the top songwriters and lyricists working in the Blues and jazz mediums, proving “it again with his fresh approach to melodies, insightful lyrics and philosophical look at life.” Talking about the album, Basile said: “I write songs for characters that are not necessarily me. They convey truth from someone else’s life or occasionally from mine. Every once in awhile there is a song that has an extra personal meaning for me that speaks more in my own voice.” The new collection once again sees Basile, who began recording his own music in 1995 (and has penned songs for the likes of Ruth Brown), covering the broad spectrum of American roots music, including Blues, swing, jazz and soul, across thirteen original songs, with his cornet playing front and centre in the mix. You can see a video of Al performing new song ‘Termites In My Basement’ from the new CD, and find more information, at his website: albasile.com

Patrick Carney, drummer for The Black Keys, is set to release his debut album with new band Drummer (for whom he plays bass) on 29th September 2009. The line-up for the band features the drummers Jamie Stillman (Columbus), Jon Finley (Kent), Stephen Clements (Akron) and Greg Boyd (Ghostman & Sandman) – although only Greg hits the skins. “Feel Good Together”, featuring “eleven songs of classic, feel-good rock,” will be released on Audio Eagle Records. myspace.com/drummertheband

Ruf Records have announced the signing of Coco Montoya, with a new album produced by Keb’ Mo’ expected to follow shortly. Hey Negrita release new album “Burn The Whole Place Down” on 5th October 2009 on Fatfox Records. The new album was cut in the midst of touring 2008’s “You Can Kick”. “The idea was to cut as many tracks as we could in five hours without any overdubs or edits," explained songwriter Felix Bechtolsheimer. "We just sat in a circle and put some microphones up.” The acoustic setting for tracks new and old is said to allow the band’s “deft way with a melody and lyric to shine through like never before.” heynegrita.com

Thomas Foldberg of The Fried Okra Band has been in touch with Blues Matters! to let us know how recording on the new album is progressing. “We have recorded fourteen tracks in three days - thirteen originals and one cover. It’s done mainly live in the studio and then vocals and additional guitars, harp etc is dubbed.” The band expect to release the new album by the end of September 2009.

Al Basile’s at the top of his game.

SOLID FOUNDATION

Band evoke legendary artists on new collection

The Heavy (pictured above) release new album "The House That Dirt Built" on Counter Records on 22nd September 2009. The follow-up to debut "Great Vengeance & Furious Fire" was mixed and produced by Jim Abiss (Arctic Monkeys, Adele, Kasabian ) and features the tracks ‘Oh No! Not You Again’ (“sounds like Little Richard possessed by the devil and turned up to 11”); ‘Sixteen’ (“channels the ghost of Screamin' Jay into a tawdry tale of Satan and his young bride”); ‘Long Way From Home’ (“punk-Blues of genuine yearning”); and ‘What You Want Me To Do’ (“combines the intensity of Hendrix with an obia ceremony”). Shingae Shoniwa of the Noisettes provides backing vocals on ‘Oh No! Not You Again’, with her band having input on three of the eleven tracks. “The first one was pretty much me and Swaby,” revealed guitarist Dan Taylor. “With the second record we did get a band together, and met some beautifully like-minded people.” The new collection “represents a huge step forward Like the early rock'n'roll, Blues and rhythm & Blues which have influenced it, ‘The House That Dirt Built’ is larger than life, funny, terrifying and occasionally beautiful. It is, in fact, a house you'll want to visit again.” myspace.com/theheavy73the

THE RIGHT HAND

Teenage guitar prodigy hopes to raise his profile with new label deal

Krissy Matthews releases new CD “Allen In Reverse” at the end of August 2009, via German label Membran. “It’s only a one album deal,” explained the young guitarist, “but that’s all I wanted. I just want them to spread the name more, hopefully get in a few more festivals and good club/support gigs next year.” Going on to talk about expectations for the new album, Krissy added: “ Although I still have a long way to go, I see this one as my first step into the artists’ world - rather than being treated as a kid, being compared to the likes of Joe Bonamassa, Aynsley Lister and Matt Schofield.” Explaining the album’s title, Krissy divulged: “When I was at school, my music teacher said to write a song for a musical about Jimi Hendrix. So, I researched and found out he was born with the name of Johnny Allen. The whole ‘in reverse’ thing is because he played a right handed guitar left handed.” myspace.com/krissymatthews

The Heavy put out the welcome mat.

photo: Will Cooper-Mitchell

IN PERFECT HARMONY

Duo help elevate outfit’s first release

Kill It Kid (pictured above) release their debut eponymous album on 5th October 2009 on One Little Indian Records. The band have drawn comparisons to everybody from Tom Waits to The White Stripes, with the two-part vocal harmonies of singers Chris Turpin and Stephanie Ward in particular winning over critics and fans alike. “The lyrical intimacy of the songs is rendered all the more powerful by the interplay between the pair, Turpin’s singular and distinctive voice seemingly arriving from another time and place, while Ward’s softer, huskier tones form the perfect foil.” The album, said to blend Delta Blues and roots to “striking effect,” was produced, mixed and recorded by Ryan Hadlock (Johnny Flynn, The Strokes, Gossip ), and was recorded in Seattle, at the same studio Fleet Foxes laid down their debut. myspace.com/killitkid

LOOKING BACK

Blues guitarist’s early favourites

Proper will release Landslide Records’ Sean Costello memorial retrospective, ”Sean’s Blues”, in the first week of October 2009 in the UK. The twenty track collection culls tracks (including ‘Take Me Back’ and ‘Call The Cops’) from the late Blues guitarist and singer’s three commercial album releases from 1996-2001, as well as previously unreleased tracks, including three live songs (“which show a band in perfect lockstep with its leader”). A portion of the proceeds from the sale of the album, said to capture the essence of what made Sean Costello such a rising star, will benefit the Sean Costello Memorial Fund for Bi-Polar Research. The album features liner notes from Landslide Records President Michael Rothschild, who co-produced the compilation with Jeff Bakos and recorded two albums with Costello in 2000 (“Cuttin’ In”) and 2001 (“Moanin’ For Molasses”). The package also contains several previously unpublished Sean Costello photos. landsliderecords.com

Gemma Ray (pictured below) releases the follow-up to her acclaimed debut, “The Leader”, on 7th September 2009. “Lights Out On Zoltar!” is again released on Bronzerat Records. “Such is the breathtaking scope of this album that its epic multilayered sound has, you assume, the dedicated workforce of a full blown orchestra behind it, yet this beguiling mix of pop, country and Blues is the work of Gemma Ray at home with co-producer Michael J Sheehy.” myspace.com/gemmaraymusic

Joe Fournier will release a new CD in September, featuring Bob Paterson. “All I can say at this point it that it's shaping up to be a whole different kettle of swampy, noisy, Bluesy, countrified honk,” said Joe. joefournier.com Pete Molinari releases new EP “Today, Tomorrow And Forever” (featuring The Georgettes and The Jordanaires) on 24th August 2009 on Damaged Goods. The EP, recorded in Nashville on a break from preparing new material for his third album, features covers of the songs ‘Today, Tomorrow And Forever’ (Patsy Cline), ‘Satisfied Mind’, ‘Guilty’ and ‘Tennessee Waltz’. myspace.com/petemolinari South west based alt. Blues band The Wildcards have been recording their third studio album over the summer. They returned to the PMC studios in Plymouth where they recorded their critically acclaimed albums "On Fire!" and "Raising Hell". myspace.com/wildcardsmusic

Kill It Kid prepare to release ‘striking’ debut.

Gemma Ray will take your breath away.

GET TO IT

British Blues favourite doesn’t waste time

Former Hoax guitarist, Jon Amor released his fourth studio album, “Stories From The Crooked Room”, on 1st August 2009 on his own Number 31 record label. The followup to 2006’s acclaimed “Unknown Soldier” collection, sees Jon “not only enhance his growing reputation as a fine songsmith, but also convey all the energy of his live performances.” Jon cites the likes of JJ Cale, Little Feat, Ray LaMontagne and The Black Keys as influences, and whilst “Unknown Soldier” took over a year to produce, Jon and his band adopted a much more spontaneous approach this time around. “We recorded all ten songs in just two days,” Amor explained. “We moved all the furniture out of my living room and turned it into a studio, creating a recording environment that was great fun and very conducive to the ‘live’ feel we wanted.” The album was mixed by Stephen Evans (Robert Plant) and mastered by Jon’s former Hoax band-mate Jesse Davey. jonamor.com

HARD-HITTING

Blues legend pulls no punches

“Godfather of British Blues”, John Mayall (pictured below) releases brand new studio album “Tough” on Eagle Records on 7th September 2009. Having recently completed a UK tour with B.B. King, the new collection sees Mayall recording with his new band line-up for the first time, which “has clearly revitalised him and acted as a spur to his creativity” – after a long period with a stable Bluesbreakers line-up. The current line up is: John Mayall (vocals, guitar, keyboards and harmonica); Rocky Athas (lead guitar); Greg Rzab (bass); Jay Davenport (drums); and Tom Canning (keyboards). Mayall’s sixth album for the Eagle label is said to have a “a harder hitting feel and a real edge” that sets it apart from his recent albums. Tracks on the new collection include: ‘Nothing To Do With Love’; ‘Just What You’re Looking For’; ‘Playing With A Losing Hand’; ‘An Eye For An Eye’; ‘How Far Down; Train To My Heart’; ‘Slow Train To Nowhere’; ‘Number’s Down’; ‘That Good Old Rockin’ Blues’; ‘Tough Times Ahead’; and ‘The Sum Of Something’. The soon to be 76-year-old will tour Europe and America in support of an album which “proves that John Mayall still has what it takes.” johnmayall.com

Alberta Cross, who impressed critics with acoustic-based mini-album “The Thief & The Heartbreaker” in 2007, will release their debut album proper, “Broken Side Of Time”, on 21st September 2009. The album, to be released on Ark Recordings, was recorded in Austin, Texas, and sees the band elecrifying their sound. “We’re trying to give people truly soulful music, which is hopefully inspirational,” explained singer Petter Ericson Stakee. “I want to ease their minds and give them a little break from reality.” myspace.com/albertacross The Cubical release debut album “Come Sing These Crippled Tunes” on 14th September 2009 on Dead Young Records. The “retro” album was recorded reel-to-reel on an old ‘60s mixing desk at Sunset Sound Studios, Hollywood with Dave Sardy (The Rolling Stones, The Black Crowes ), with the group also using 1950s telecasters, battered valve amps, a jazz snare and an upright piano for an “intentionally rough and ready album.” myspace.com/thecubicalthecubical Chris Smither releases his latest album, “Time Stands Still”, through Signature Sounds on 29th September 2009. “A gripping mix of originals and potent covers,” the songwriter’s eleventh studio album was recorded in just three days and is said to capture the vibrant urgency and immediacy of his live shows. Working with producer and guitarist David "Goody" Goodrich and drummer Zak Trojano, Smither has created “an emotionally powerful musical landscape upon which to paint his Blues and folk-fueled narratives.” smither.com Nelson King returns with new collection “Blue” on 28th September 2009. “This is the album I always wanted to make,” revealed the guitarist. “I’ve always been into the more meaningful, soulful Blues such as B.B. King and early Fleetwood Mac. I hope I have captured some of that feeling on tracks like ‘What The Blues Can Do’ and ‘Did I Give You Too Much’. The album was recorded at Nelson’s home studio. myspace.com/ -nelsonkingblues

Tough Guy: John Mayall.

NOT THE ONLY WOMAN

Songwriter/producer looks for repeat success with female singer

Following the huge success enjoyed with Katie Melua, Mike Batt is set to guide another Blues influenced female singer to the top of the charts, as Florence Rawlings (pictured above) prepares to release her debut album, “A Fool In Love”, for Dramatico Records on 7th September 2009. The album of “authentic soul, raw grooves and rhythm & Blues,” sees the singer tackle songs penned by Batt himself, including ‘The Only Woman In The World’, as well as reinterpreting the songs of Gladys Knight (‘Take Me In Your Arms And Love Me’), Allen Toussaint (‘Riverboat’) and Chuck Berry (‘You Can’t Catch Me’). Before even her debut single has been released (‘Hard To Get’ on 31st August 2009), Florence has performed at the Isle of Wight Festival, O2 Wireless and GuilFest in the UK, as well as major events in Europe. “I’ve been performing at bars and clubs since I was 13” said Florence, “but playing at festivals and supporting artists like Booker T. is completely different.” florencerawlings.com

NOT FOR EVERYONE

Singer targets a particular music listening demographic

Delbert McClinton releases new album “Acquired Taste” on New West Records on 8th September 2009. The collection reunites the Texan veteran with producer Don Was, with the fourteen song cross-section of old school R&B, country, Blues and soul “immaculately rendered by Del boy and his band The Dick50.” The band features Lynn Williams (drums), Steve Mackey (bass), Kevin McKendree (keyboards) and Rob McNelley (guitar), whilst highlight tracks include the ballad ‘Starting A Rumour’ and ‘She’s Not There Anymore’, a “smoky, sultry tango, uncannily well-suited to McClinton’s world-worn vocals.” Talking about the album’s title, Delbert said, “I’m an acquired taste in that my kind of music’s not for little kids. It’s adult rock‘n’roll. I write from the sensibility of the people I knew growing up, and I grew up with all the heathens, the people who went too far before they changed and tried to make something out of their lives. There are a lot of beautiful colours and sad stories, and much-deserved joy in that.” delbert.com

Florence Rawlings could be another chart-topper for Mike Batt.

SEEN THE LIGHT

Bluesman comes back from the brink

Spitz Records in association with Breakneck Records will release the debut album from Mr Black & Blues (pictured below), “The Morning Light”, on 4th September 2009. The much travelled, former session musician (Barry White, Marc Almond ) Michael Pollitt, a.k.a Mr Black & Blues, broke his neck after suffering a near fatal, surfing accident. This long fight back to health gave Michael the inspiration to start his record label, the aptly named Breakneck Records, which saw him record his own material at the legendary Toerag Studio in London. Pollit, who provides vocals and guitars, including bottleneck slide and lap steel, has worked with the likes of Zeke

TOP STUFF

Legendary band set to rock the UK again

After the success of their Download Festival appearance, ZZ Top have announced they will be returning to the UK to play two very special shows in October 2009. The band, whose forty year career has seen them inducted into the Rock and Roll Hall of Fame, as well as enjoying massive hits with the likes of ‘Gimme All Your Loving’, ‘Sharp Dressed Man’ and ‘Legs’, will play the following dates: Wolverhampton Civic Hall (27th October) and Wembley Arena (28th). zztop.com

The Jim Jones Revue (pictured below) will release mini-album “Here To Save Your Soul” on Punk Rock Blues Records on 5th October 2009. The follow-up to the band’s acclaimed debut album, features all their singles to date, released for the first time in physical format (CD and vinyl). To precede the new collection, the group release double A-side single, ‘Burning Your House Down’ and ‘Elemental’, on 21st September 2009, with latter track featuring “a Chuck Berry riff dragged from hell.” myspace.com/thejimjonesrevue Joe Louis Walker releases “Between A Rock And The Blues” on 29th September 2009 on Stony Plain Records. The latest album from GRAMMY and Blues Music Award winner Walker, features a guest appearance from label mate Duke Robillard, who produces ten of the album’s dozen tracks. Walker wrote or co-wrote five numbers, with ‘If There’s A Heaven’ managing to “combine both Blues and gospel in one amazing brew. It also features some of the nastiest guitar work Walker has recorded in his career, tearing into both electric and slide guitar.” Covers on the new collection include Ray Charles’ ‘Blackjack’, Roy Gaines’ ‘Big Fine Woman’ and Travis Phillips’ ‘Eyes Like A Cat’. joelouiswalker.com Martin

Simpson released new album “True Stories” via Topic on 3rd August 2009. The collection is split evenly between traditional songs and Simpson's own original compositions, ranging from solo guitar instrumentals to full band arrangements, and features the musicians Danny Thompson (bass), pedal steel player BJ Cole, and Radiohead drummer Phil Selway, amongst others. Songs take influence from Northumbrian dance tunes, Anglo Scots ballads, old timey and Blues songs, New Orleans jazz and R&B.

“’True Stories’ is set to cement Martin’s reputation as a jewel in the crown of traditional music and a stellar performer on the international stage.” martinsimpson.com

Mr Black & Blues was inspired by near death experience.

‘Singles band’: The Jim Jones Revue.

ore than a coveted Blues musician, Bill Homas, a.ka. Watermelon Slim, is a remarkable man!

Returning home from a tour of duty in Vietnam, Homas became a staunch anti-war campaigner, involving himself with Vietnam Veterans Against The War –on one occasion forced to flee Boston for performing peace rallies and sit-ins with the likes of Bonnie Raitt – a non-profit organization created originally to oppose to the Vietnam war, and still supporting veterans to this day.

Although he has been performing since the ‘70s (cutting his first album in 1973), Homas had to work a number of jobs over the next three decades to make ends meet. Salesman, funeral officiator, forklift operator, saw mill operator (a job that cost him part of his finger), truck driver… Slim moved between menial jobs whilst putting himself through university – obtaining a degree in Journalism and a Masters in History. He even managed to fit in a near fatal heart attack!

Thankfully, it wasn’t too late, and in 2003 his topical (and now well informed) songwriting began to strike a chord. Ably backed by The Workers, as Slim, Homas and his Dobro (played lap style) have won over legions of fans across the world. He’s also become one of the industry’s most decorated performers, in 2008 alone receiving six nominations at the Blues Music Awards, taking the honours in both the Album Of The Year and Blues Band Of The Year categories…

BM: Can I start by asking about your musical background?

Bill: I grew up in North Carolina. In North Carolina, the first music that I heard ever in my life, live music, besides my mother singing lullabies, was the Blues in my house in 1954. It was a black woman, and at that point in those days, in the last days of segregation, we called her a maid.

She worked for us cleaning and cooking, and doing that kind of thing – it was not uncommon for middle class white people in the middle-50s to have that. She used to sing what I knew years later to be John Lee Hooker songs (at this point Watermelon bursts in song): “My momma, don’t allow me to stay out all night long.” Just like that! She’d improvise on them sometimes. So, the Blues was the very first thing I heard, but I didn’t hear it on stage as performance at this point in life.

Besides that, singing in church was one of the very earliest things that I did. That part of my background is at least as important as hearing Blues to what I am, which is primarily a vocalist. I play some instruments, but I’m basically a singer-songwriter.

Can you tell us which instruments you do play?

What you’ll hear tonight are harmonicas, which I’ve been playing since I was 10; slide guitar, which I’ve been playing since I was around 21 in Vietnam; I have also been a percussionist forever; and I shake a bit. I shake little bit of tambourine, maracas… I don’t have any African djembe (a skin-covered hand drum) with me tonight, but I’m also a djembefola.

You were nominated for six awards at the 2008 Blues Music Awards - winning Album Of The Year and Band Of The Year. What does this mean to you?

The two big ones! In the Oscars, that would be Best Actor and Best Picture! You don’t get any better than that! As far as professional awards and goals, that’s as high as I ever want to have. I also must mention that Watermelon Slim and The Workers won The BB. King International Art Award from The Maple Awards in Toronto also. Those awards are very coveted, and I don’t care if I ever get any more.

I’ll put it in perspective for you, Sam Lay, the great Chicago drummer that was recording before I was old enough to shave, won his first Blues Music Award at 73and if he hadn’t have won it, I wouldn’t have cared if I ever won it! That’s what it means to me. Just to put it in full perspective, before there were any awards, the rewards to a Bluesman was having a full pocket of change after a nights playing, a place to stay that was warm and out of

“When I had my heart attack, it was like, okay, I just took a knock down punch from a fellow I know is tougher and bigger, and I’m going to get myself knocked out, but I have to get back up, because the fear is getting back up as well as the getting knocked down!”

the wind, maybe even company and the knowledge that he was going to be playing some place else the next night, doing the same thing.

Can you tell us about The Workers?

They are the best band I’ve ever had in my life!

Ronnie McMullen Jnr. on guitar, Michael Newberry on drums and Cliff Belcher on bass are seasoned, veteran touring musicians. They all have more experience as touring musicians than I do! Michael Newberry is the metronome. They are all of the highest professional standards, but Michael Newberry is above and beyond any professional that I have ever played with.

We are all very much our own individuals, but most of the rough edges are worn off after four years playing together now. We have to travel very close in the States - we are running around an average of 75,000 miles a year - in a threequarter ton Ford van - so we get along real good, too.

Where did you get the name ’The Workers’?

I think Michael actually thought of it first, because besides being a leftist radical, I’ve been a leftist radical ever since I got out of Vietnam. What they call a leftist radical, I’m a world survivalist, but we are workers, every one of us. We don’t come from a background of white collar professionalism or anything like this. Ronnie McMullan's been an electrician and a pool hustler; Michael Newberry's been a house painter and aircraft propeller mechanic; Cliff Belcher’s been home care and computers… We’ve all worked for a wage, so we are all The Workers. I’ve never worked for a salary… We get royalties now; I don’t know what that puts us in!

How do find playing in England?

Well, I am just about the most gigantic anglophile you will ever met as an American. William Shakespeare and Elizabethan and Jacobean drama are one of my main sub-fields of study. I’ve read everything that William Shakespeare ever, ever wrote, and time and time again been published on him! I’m a big Shakespeare fellow. Just for that reason, it is worth coming to England and being here as much as I can.

The Blues fans here are great. Everybody from 2003, when I made my first English tour, to now, and I’ve met several of those people who have stuck around and come back knowing I was here. Everybody has treated me like a King. Everyone has treated me like a well liked King - like Henry V not Richard II!

What is your definition of the Blues?

My definition of the Blues? I must pick my words carefully because as a student, and my degree

Having established himself as arguably the leading Bluesman, it came as a shock to Blues Matters! when we heard whispers that new album, “Escape From The Chicken Coop”, would see Watermelon going country!

“The album is definitely a country record,” admitted the Slim, “though I believe it'll be clear right off that this is an original spin on country & western. However, I admit that I have written songs for this record that, somewhere in the back of my mind, I would like to see become country hit songs.”

Will existing fans see this as selling out? “I'm still Watermelon Slim, the Bluesman, y'all!” he declared “I am no different a person than I was before ‘Escape From The Chicken Coop’, and whatever the follow-upand there will be a follow-up! - gets called.”

Whilst Slim may be keen to convince his existing fanbase he’s still a Bluesman at heart, he wasn’t so successful with his band, The Workers – “very simply, they play the Blues” – and his own label has reservations.

“I'm a Bluesman releasing a country record on a Blues label,” he began to comprehend. “I have no idea how this will sell, or if it will sell at all. I don't think Fred at NorthernBlues knows either.”

Whatever the success of this new direction, when the album is released in August, Slim certainly feels he has improved as a musician for the experience of recording in Nashville. “When I got there, I honestly wasn't sure that I would be able to cut the mustard,” he recalled. “I was particularly lacking in confidence about my guitar playing. I am way far from a virtuoso on any axe, but farthest on Dobro. However, when put up against it, I was able to play the guitar you will hear on this record, and do it under deadline pressure. I'm real happy to have heard great musicians acknowledge my competence.”

And far from being a calculated effort to gain increased royalty cheques, there’s some resonance to Slim’s past. “The record is dedicated to the late, great country singer Dave Dudley, who wrote ‘Six Days On the Road’ and other truck-driving country hits,” he revealed. “The record is for all the truck-driving men and women who keep this country moving.

“My own trucking career is over, and songs like ‘300 Miles’, which might be my favourite on the record, not only describe the trucking life in a way that all drivers will understand, but mourn the passing of it for me.” DH

is modestly Master of the English language, I do not want to say it in anymore words than necessary. The Blues is not only (Watermelon again bursts into song!): “My baby left me, but I’ve got a bottle of whisky in my pocket and I feel alright!” The Blues is not merely sadness or loss or depression or working too hard - it is all of those things and it is many, many more. You will hear songs tonight that illustrate what more it is. You’ll hear songs tonight about the shooting of Buddhist monks in Myanmar by the Burmese authorities. You’ll hear about Katrina and her aftermath tonight, besides about the more usual Blues themes of loss, of faithless women, and all that stuff. Because I don’t just don’t think about the Blues as it was, this is ‘now’, Watermelon Slim music. I’m just sharing my life with you - that’s part of what the Blues is.

Blues is talking about the work that is always going to be too hard, and besides that, every single one of us is mortal. When I had my heart attack, it was like, okay, I just took a knock down punch from a fellow I know is tougher and bigger, and I’m going to get myself knocked out, but I have to get back up, because the fear is getting back up as well as the getting knocked down! If that was defining the Blues, then so be it! Of all the people you have played with, who has impressed you the most?

I was impressed by the way John Lee Hooker, in 1970, treated me like a man, with respect, even though I was only six months back from Vietnam and didn’t want to

be a musician still at that point.

I was impressed with Magic Slim who is…well, we are a big mutual admiration society. I’ve played as good a Blues with Magic Slim as anybody else in the worldJames” Super Chikan” Johnson, as well.

There is a young man named Steve Gooding, goes by the name of Gooding. He’s out of Kansas, the very finest, world class, John McLaughlin quality guitarist that I have ever played with. He doesn’t even sing, and I don’t care - he’s that good!

I love Big George Brock… I will be recording with Robert Belfour at some point in the next year or so, Mississippi Blues… Chris Stovall Brown, the top gun Bluesman of Boston Massachusetts!

Are there any British artists you have played with, or would like to, that you admire?

West Weston! West Weston’s the best harp player in all of England as far as I can see.

I played with Sonny Black And The Dukes in 2004, and I really enjoyed playing with Sonny and his band…and Matt Schofield! These are the only three I can remember the names of that I’ve played with at the moment. Sonny…I hope he’s still playing!

What’s next for you?

The universe comes around! I am a student of your great philosopher Colin Wilson. I'm a phenomenological, evolutionary and existentialist, and that is my world view and psychological inclination in three words! CB

Watermelon with past and present members of The Workers: (from left) Cliff Belcher, Michael Newberry and Ike Lamb.

t’s not going to do your career any harm when your best mates are in chart-toppers Kasabian (who have supported him with some fairly significant slots on their tours), and you can count Noel Gallagher as a friend, and Jersey Budd is being tipped for big things in 2009 – with even the UK’s biggest daily newspaper, The Sun, lending their support!

Jersey’s music fuses the classic Blues-rock and Americana of Bruce Springsteen, Bob Dylan and Cat Stevens, with a Britpop edge. He’s also broken new ground by using Bandstocks to fund his debut album, “Wonderlands”, which has given fans unprecedented access to him in return for their investment. With such notable backers, and an eagerness to remain attainable to his fans, it seems only a matter of time before he’s emulating the likes of Kasabian and playing massive arena dates and stadium slots…

BM: The album “Wonderlands” was a long time brewing... Jersey: It seems like ages. We finished it early last year.

We went back later last year, just to tinker with it. The record was financed through Bandstocks. As I understand it, you asked the fans to buy shares in the record and chip in…

That’s right. It’s £10 for a share. We could have gone with a big company. There were a few big offers on the table, but nothing was guaranteed. One of them wanted me to write with another artist. I wasn’t up for that. At this stage of my career, I’ve got enough songs to think I can do it on my own. With Bandstocks, I could do it on my own. They said give them ten songs for the album and it’s all under my control. Some bands lose that when they sign with a big label.

I wanted to do something personal and have a relationship with the fans. It involves them a lot more than just buying it from HMV.

I understand your mum has bought some shares in it... Yeah, both my mum and dad have bought some. All my family has put some money in. Even Leicester City Football Club has put some money in. A few bands, like Kasabian and The Twang, have put some in. It’s quite humbling.

"People think that songwriters are all up their own a**es, but you always need that confidence boost, and to have people believe in you."

photos: Steve Gerrard Photography

That must be a good vote of confidence...

It is. People think that songwriters are all up their own a**es, but you always need that confidence boost, and to have people believe in you.

So how did you get started? What first made you want to be a singer?

It was when I went to community college. I was at lunch with my mates and my mam, who was a dinner lady, said “My lad can sing.” So my mate said come down we’ll sing at lunchtime. We were singing all the Oasis and Beatles songs. He could play guitar, so he taught me a few chords, and then I spent hours in my bedroom, practicing. It took me ages to change chords, from D to a G, but I got there. Singing is just a talent I’ve been given. The guitar I had to work on.

In terms of songwriting, who has been your inspiration?

There’s quite a few! All the classics! There’s The Beatles, Oasis, Springsteen, Bob Dylan and Cat Stevens. All the legends! I don’t see a problem with that. People say I sound like Springsteen or Dylan, and I don’t have a problem with that. I see my songs as a mixture of all of them. I wrote a few songs and played them to Serge (Pizzorno) from Kasabian and he said I needed to get a manager, and that’s how it all started.

What’s your favourite Bob Dylan period? Are you an elec-

got new songs for the second album that are ready to go, and they are a more British Blues, like Dr. Feelgood."

tric or an acoustic Dylan fan?

That’s a difficult one, but I’d say it has to be his acoustic period, just because it was one man on a guitar and harmonica that made the whole world stand and listen. That was Dylan at his best! That is not to say I didn’t love it when he went 'electric' and ruffled a few feathers. He didn’t even care one bit and still produced some great music.

“Wonderlands” has the classic rock of Springsteen, but you’ve also got quite a Britpop edge to it…

It is a cross between British and American music. It’s like John Wayne meets James Bond, as someone said the other day.

I’ve got new songs for the second album that are ready to go, and they are a more British Blues, like Dr. Feelgood. My dad got me into them, and they have been a big influence. I try to keep it as British as I can.

How important is the Blues to you as an artist?

I love rhythm & Blues, like Dr. Feelgood. I listen to people like Clapton and all the old Blues records, which my dad has, like Champion Jack Dupree. It’s a massive influence.

At the start, I was very much folk-orientated, but the more you listen to Blues records, the more I am adapting it to my music now.

In the next couple of months, you will be supporting Kasabian and Little Feat, which is an interesting mix!

It’s fantastic. I told my old man I was supporting Little Feat

"I’ve

Not a lot of people know this, but the idea of asking fans to help finance albums was actually developed by prog-rock veterans Marillion.

In September 2000, the British band announced they had raised more than £100,000 from fans to finance the album “Anoraknophobia”. The group raised the money by approaching the 30,000 fans they had on an email database. Within three weeks, enough fans had responded to cover the costs of what would be there twelfth studio album.

Speaking at the time, Marillion’s marketing manager Lucy Jordache said: “We were being offered deals from various record companies, but what the guys really wanted, was to have total control of their music, yet still be able to utilise the expertise and distribution facilities of a major record label.

“This could only be achieved if we obtained the capital to record an album from another source, and then took the finished product to a label.”

Since then, more and more bands have started using innovative ways of financing their albums. Some offer a chance to be in the liner notes in return for money, or an autographed CD if the record is bought in advance. The website bandstocks.com is the latest such development, and is now becoming more and more popular with bands and fans alike.

On the site, artists can log in and create their own page. Projects have to go through a voting stage, and if enough users of the site approve, then bandstocks are then offered to fund the album. The stocks can be bought for as little as £10 for a financial stake in the album, credits and special privileges (there are also other similar websites like sellaband.com).

Whether or not such websites continue to flourish remains to be seen, and it is worth pointing out that investments can go up, and they can also go down. But the benefits for artists who do not want to surrender any artistic or financial control to large record companies are clear. Websites like Bandstocks and Sellaband mean they can raise the necessary funding, even if they do not have a pre-existing fanbase.

In 1997, David Bowie made music history by selling bonds linked to the future royalties of some of his songs. Fans could invest in Bowie and get a cut of future royalties and around $55m worth of bonds were sold when they were first issued.

Other artists soon followed suit and issued their own bonds, including James Brown. But in 2004, US finance experts Moody’s Investors Service downgraded the ‘Bowie bonds’ to one notch above junk status, and blamed the falling number of CDs being sold.

As the economy continues to struggle, bands will no doubt have to look for more innovative ways of financing their records, which means we have not heard the last of websites like Bandstocks. JH

and he couldn’t believe it. He’s already got five or ten tickets for the gig. He’s looking forward to that one. Hopefully Little Feat can pass a bit of wisdom on to me.

It was a pleasure to be asked by Kasabian to do the Albert Hall. I can’t wait to get on stage for both gigs, really.

You and the guys from Kasabian go back a bit…

Yeah, I was at school with Serge and Tom (Meighan) in a little village called Countesthorpe in Leicestershire. I still see them now. They both live in Leicester. We used to support them in the early days. They were called Saracuse back them.

Is it good to see your mates ‘make it’ in the way they have?

Definitely! The time it hit me was Earls Court. A few years ago they did an arena tour and when it got to Earls Court, I thought they had arrived. It was quite a proud moment, seeing my mates up there on stage, playing in front of thousands of people. I thought I wanted a little bit of it.

Has success changed them?

No. Not one bit. Tom has always been the same, since he’s been at school. That’s probably one of the greatest things about them. They haven’t changed, and I don’t think they want to change.

“Wonderlands” was mixed by Paul Stacey and it was mastered by Ian Cooper - both men were recommended to you by Noel Gallagher. How did you meet him?

That was through my manager and Serge. They knew him. We met him at this little acoustic gig for Mencap at the Union Chapel in London. We were talking about the album and about what was going to happen and he said, “I know the man who did The Black Crowes.” I love The Black Crowes! I went into Paul Stacey’s studios, where Noel did ‘Mucky Fingers’, and a couple of other tracks. Paul played a few Black Crowes tracks to me, and the drums just sounded unbelievable.

Marillion made sure fans paid for album.

photo: Carl Glover

Do you think Noel is a big Blues man?

I think he is. You’d have to ask him, but he loves Hendrix. I’m sure he’s a massive Blues fan.

What’s the best gig you’ve been to?

It would have to be Kasabian at Earls Court. The lads were on fire that night and it just blew me away. What topped it off was the massive game of 30-a-side football we had afterwards with England versus Rest of the World. Noel Gallagher was in goal for the Rest of the World.

The last track on “Wonderlands” – ‘The Blind Man’ – was written after a debauched night out on a rooftop in London… We were at a mate’s flat. We’d been to a club and then came back there. The guitar came out at four or five in the morning. Everyone was shouting, so me and Serge went up on the roof and played a few new songs. Serge had a few chords. The sun was just coming up and I just come up with the lyrics. I had to call my manager on Monday morning to find out what I actually sung. It slowly came back to me after I sobered up. It was born on the rooftops.

The economy is not in a good state at the moment, particularly for bands. Do you think things like Bandstocks can help artists?

As soon as we signed the Bandstocks deal, the economy did seem to go belly up. I remember joking with my manager that I can’t see Bandstocks doing any harm. You might as well put your money into me than into

some bank – that’s what I’m telling people!

What would be the benchmark that says “you’ve made it”?

I’d love to sell a few million copies! I got to play Glastonbury this year. I don’t think I could top the Albert Hall this year. I’ve got no idea how the album will sell, but as long as we get people to the gigs. I prefer to be playing live.

Are you getting used to making rock star demands yet?

I’m just starting to get into that now. I’m not a massive diva, but it’s a bottle of vodka at least and a bottle of Jack Daniels. If they’re in the rider, then I’m all right. No rooms decked out in pink or purple. As long as I have the drinks, I’m all right!

Jersey Budd is quite a rock’n’roll name. Do you think it’s going to help or hinder you?

(Laughs) It is a rock’n’roll name, and I think it’s going to help me more than anything, because it’s very uniqueand I believe it will be a name you can’t easily forget.

What’s the one record everyone should own?

That’s a tough one as there are loads, but I would say the one record I can’t live without would have to be “Rubber Soul” by The Beatles. From start to finish, it’s absolute genius, and I think it’s one of the best albums ever produced! It was also one of the first records I listened to growing up, and still think if I produce a record half as good as this then I’ll be satisfied. JH

ver since his debut release in 1999, Aynsley Lister has been lauded as the ‘great white hope’ of contemporary British Blues. Whilst this initial surge of expectation may have been considered premature by some, Lister has stood the test of time and has emerged from the treacherous path of the modern Bluesman with a new record that could see him surpassing all prior expectations - or simply alienate his existing fanbase.

“Equilibrium” is the culmination of everything Lister has done so far and should be the bar against which all his future endeavors will be measured. Of course, none of this should detract from the legacy of Lister’s impressive back catalog, but “Equilibrium” is a record that blends the best elements from previous releases, showcasing the artist’s eclectic influences and prowess as singer, songwriter and guitarist. Already receiving extensive airplay; and winning plaudits from all, including BBC Radio 2’s Bob Harris, the album heralds a new direction for Lister with its smoother and more commercial sound, which could be the stumbling block for his Blues fans...

“I’ve always tried to stay true to what I do”, he explains. “A couple of songs on the new album could be labelled as more commercial or radio-friendly, and I think it would be very easy to blow that aspect out of proportion and say I’m trying to be more mainstream. That’s really not the case though. I’ll always have that Blues influence in my playing,

in my songs, in everything I do musically.”

Raised on his father’s Blues-heavy record collection; Aynsley first picked up a guitar at age 8, learning to play by jamming along to vinyl recordings of legends such as Freddie King, Peter Green and Albert Collins. He soon found the sound that spoke to him the most, however, in the form of John Mayall And The Bluesbreakers’ seminal 1966 ‘Beano’ record. “I heard that album and it immediately made me want to play like Clapton,” enthuses Lister. “It made me realise the potential of the guitar”.

It wasn’t long before Lister began honing his craft on the live circuit. At the age of 18, playing in his own band, he finally got his big break. He was signed to Ruf Records in 1998, with little more than the handful of original tunes and covers he’d been rigorously developing in his live show. That handful of songs became his eponymous debut record, and things began to snowball from there. “I went from your typical well paid job, which I absolutely hated, to the bizarre life of a musician on the road,” Lister reminisces. “I loved every minute of it, but it happened so fast, and took a while to get used to.”

Since then, Lister has produced seven full length albums (including his latest) that include electric, acoustic, and live releases. Each record is different from its predecessors, yet they all retain the same inexplicable sound and feel, and it’s perhaps this that is the reason for Lister’s longevity. His ability to reinvigorate and reinvent himself with each new record, whilst placing his unique stamp on every release.

Perhaps the most apparent change on the new record is the band’s line-up. Lister has, with very little deviation, always styled his band as a Blues power-trio, and tailored his

"A couple of songs on the new album could be labelled as more commercial, and it would be easy to blow that aspect out of proportion and say I’m trying to be more mainstream."

John Mayall’s 1966 album “Bluesbreakers With Eric Clapton” has long been regarded as one of the finest examples of British Blues. Hugely influential at the time, the record mixed Blues standards with original material, turning its audience onto American Blues masters such as Freddie King, Willie Dixon and Ray Charles, as well as unleashing the relatively new talent of Eric Clapton.

The record, affectionately dubbed the “Beano” album by its fans (due to Clapton’s choice of reading material on the record sleeve), acts as a bridge between Clapton’s more commercial pop/rock style with the Yardbirds and the more freeform power-trio of Cream. Charting his development to guitar virtuoso and master of improvisation, and inspiring the ‘Clapton Is God’ cult. The record was also the first time that anyone had heard a Gibson Les Paul played through an overdriven Marshall amp, an influence very much still felt today as the pairing has now become more or less the industry standard.

Like a great many Blues artists before him, Aynsley Lister has often cited the ‘Beano’ record as a key influence in his playing. “The first thing that drew me to the Bluesbreakers record was the guitar playing!” he stated. “It just sounded amazing, unlike anything I’d heard before!”

Delving into his dad’s record collection at a young age, Aynsley was captivated by records by artists such as B.B. King, Peter Green and Albert Collins, but there was something about the Mayall’s record that resonated with him, and kept him coming back time and time again.

“It sounded so loud and exciting on my dad’s record player, it was almost as if they were playing in the room,” he continued. “I very rarely listen to guitar players, or guitar orientated records anymore, but even now I still find myself revisiting that record more often than any other... So long as I can listen to it on vinyl!”

Having been compared to Clapton as a guitarist since his debut in 1999, Lister is very aware of the effect the record has had on his own playing. “’Hideaway’ was one of my favourite tracks, and had a huge impact on me when I listened to it as a player,” admitted the guitarist. “Clapton’s playing on it is just awesome, just really spontaneous - it just sounds live...probably was.

“Listening to the record, as a whole, influenced my playing immeasurably, particularly my phrasing. There’s so much fire and power in Clapton’s phrasing, and the record made me want to play like that... I guess I’m still trying to this day!” RW

original material to that effect. However, “Equilibrium” sees the emergence of bold new soundscapes; including multiple guitar parts and, crucially, keyboards. “Adding keyboards to the mix came from a desire to thicken out the sound,” explains Lister. “I wanted the album to have more variation on it, and sometimes it can be quite limiting to have just bass, guitar and drums. There’s only so much you can do.”

Lister’s desire to consciously grow and develop as an artist is what sets him apart from his contemporaries. When reflecting on his artistic journey so far, he is considered and pensive. “When I listen back to my older records, they sound so primitive. I can tell I was young and I can tell I was inexperienced as both a player and a songwriter,” muses Lister, keen to put his past work into perspective. “There’s kind of a strange naivety to them. But again, it’s a balance; I couldn’t have written and recorded ‘Equilibrium’ when I was 21, but equally, I couldn’t create an album today anything like those I did ten years ago.

“When you’re young, it’s easy to just go onstage and scream as loud as you can, hit the guitar as hard as you can and hope it works. I couldn’t do that now, though. I think I’ve been able to subtly refine my sound over the years as I’ve developed a greater knowledge of what it is that I want to achieve.”

When faced with summing up his approach to musical growth and innovation, Lister is modest to say the least. “I don’t feel I’ve ever tried to completely reinvent myself. To me, I’ve just been doing the same thing for ten years now”, laughs the guitarist. “I suppose that early on I found a certain way of playing and of writing that worked for me, and I guess I’ve just stuck with it ever since.

“I believe it’s important to develop as an artist, but I think that if you intentionally make every album you release vastly different from the last then you’re bound to alienate people.”

Starting out as a guitarist, Lister decided early on that the path to a long career lay in songwriting. “I began to realise that the songs that really grab me don’t always do so because of a great guitar solo or riff, sometime it’s a great melody or just great songwriting generally. Once I realised that, I wanted to incorporate that knowledge into my own thing, too. I didn’t want to restrict

myself to any one particular thing as an artist.”

It would be easy for an artist such as Lister, on the cusp of realising his full potential, to get complacent. However, Lister explains - with typical modesty and surprising vulnerability, his philosophy to keeping it all in perspective. “The thing is,” he says, “you can think, and build it up in your own mind, that you’ve really made a great album. One that’s completely true to you and your artistic vision, and that people are just gonna love. But it could still come out and completely bomb! No matter who you are, there’s always that moment of doubt.

“I suppose that as long as you stay true to yourself, and still love what you do, then it’s easy to not get complacent.”

It’s a testament to this philosophy that, far from resting on his laurels, Lister has really excelled himself on this latest record. His performance, both as a singer and a guitarist, is flawless throughout, and is overshadowed only by the quality of the material. “Equilibrium” shows off Lister’s finely-tuned songwriting skills better than any release to

date, highlighting him as a songwriter at the top of his game. “My songwriting has really developed over time, and it’s become a lot easier.

“I guess it’s like anything really, the more songs you write the better you get at it. You get more confident eventually, more open to trying different things.”

The record is certainly an eclectic, yet coherent collection; blending together a wide spectrum of material. From electric Blues-rock, to heavy pop tunes and even a Delta Blues arrangement of the recent Gnarls Barkley hit ‘Crazy’. Aynsley’s rationalisation of this, somewhat unexpected song choice shows exactly the sort of fresh approach he brings to the Blues: “I wanted to pick a cover that not many people have done, and I’ve always had the view that if you’re going to do a cover the same as the original then there’s really no point in covering it at all.

“The typical approach is to take an old, classic Blues song and do a modern version of it, and even though this isn’t an out and out Blues album, I’m still very much tied to the Blues through my roots. So, I thought, why not take a contemporary song from the last year or two, one that people know, and do a really retro version of it.”

A multi-faceted artist, Lister was keen that “Equilibrium” should be a move away from the more one-dimensional sound of traditional Blues-rock: “My last record was very much a Blues-rock guitar record, and it didn’t really deviate from that much. With this one, I think I wanted to reach out and just be more diverse and make it more than that.

“‘Equilibrium’ is truer to my musical personality and shows off everything I do really. One part of me loves playing the big Blues shuffles and huge guitar riffs, but there’s another part of me that likes writing songs, that likes well-crafted melodies. That’s why I chose to call the record ‘Equilibrium’ because it’s a balance of everything.”

It’s this tasteful blend of old and new that exposes the young guitarist as a true talent and places him within the echelon of modern Blues greats. Anyone who has heard ‘Equilibrium’, or who has seen Lister perform live, will be in no doubt that this is his time to hit the mainstream and make a name for himself. He remains pragmatic however; still intent on perfecting the way to bring Blues to the people, whether they realise it or not. “A lot of people, particularly the younger generation, are immediately put off if you mention the word Blues. There seems to be a stigma attached to it, because it still seems to be associated with being depressing and melancholic. But so often it can be very uplifting.”

It’s a firmly ingrained portrayal, but if there’s anyone who can rescue the Blues from its overly morose stereotype, it’s Aynsley Lister. Whether he is aware of it or not, his influence could be the very thing to lift the genre out of relative obscurity and garner the mainstream attention it so deserves. Perhaps unsurprisingly, however, his mission statement is less grandiose, and therefore far more appealing, “To me the Blues is basically just emotion, and that’s what I hope to get across in my music.” RW

"When I listen back to my older records, they sound so primitive. I can tell I was inexperienced as both a player and a songwriter."

his magazine could claim Gwyn Ashton to be our own; after all he was born in Wales in the mid-60s! In fairness, he relocated to Australia early on, where he earned enough of a reputation to find himself supporting such musical luminaries as Rory Gallagher, B.B. King, Jeff Healey, Van Morrison, and, err, Status Quo!

Despite having an impressive gig for himself in the Southern Hemisphere, Gwyn decided to decamp to the cold and grey of Blighty, where he would launch his high-octane, rockin’ attack on British and European audiences.

And it seems they are submitting, with one of the busiest touring schedules of any Brit-based performer, and particular acclaim from the guitar aficionados (a leading French magazine voting him third in their Guitarist Of The Year poll, behind Jeff Beck and Gary Moore).

Our fiftieth issue – and with Gwyn promoting his new duo project release “Two Man Army” – is an fitting occassion to publish one of Al Tait’s last interviews, prior to his

passing after a long battle with cancer. Al was a staunch supporter of this magazine, and artists like Gwyn Ashton, and we’re sorry he couldn’t see us reach this milestone…

BM: A line from 'The Road Is My Religion', from the latest album “Prohibition”, points to the guitar love affair starting at around 12 years old. What were the circumstances?

Gwyn: Late at night, I was sneaking my radio under my pillow with the earphones on and listening to a lot of Blues, rock and country. My parents would come in and rip the earphones out and tell me it was terrible music. The good ol’ days! I had no idea what the difference was between those genres at that age, I just knew what turned me on.

I saw "Blackboard Jungle" on TV. That was the first rock’n’roll movie - and the best. There were also a lot of great Aussie bands at the time, and there was a real rootsy scene happening. Those days were good for music. Australia was producing a lot of talent, and I was lucky to grow up around that.

My father was in radio and TV at that time, and we moved house a lot between Adelaide and Perth. I had twenty-one schools in seven years! In those days, the Nullabor Plain - the "highway" between Adelaide and Perth

"A lot of people don't realise the effort it takes to get up early in the morning after playing late the night before and heading off for maybe an eight hour drive."

- wasn't even bitumen, and had potholes sometimes two foot deep and you had to drive between them. It took seven days to travel seventeen hundred miles - there were no hotels and we had to camp in tents on the side of the road. This was a great education for what was to come!

Tell us about your first band, and subsequent band history… My first band, Brass Monkey, was what was called a 60/40 cabaret band in Adelaide. I was 16 years old. We played a bunch of ‘50s and ‘60s dance standards - The Beatles, Bee Gees, all that kinda stuff. I had a collection of Beatles bootleg records, and we were playing some tracks off it that they never released. In those days, it was so hard to source this material, so it was really cool to get the records.

I remember the other guitarist in the band said he was gonna take me to see a Blues band. I'd never heard the Blues before. We went to a hotel in the Adelaide Hills and it was packed full of people. I remember the band going onstage, and, from the first note, it was a revelation to me. The band were so loud, and, after a few numbers, this chick got up and sang her arse off. The sweat and grind of this night changed my whole life.

We went into a record store the next day and he picked out the

“Bluesbreakers With Eric Clapton” album (affectionately remembered as the

‘Beano’ album – AT) for me to buy. It just blew my mind - I had to have more of that music! We threw a bunch of Blues into the repertoire. We played one of our residencies in the Barossa Valley the following week and the owner came running up to us screaming, "What in the world are you playing? You're driving everyone outta the joint?!" Right from that moment I knew that I was onto the right thing!

Mickey Finn were a tough Blues band in Adelaide at that time - ‘70s. I saw them a lot. This band kinda spawned AC/DC. They were loud, tough and the singer used to hang upside down from the rafters and blow amazing Blues harp. I played with The Easybeat's lead singer Stevie Wright in the ‘80s whilst living in Sydney. Malcolm Young wanted Stevie before he got Bon. They both sounded like Alex Harvey!

Are you playing electric guitar during this period, or has the acoustic slide come into your life?

I was just flat-picking a Strat at the time. Slide guitar hadn't hit me yet. I still have that old ‘61 Strat that belonged to Mick Jurd from Fraternity - Bon Scott was the singer. A good heritage that guitar! I was experimenting with a couple of 100-watt Marshall amps and an old Roland Space Echo.

Any particular guitar heroes?

Most of my heroes are dead now. There was Roy Buchanan, Lowell George, Duane Allman, Rory Gallagher, Bill Haley's guitarist – ‘Rock Around The Clock’ has the best solo of all timeJohnny Winter, Billy Gibbons, Robin Trower, Clapton, Beck, Page... Everybody always talks about those guys, but nobody knows about the Aussie guys who were around (and some still are) at the same time: Billy Thorpe, Lobby Lloyd, Kevin Borich, Ian Moss and my dear friend from Adelaide, Chris Finnen, who has to be the most talented guitarist on the planet! He not only plays killer Blues, climbs PA stacks, makes whale noises with his Strat, jumps up and down on tables, whilst playing serious guitar, but also plays African and Indian hand drums and percussion. His Indian band played for the Dalai Lama in Adelaide, and you'd quite often catch him at the Adelaide airport tape-recording planes taking off!

The modern guitarists don't have the same passion and energy as the classic

HOME OF THE BLUES

Courtesy Future Noise, we have 3 copies of “Let Me Tell You About The Blues Chicago” to giveaway.

Subtitled “The Evolution Of Chicago Blues 1925-1958”, the compilation features Blues royalty such as Muddy Waters, Howlin’ Wolf and Jimmy Reed, artists who laid down songs in the city that would go on to inspire the likes of The Rolling Stones and Led Zeppelin. Buddy Guy, Otis Rush, Magic Sam, Elmore James and a host of others who arrived in the city to make their fortune, feature on the 75-track, three-disc package.

IN ACTION

Courtesy Eagle, 3 lucky subscribers will win a copy of “Warpaint Live”. The DVD features live versions of the whole “Warpaint” album, recorded on 20th March 2008 at the Wiltern, LA. The show also included versions of The Rolling Stones’ ‘Torn And Frayed’ and Delaney & Bonnie’s ‘Poor Elijah – Tribute To Johnson’, alongside fans’ favourite ‘Bad Luck Blue Eyes Goodbye’.

A STRIKING JOURNEY

Courtesy Willow Tree Pictures, we have 3 copies of DVD “Full Moon Lightnin’”. The film follows New York Bluesman Floyd Lee on a deeply personal journey as he returns to the hill country of Mississippi to find answers to his mysterious past.

To be in with a chance of winning one of these prizes, subscribe/subscribe a friend by 25th September 2009. 01656

guys. They just get a record deal at 16 and get up there and strum guitars. It's all a pile of crap, really. I do like John Mayer, Doyle Bramhall II and Derek Trucks, though. 'The Road Is My Religion' also states you’ve been over here around eight years…

An autobiographical track that I wrote a few years ago, about leaving my homeland of Australia to chase a musical dream with the many pitfalls and obstacles along the way. It's kind of an ‘Australiana’ theme of going on the road, playing my songs in all kinds of places, doing what I believe in and performing to crowds of people who sometimes don't even know there's a band on at all!

A lot of people don't realise the effort it takes to get up early in the morning after playing late the night before and heading off for maybe an eight hour driveor in a lot of cases more - and finding the energy to do it all over again to entertain them. I'm certainly not complaining - it beats working for a living!

What led to you coming to England?

At that point in time, my albums were selling better as exports to Europe from Australia than they were over there, so the record company suggested that relocating to this side of the world would be a good career move for me to undertake. I took the plunge, bought a one-way ticket and freighted my beloved guitars, amps and other assorted goodies to England. The Blues scene in Australia, at that time, was pretty dead. It's not so bad now, but there's only so far you can take it before you need to move on, if you have an ambitious streak in you.

Are you settled here, or lucky enough to split your time between Europe and Australia?

I go wherever there are people who appreciate what I do and want to hear my music. I'm a bit of a workaholic and don't like to lose pace too much. Its hard work, sometimes not appreciated, but when it's on and the crowd goes off, it's all worthwhile.

Last year, I played two weeks in Germany on a solo tour, catching trains from gig to gig - kind of a 1930s Mississippi vibe, without me ending up getting shot or poisoned! I then took thirteen methods of transport – including trains, taxis, coaches, buses and a plane - in twelve hours to end up in Brittany, France, to meet up with the rest of the band to play a festival there. A few months prior to that, I played a couple of solo dates, again in Germany, and had to get to Berlin airport from the other side of Hamburg to fly to the next show in Wolverhampton to play with The Sensational Alex Harvey Band, as Chris Glen and Ted McKenna played on “Prohibition”. It was like a bad movie script. I jumped into a cab with two guitars, a suitcase and box of CDs and got stuck in the Berlin Marathon where the police blocked the street off. I had to bail outta the cab, walk all my stuff

Having built his reputation as a solo performer, Gwyn’s new album release, “Two-Man Blues Army”, available since July, sees him performing in a duo format with drummer Kev Hickman.

“I've been to Germany a few times with a duo, and then last year we were aired across Europe via ZDF TV,” Gwyn told us. “I had so much good response from these I decided to record an album and consummate the duo marriage…and Robert Plant had some very nice things to say about the duo, insisting we didn't get a bassist.”

You don’t turn a deaf ear to advice from a rock legend, and there’s certainly no let-up on the heavy sound which has won Gwyn so many admirers. “The Two-man Blues Army thing is more electric,” he revealed. “We get loud and nasty - and have fun!

“I was really looking for a way to play the Blues in a different form, and get my own voice with it. I was a bit tired of the regular power-trio thing, everybody's been doing it for forty years, and I feel this is more interesting.”

For the first time, Gwyn didn’t head into a studio to record the new album, instead using Logic Pro on his Macbook Pro – “I think it sounds more analogue than the other DAWs” – with the duo set-up in a workshop and office in Kidderminster where they nailed carpet to the walls.

“We used three mics on the kit (kick and two overheads), two on my amp and a DI for the octave pedal and recorded most of it live with my amp baffled of by a desk but still bleeding into the drum mics,” continued the guitarist. “That gave it the big guitar sound we got.

“After recording in studios all my life it was kinda funky to be doing something like this and we weren’t trying to beat the clock to get it done quickly.”

Favourite tracks for Gwyn include ‘Junior Got A Blade’ (“Because of its social implications”) and ‘Meltdown At The Hoo’ (“Because it's something I had from years ago”), but ‘One Way Ticket To The Blues’ is particularly important to the guitarist. “My mother passed away last year,” Gwyn began to open up, “and she inspired me so much as a child to follow my dream, even agreeing to be guarantor on a bank loan for my first Stratocaster back in 1976.

“I eventually bought a one-way ticket to England back in 1996 to pursue my ambitions, and it's because of her that I actually got this far.” DH

Two-Man Blues Army: (from left) Gwyn Ashton and Kev Hickman.

across the road and jump into another cab to catch my flight. The check in staff said I'd missed my flight. I explained what had just happened to me and they got me on anyway. I guess they felt sorry for me.

You play mandolin and in particular harp. Do these have as much importance as your guitars?

I play some harp on my solo gigs - I like to think I'm getting better at it. I need to brush up on the mandolin and take it a bit more seriously.

Have you extended your playing in any other directions?

I've been playing some lap slide on a Weissenborn copy lately, and some 12 string acoustic slide.

You seem to be continuously on tour…

Yes. Have Strat, will travel!

Too bad the agents in the UK don't take me seriously, eh?! It's easier for American acts to tour because everyone in the world wants to have a Yank band playing their club rather than an Aussie. Maybe we'd rock 'em too hard and they wouldn't know what to think! I've been touring with the likes of Trower, B.B. King, Buddy Guy, Canned Heat, Peter Green and Mick Taylor through Europe for the past ten years, so yeah, would be nice to move up.

Tell us about your Blues masterclass at Sawyers in Kettering… Teaching… I've conducted Blues guitar masterclasses at Musician's Institute (London), Guitar X (London), Guitar Institute (London), Melbourne Music Show, Academy Of Sound (Birmingham), and the occasional Blues club.

Sawyers is a great little venue in Kettering, and the landlord really loves his music and supports the local industry.

I read you were hosting an acoustic night in Northants… I run a couple of open mic nights in England to try and help local guys get their first chance at getting up to play. We all need to encourage it if we want to have a scene at all. There are too many other things for people to get into - sport, computer games...

It'd be nice to see some more talent stretching out and playing. Get serious about your music. It's not just scales and s**t, it's playing with passion and dedication. I was always taught to play every gig like it was your last one. People are only going to remember your last gig. You have to want to be the best and give it all you have. Don't play in multiple bands. That's what most musos in England seem to do. Get yourself one band and give it your all. Would John Lennon have gotten a "dep" in because he had a gig with another band? Go on the road and play your arse off!

What do you ultimately hope to achieve with your music? Success to me is to make an honest living out of doing what you love. I'd like to get my music out to as many people as possible to enable touring of places I've never been before and continue to perform in places I have been. I'm a live performer, I like to travel - I couldn't get off on not being on the road, sitting in the house and making music. I'm a nomad. As a child we moved twenty-eight times in seven years all over Australia, so I guess it was a great foundation for what is this lifestyle. AT

ith a name like Delta Spirit, you could be forgiven for thinking the five-piece band were straight from Mississippi, but Jon Jameson (bassist), Brandon Young (percussionist), Matthew Vasquez (vocalist/guitarist), Sean Walker (guitarist), and Kelly Winrich (multi-instrumentalist) hail from San Diego, California. With a retro sound and a penchant for weird and wonderful instruments, like trash can lids, they have proved popular with critics and gig-goers alike. Their mixture of rock and Blues also has a strong indie rock flavour, while simultaneously paying dues to the likes of Neil Young, Crosby, Stills & Nash and the Eagles – basically their music will appeal to a lot of listeners!

No surprise then that their debut album, “Ode To Sunshine”, has been hailed by many critics as one of the best records of 2009, and they’ve already toured Europe twice - with more dates promised in the near future. With the group’s debut album only released in March in the UK, Blues Matters! quizzed singer Matt Vasquez about life in the fast lane…

BM: The first thing I want to ask is who is the guy on the front cover, and which gym does he go to?

Matt: What’s that? The American or European cover?

It’s the European cover…

That would be Jon’s dad, Jerry. He’s a classic. He is one of those self-made dudes. He’s a funny guy. He loves that boat.

This is your first album, as I understand it…

That’s right. We put it out ourselves maybe a year and a half ago. We recorded it in a cabin in California. It was a really good time (laughs).

It sounds like you had quite a party…

Yeah. It was like a camping trip with friends, as much as it was anything else. We set up all of our gear, mics and preamp equipment, and then we just jammed in a room together. We fitted ourselves with some monitors and jammed out the record. It was really fun.

Who did all cooking?

Not me! (Laughs) I did a lot of the meat. We all chipped in for the salad, wine and whiskey.

It sounds like a good plan to me…

It was a great time. We all kept it real easy.

The record sounds like there was a beat-up upright piano in the cabin. Was there?

There was a piano there. The guy who owned it said he just got it tuned.

The record cost us $2,500 to make. It was pretty cheap, but it was the right price then. It’s probably still the right price. If we could figure out how to make a record that cheap again, we probably would!

How long has the band been together?

Three years now! We were all friends. I was friends with Kelly, who is the piano player, at high school. (Pauses) Hang on a minute! I just realised I’ve been driving with the handbrake on the whole time! That’s not good for the car!

Growing up, I was in a small apartment with my family of five, so I never had a place to play music, and so I would find myself venturing off on the streets, putting a hat out and playing. Then I drove down to San Diego and I ended up down the Gaslight district, which is the old town part of San Diego. The first time I went down there Brandon walks

"The record cost us $2,500 to make. It was pretty cheap, but it was the right price then. It’s probably still the right price. If we could figure out how to make a record that cheap again, we probably would!"

past and says, “Hey, man, you’re good”. Then Brandon and I met again through Jon, the bass player. Sean was doing Graphic Design and Art with Brandon, so they were buddies for a long time. Then we decided to do it!

Do you all share the same musical taste?

Not necessarily. We all like roots music a lot. I like a lot of things, like Tom Waits, Nick Cave and Dr. Dog.

When you settled down to do the first record, did you thrash out where you wanted to take the music?

We knew what we didn’t want to do. Everything else was kind of a gain. Then we just tried our best to do everything we could do. We didn’t want to Auto-Tune vocals. We don’t like corporate pop music. We just tried to do everything – whatever we loved listening to, like northern soul, country, folk, or something like that.

You use some unusual musical instruments on this record, like dustbin lids…

We have a kettle drum, bellshakers, trash can lids and harmoniums. Kelly has taken up the trumpet, and I have taken up the clarinet.

Will you head in a jazz direction?

Well, you know I’m not Chet Baker! Or more like, Kelly’s no Chet Baker, and I’m no Sidney Bechet! Practice makes perfect. I might kick Kelly’s teeth in so he sings like Chet Baker.

You wouldn’t be the first person to do that in the history of rock’n’roll!

Yeah, that’s true.

Do you have a favourite type or brand of dustbin lid?

(Pauses) Yeah! In Brooklyn, they have the strongest, toughest, loudest, darkest tone... They sound awesome! It’s given us the worst luck for stealing rubbish bin lids, so we’ve stopped.

You could try going for sponsorship…

Yeah! The city of New York rubbish bin lids! I wonder if we could find out? They don’t last too long and that’s the problem. Somebody from a radio station gave us one and it ended up being a really great one, so we held onto that one. If anyone wants to bring a nice, thick, tough rubbish bin lid, we will take it and use it.

You’ve been over to Europe this year…

Yeah, we just got back. We did two trips. The first one was UK and Amsterdam. The second one was UK and a lot more of Europe, like Zurich, Vienna, and Hamburg.

What did you think of Europe?

I loved it. I had a girlfriend at the time, so it was a little rough. I was staying up to five in the morning to talk to her. I was permanently jetlagged for a month. I had a blast.

I loved Germany. It was awesome. I liked how chilled the people are. They were great for long existentialist conversations as the sun came up, drinking Becks beer. It was great!

As you are all such great mates, do you find it easy to cope on a tour bus together?

We have a van, so we don’t have the luxury of bunks. We’ve toured enough to know that when you first get going you hate everybody, and then you start to hate yourself. After that, you realise that everybody hates everybody and

(from left) Sean Walker, Kelly Winrich, Brandon Young, Jonathan Jameson and Matt Vasquez.

There are many movies that can justifiably be called classic films, but “The Hot Spot”, currently being enjoyed by Matt Vasquez, is definitely not one of them.

Directed by Dennis Hopper, and starring Don “Miami Vice” Johnson, the 1990 film was greeted with mixed reviews on release. Admittedly, it is one of Johnson’s better films, and it does have some seriously sexy women in the shape of Jennifer Connelly and Virginia Madsen, but “Citizen Kane” it ain’t!

Where “The Hot Spot” did triumph was with its soundtrack, which was put together by the Academy Award-winning producer Jack Nitzsche. The musicians he brought together for the soundtrack speak for themselves - John Lee Hooker, Miles Davis, Taj Mahal and Roy Rogers.

To have Davis, who was one of the world’s greatest jazz musicians, alongside two Blues legends like Hooker and Mahal would get most music buffs drooling at the lips, and the end result was a soundtrack so steamy, it made the femmes fatales on the screen look positively frumpy.

Hooker and Mahal both wailed and moaned as if their lives depended on it. No-one sang the Blues better than John Lee Hooker, and it was remarkable how he was firing on all cylinders ever at this late point in his life.

Davis, who died a year later in 1991, is on top form. His trumpet oozes around the brushed drums, guitars and bass like a slippery snake on heat. Jazz lovers may continue to debate the relative merits of Davis, and all his different phases, but you can hear him on this score in all his glory.

The musicians who backed them were no slouches either. The drummer was none other than Earl Palmer, with Tim Drummond on bass and Bradford Ellis on keyboards. And the slide guitar was provided by Rogers, who had also worked with Hooker on his comeback album “The Healer”.

If there is one criticism of “The Hot Spot” soundtrack, it is that many of the tracks sound the same and do rather blend into one. You do get a lot of wailing and moaning for your buck, but the real pleasure lies in hearing a group of bona fide Blues legends doing their stuff with Miles Davis.

If the temperatures rising and it’s the middle of the night, and you’re stuck in the middle of no-where with half a bottle of bourbon and a dangerous looking woman, then this soundtrack really does – if you pardon the pun - hit the spot. Say what you like about Dennis Hopper, but his tastes in women and music have always been impeccable. JH

themselves, which is why everyone is so grouchy. And then you get to the point where it’s like, “Man, I love you guys.” We got over that a while back.

The record has quite a ‘70s Laurel Canyon retro feel to it. Was that a conscious decision on your part? No, it’s just what it sounds like. Maybe it was from liking bands from the ‘70s. It was the only way we knew how to record at the time. It might also have been from watching too many documentaries.

Do you think you have quite a Californian sound?

Well, we’re from there! That’s a first. A lot of people think we’re from Mississippi, because of the band name.

Do you think music should say something? Sometimes it shouldn’t, but ours should.

Who is your favourite Blues singer?

(Pauses) It’s tough. I really love Howlin’ Wolf a lot. He had one of the most grizzled, insane voices on the planet. I heard he was the first person to get health insurance for his band members.

The only time anyone saw him cry was when he saw his mom after he made his money. He went up to her and said “Hey, mom,” but she called him the Devil, because he played the Blues.

Have you played the SXSW festival in Austin, Texas?

Yeah, with Primal Scream. It was insane.

What do you think of the festival?

I grew up there, so it’s kind of sad, because I how great the city can be with a 150,000 less people in it! But it’s always a great time. It’s good to see your friends. It’s like a big club meeting, because all the bands get to hang out and have a cup of coffee. You can go and see shows together. It’s great for seeing what your buddies are up to.

What was the Primal Scream gig like?

Loud! The venue was too small for them. It was just over the top, to say the least.

What records are you currently listening to?

I really like our friends Dawes, who we just took on the road in the US, and I really like Richard Swift.

In terms of Blues records, I really like “The Hot Spot” right now. It’s got Taj Mahal, John Lee Hooker and Miles Davis. It’s pretty awesome. It’s just nice to have in the background. John Lee Hooker can’t do wrong.

When you’re on the road, do you have special dietary requirements? Do you do burgers or pizza? When we were in Europe, we had Nandos, Wagamamas, or we had a curry. I love cheeseburgers. It’s a weird thing, my love for cheeseburgers! There are few places that do it the way I like it.

Where is the best place for a cheeseburger?

There’s a place called Texicali in Austin that no longer exists, but they did my ideal cheeseburger, with waffle fries! JH

here is much made in the Blues media and this very magazine about the next generation of Blues players, and who can best be trusted to carry this form of music on with the right level of honesty and understanding - and attract ongoing appreciation.

Given that the collective age of siblings Ryan (lead guitar/vocals), Kyle (bass) and Taja Perry (drums) adds up to less than the age of some of those performers counted amongst the younger elements of the genre, The Homemade Jamz Blues Band have become arguably the Blues’ most exciting hope.

Given their age, and the fact they play home-made instruments made out of automobile parts, it would be easy to dismiss the band as a novelty act in the same vein as performers such as ‘Sugar Chile’ Robinson or even the infant Lucky Peterson, but this is a serious outfit.

A long resume of impressive gigs saw them appear at the 23rd International Blues Challenge in 2008 (with they came an impressive second place), and gained them the accolade of Best New Blues Band, bestowed by The Bay

Area Blues Society. Of course, with such interest and accolades it was of little surprise when they signed with the respected NorthernBlues label – even if they were the youngest Blues band in history to achieve a record deal (Ryan was 16, Kyle was 14 and Taja was 9) – and released the universally acclaimed “Pay Me No Mind”. Now it’s time for the promotional rounds in support of follow-up “I Got Blues For You”. Fingers crossed then…

BM: Let’s start with the obvious – a female drummer in a Blues band is pretty unusual…

Ryan: Yes, that's what makes it exciting. Not only that she's a female playing the Blues, she is also a very young female Blues drummer - she's now all of 10 years old.

And is it right that the band’s roots are in Germany?

Yes, it all started in Baumholder, Germany. This is where I found my first guitar and learned how to play one.

Seriously, though, do you see yourselves as part of the Mississippi Blues tradition?

YES! We are part of the new generation of the Blues that are knowledgeable about the Mississippi Blues tradition, and, of course, we are still learning much more as we travel the Blues trail.

Back in the ‘60s, the Blues became an old man's music. With the ‘rediscovery’ of many musicians of the ’20s and ‘30s, the image of the Blues became that of a black man in his sixties or seventies (or even older - Nathan Beauregard claimed to be a 100 years old, and the fact that such a claim would bring him attention in itself is significant). The notion of 'paying your dues to sing the Blues' was paramount. Of course, this overlooks the fact that many of these performers were youngsters themselves when they first recorded the music that brought them this belated fame. Even so, few had the extreme youth of The Homemade Jamz Blues Band, but as with many forms of music, there are child prodigies in the Blues.

Shuggie Otis, the guitarist son of legendary rhythm & Blues bandleader Johnny Otis, recalls at the start of his recording of 'Shuggie's Boogie' how he had painted on a false moustache to play in clubs with his father - and as Shuggie was all of 15 years old when he recorded this particular number, we are looking at extreme youth! (Blues shouter Joe Turner - presumably before he took the epithet 'Big' - also used to paint on a moustache in his early days in Kansas City).

Can teenagers be child prodigies? Much was made of Jonny Lang and Monster Mike Welch’s youth when they burst onto the scene in the mid-90s; similarly, Eric Steckel, born in 1990, released his debut album at the age of 12. Looking towards vintage artists, singer Helen Humes was all of 14 when she was taken to the studio by legendary guitarist Sylvester Weaver in 1927.

The main child prodigy – a true child - of the Blues though must be Frankie 'Sugar Chile' Robinson. He was born in Detroit in 1938 or 1940, depending on which source you believe, and was definitely playing piano by the age of 2. He appeared in a film in 1946 and began recording for Capitol Records in Los Angeles in 1949, chiefly in a boogiewoogie style, though, as with many child prodigies, he was also given material that reflected the novelty aspect of his act - and some footage of him performing with the Count Basie Band in the ‘40s underlines this, with Robinson wearing a cowboy hat and firing a cap gun. Though he has recently made something of a comeback - his recording career finished abruptly in 1952, though not before he had appeared in Europe, including the famed London Palladium - his main work is as a psychologist in his home-town!

These days Lucky Peterson is a major figure of the modern Blues scene, a triple threat on vocals, guitar and keyboards. I doubt he ever plays '1,2,3,4' or 'Good Old Candy' thougheven if he did make them for the legendary Willie Dixon's Yambo label at the age of 5 - and it is some indicator of Lucky’s talent that, whilst it may not compare with his contemporary work, these recordings are still interesting! ND

Do you feel committed to carrying it on?

Yes, definitely! We feel that very strongly, and are committed to carrying it on. Mainly because it feels normal - it comes so natural for us to be doing this versus doing something else.

Who are your influences?

Ryan: Albert King, B.B. King, Stevie Ray Vaughn, Jimi Hendrix, Luther Allison, and too many more to list.

Kyle: Willie Dixon...

Taya: Sheila E.

What do your friends think about the Blues? And what do they think about you playing it?

Ryan: When we first started a couple of years ago, they were making fun of us and they couldn't understand why we were playing the Blues. But, as the years pass, they've since had a change of heart and thoughts of what we do. Simply because of our national and international recognition, our accomplishments, and the numerous newspaper articles, and both local and national

radio and television interviews. Now, they think it's really cool and awesome that we do what we do, and get to travel to many different places.

Taya: From the beginning, my friends always thought it was really cool that I play the drums. I don't think they were concerned or worried about what type of music I played. I think they're just fascinated that I know how to play the drums, and I'm a part of something that's cool with this band.

How do you fit in the touring with school?

We are enrolled in a home school programme. We have the flexibility to double up our school work before we travel. By doing this, we don't need to take school on the road. This is very helpful. We pick up where we left off when we return back home.

Can you talk a little about your father’s music?

Dad was not a musician before our band started. He was influenced by us kids to start playing harmonica.

Dad's role is the harp player, homemade muffler guitar maker, driver and equipment repair man.

Eric Steckel recorded debut before his teens.

Yes, you are nearly as famous for your homemade instruments as you are for your youth! Can you tell me a little about them?

Our guitars are homemade by our father, using car mufflers and other car parts. We also have lights throughout the guitars, and blow smoke coming out of the tail pipes.

You auditioned at Ground Zero Blues Club. Can you talk a little about that?

Our parents were trying to find us places to play gigs, and my dad called Roger Stolle, the booking person for Ground Zero, and managed to set up an audition-like show in front of the Cat Head Store. This was to see if people would actually stop and listen or just walk on by. After doing this two different times, we landed our first gig at Ground Zero on a Sunday for their Sunday Brunch.

How did the album come about? How do you write your material? And where does your inspiration come from?

Our first album, “Pay Me No Mind”, was released on 10th June 2008, and it did really well. "Pay Me No Mind" did so well it earned us a nomination slot for the Best New Artist Debut category for the 30th Blues Music Awards on 7th May 2009 in Memphis, Tennessee.

Our second CD, "I Got Blues For You", released June 2009, shows our professional growth. The selection of our music was very easy. Our songs are all original songs, written by Renaud Perry - that’s dad! - except one song on each CD, which is a cover song.

You mentioned the covers, what are your all-time favourite Blues songs?

Ryan: ‘Boom Boom’ (John Lee Hooker), ‘Red House’ (Jimi Hendrix), ‘I'll Play The Blues For You’ (Albert King) and ‘Sweet Sixteen’ (B.B. King). All of these songs move and touch me in different ways.

Kyle: ‘Wang Dang Doodle’ (Koko Taylor). I love the bass line of this song - and it has a groovy beat.

Taya: ‘The Thrill Is Gone’ (B.B. King), ‘Come On-a My House’ (Rosemary Clooney), and ‘I’d Rather Go Blind’ (Etta James). The lyrics are clean and the music is soothing for the soul.

Are you proud of being the youngest Blues band to get a record deal?

We feel really good and are proud, especially in the Blues world.

Are you aware of other child prodigies in the Blues?

Yes! Since entering and winning second place at the International Blues Challenge in 2007, we have met and witnessed a big growth in young Blues musicians coming out from all over the world and showcasing themselves.

Has the group inspired any other youngsters in Mississippi to take up the Blues?

Not that we know of. But throughout our travels outside of Mississippi, we have encountered many youngsters showing interest and picking up an instrument for the first time because of us.

Do you find there is a difference between American audiences and European?

YES! European Blues fans are much more lively and physically – dancing - show more excitement towards the music. They don't hold back.

Can we expect to see you in the UK promoting the new CD? We would love to bring our music to the UK on the first chance we get.

How did it feel to see your first album come out?

(from left) Kyle, Taja and Ryan Perry.

It felt really strange to see ourselves on the cover of a CD, let alone seeing it in the album stores. But, at the same time, it was very exciting and fulfilling to know that we now have a professional recorded CD available for the world to see and hear our sound.

And the reviews…

Thank goodness the reviews were all good. It was always exciting and an honour for us to read great reviews from people that really know their stuff.

B.B. King famously gave you his approval...

We feel very grateful that B.B. King acknowledged, and went the extra mile for us. With our age and our accomplishments, we feel really good about our future in the Blues.

Tell us about how you approached the new album following the success of the debut?

We approached our second album knowing we had to definitely show improvement. We've learned a lot from our travels during the past year, and we applied the lessons we've learned to our new CD.

Our individual musical ability has improved since our first recording.

Did you feel more comfortable recording this album?

Not really. We felt more pressure, realising and knowing more people would look for us to provide a good CD.

And do you feel the extra pressure affected the recording? We paid extra attention!

Any favourite tracks?

‘Heaven Lost An Angel’, ‘Alcoholic Woman’ and ‘Hobo Man’. The stories of these songs are really deep.

What do you hope to achieve with the new collection?

More fans that appreciate our music for what it is.

Who has impressed you most on the current Blues scene? B.B. King for all he has been through and done; Taj Mahal for being so versatile in his music and always kind to us; and Blind Mississippi Morris for his friendship, and for being a great mentor to our dad.

In what ways do you think the band will develop over future recordings?

There is still much to learn about music and instruments, period. Everyone will definitely improve on their playing abilities, as we learn new ways, styles and techniques. We're also making preparations for Kyle and Taya to someday be able to sing lead for the band.

How do you think the Blues might develop in the future?

The Blues will definitely develop and expand to a different sound from the new generation. But hopefully it will stay true to its roots and uniqueness. With our experience travelling, and meeting old and young upcoming Blues artists from all over, the Blues will not be a dying art. Especially with so many different styles: Chicago Blues, hill country Blues, Texas Blues, and so on.

Anything else you would like to say?

Since travelling this road, we have found new respect and love for the Blues and the people that keep it alive. Thank you! ND

ew singers have enjoyed such a varied career as Maria Muldaur.

Muldaur was part of the Greenwich Village folk scene of the early-60s, and later sang and played fiddle in jug bands. In the early-70s, she was half of an eclectic duo with her then-husband, Geoff Muldaur. Then, divorced and solo, she scored a massive pop hit in 1973 with ‘Midnight At The Oasis’. Her voice has become much richer since then, and over the last several years she’s done the deepest Blues of her carer. Her last album, “Yes We Can!” explored the black social consciousness music of the early-70s. Backed by a group she calls, “The Women’s Voices For Peace Choir”, which includes Joan Baez, Bonnie Raitt, Phoebe Snow and, of all people, the actress Jane Fonda…

BM: Before we get to the new album, I want to ask in general about your recent work. It seems that you’re singing now better than ever...

Maria: From when I was a teenager, I’ve always really loved the Blues, and rhythm & Blues. And when I was 17, I discovered and fell in love with Bessie Smith. And a little bit after that I fell in love with Memphis Minnie, and a lot of these early Blues women. I have always loved Mavis Staples, and all of the black gospel singers. So, even though I was given a very nice little light, lilting soprano voice, in my soul of souls I’ve always wanted to be a Blues and gospel singer. And just as the years make everything on a person go south, so to speak, the good part of it was

that it also made my voice go south. If you hear what I’m doing now and then you put on ‘Midnight At The Oasis’, you wouldn’t even think it’s the same person. I find it a very gratifying and nice little unexpected gift, having matured over the years, that I finally got the voice I’d always wanted to have.

Your albums over the last decade have been quite distinct from each other. There’s the Blues-rock of “Southland Of The Heart”, piano Blues in “Meet Me Where They Play The Blues”, vintage Blues in “Richland Woman Blues”, pop in “Heart Of Mine: Love Songs Of Bob Dylan”, and now a social justice album. Did there come a point when you felt released from the constraints of the Top 40, and free to take on whatever projects you wanted?

I was never in the constraints of the Top 40. I grew up in Greenwich Village, which is where, what I always laughingly call, the folk scare of the early-60s started. I got exposed to Appalachian mountain music, Delta Blues. They were rediscovering and bringing up north people like Skip James, Mississippi John Hurt, and black gospel music and bluegrass. I was in a band with…you know who bluegrass artist David Grisman is? We were in a band together in 1962 called Maria And The Washington Square Ramblers. It was a bluegrass band and I was the lead singer. And then, of course, for many years, I was in a jug band, first the Even Dozen, which I was in with David Grisman and John Sebastian (later of The Lovin’ Spoonful), and with the Kweskin Jug Band for about eight or nine years. And then I did two albums with Geoff Muldaur as a duo, and those were pretty eclectic.

So, when we broke up, both musically and personally, I got the unexpected opportunity to go out to California and

"I don’t give a damn! I don’t worry about anything. I mean, in terms of what I’m presenting to the world, I pray about it."

photos: Alan Mercer

do my own solo album. I made what really, if you look back at it, was a very eclectic album. The first song is a Jimmie Rogers song. I did ‘Don’t You Feel My Leg’, which was an old New Orleans Blues. I did ‘Walkin’ One And Only’, which was a Dan Hicks song, which is a very hip, kind of early swing kind of thing.

So, really, the fact that there was this song that I did as a favour to my young guitar player, ‘Midnight At The Oasis’, just was another gift from above that everybody just fell in love with that song. And it was on the charts for almost a year, it was nominated for a GRAMMY in several categories, it went gold and eventually platinum, etc. And that was when I became known to a larger audience maybe as a pop artist. But really, if you go and look at my next album, it starts with a Skip James song, and has some swing tunes on it that I did with (saxophonist/trumpet player/clarinettist - MS) Benny Carter and a big band.

I’ve always been about exploring different kinds of American roots music. And that little foray into the Top 10 was a happy accident that I’m very grateful for, but that’s never been what I’m about. You mentioned Bessie Smith. I can’t imagine anyone else doing such a wonderful job of singing

‘Bessie’s Advice’. How did you happen to record that?

I’m glad you asked this, because this just indicative of what a serendipitous little meeting of the minds and hearts and souls we had up there in Unity, New Hampshire.

Eric, almost as an afterthought, said, “Maria, you know, when I heard I was going to work with you, I wrote this song. It’s called ‘Bessie’s Advice’.” And he played it for us in the living room.

And I said, “I really like the song, I love what it has to say, but it needs a bridge, and it also needs to have - you know, because the whole song’s about if your man does this or that or yells at you or punches you – the other side where it talks about what if he’s just what you want, you tell him ‘Come on in.’” And I sat down at the piano with keyboardist Chris Burns and - this is almost like a scene out of one of those Tin Pan Alley movies - you know, I’m trying to sing it to him, and he’s going, “This chord?” And I’m going, “No, no, no, more minor.”

I’m sitting at a stool at the edge of this grand piano, and Eric Bibb has a pencil and a piece of paper, and we get to the bridge, and he’s scribbled out the bridge and put it in front of me. And then as we were sort of shaping the music of the song, he was finishing the last two verses. I was throwing in my two cents with, “No, no, no, it should say something more like this.” And it just kind of flowed from

his pen onto the paper. And what you hear on the record, we recorded it about five minutes after that happened. It’s wonderfully atmospheric… I mean, talk about hot off the press, or fresh out of the oven. The song was finished and the producer said, “Now, go in the sound booth,” and I thought he was getting sound. I, of course, wanted to rehearse it and rehearse it. And he said, “No, no, just do it. It sounds great.” Ba-da-boom, ba-da-bing.

The new album, “Yes We Can!” is a departure, isn’t it? Were you worried that a protest album would come off as preachy? I don’t give a damn! I don’t worry about anything. I mean, in terms of what I’m presenting to the world, I pray about it. I don’t write, so I have to reach deep inside and figure out what’s resonating with me at any particular time. And what was on my heart and mind was the very dismaying and deplorable condition of the world right now. So I said, I’ll make a protest album. But then I quickly decided, no, I don’t want to look back with derision. I want to look forward with vision and present a positive outlook, something to give people hope.

Back in ’60s, when I was living in the village as part of the whole folk scene, there was one faction of people that were trying to discover authentic American roots music of various sorts. And then another faction of the folk scene was people who were into protest songs. And even though I totally espoused the causes they were singing about, the words were humourless and kind of jingoistic, and the music was a little too simplistic. It just didn’t captivate my ear.

So, the whole notion was – aww, but wait a minute, I don’t like protest music. But then I suddenly thought of all the wonderful songs of social relevance that a lot of the black soul artists in the late-60s, early-70s were singing. They were certainly very aware of all the social ills that needed to be addressed. And they wrote and recorded wonderful songs that addressed those issues very eloquently, but yet with a total groove. It was like protest music you could dance to. So that’s when I thought of Marvin Gaye, and I did ‘Inner City Blues’, and I thought of ‘War (What Is It Good For)’, and ‘Why Can’t We Live Together’.

One of the secrets seems to be in having the music funky, so it doesn’t seem in any way preachy…

Because that early stuff, they were just sort of strumming relentlessly on acoustic guitars. To me, it has to be artful. The first protest music I ever liked was Bob Dylan, because he raised the bar a thousandfold. ‘Masters Of War’ and ‘John Brown’, both of which are on this album, he wrote when he was 21. Can you imagine that? I mean, it’s just amazing.

One of the most moving songs on the album is ‘John Brown’ - a mother sends her son off to war hoping for glory and he comes back maimed…

He wrote it probably because he was facing being drafted himself. I knew him way back in those days. And that was the Vietnam era. But how much more poignant the song is now, because back in those days, if someone was wounded badly enough, mercifully they usually died. Now, they can bionically sew them back up, patch them up, you know, give them bionic limbs, and then in some cases they’re even sending them back off to battle. And yet there are a lot of people in this country that think that’s heroic.

Was making the record fun?

Oh, my god, it was the most overwhelming project ever, because just to ask all these women of great stature, and who were heroes of mine, I had to screw up all my courage to call up and ask all these people, including Jane Fonda. They just so naturally took to the music. I mean, the version of ‘Masters Of War’ I sing gives me chills. I said, “How are we going to do this?” because Dylan’s way just drones on and on, only a couple of chords. And the drummer just started playing these ominous, war-like sounding, thunderous rolls on the drums, and then the keyboard player and the guitar player, they just came in with these really dark, moody, ominous chords. It wasn’t like it was all written down and we had a big grand plan. It just organically emerged out of the players, because we were all of one heart, mind and spirit on this project.

I have to ask, can Jane Fonda sing?

I’m here to tell you, she can sing! What gave me the idea was that I had done a benefit with her the year before, for a wonderful film called “Sir, No Sir” - a documentary about soldiers opposing the Vietnam War. So, they had a big benefit to raise money to distribute it. At the end, Holly Near and Jane Fonda did ‘Down By The Riverside’, which has kind of been the anthem for peace-seekers over the years, an old black gospel song. And I’m standing right next to Jane, and I noticed how clearly she sang.

So, as I’m sort of trying to plan this whole thing, she came into my mind. First she was a little intimidated

During the ‘60s, Motown racked up an extraordinary string of hits, crossing over to the white audience with Diana Ross & The Supremes, Smokey Robinson & The Miracles, The Four Tops, The Temptations, and Gaye himself. This was dance music; its crossover appeal was rooted not only in its rhythms but also in its avoidance of social comment. Gaye had huge hits in the ’60s, all personal, none political - songs like ‘I Heard It Through The Grapevine’. But society was changing. As the ’60s wore on, blacks, often lacking student deferments, were sent in disproportionate numbers to fight and die in Vietnam.

In the summer of ’65, racial tension exploded into six days of riots in the Los Angeles area of Watts. When the smoke cleared, 34 people were dead, more than 1,000 were injured, and nearly 4,000 had been arrested.

In 1968, the civil rights leader Martin Luther King Jr. was assassinated. More riots followed. Motown’s hit-factory formula was becoming increasingly out of touch with the black experience. Nor did Gaye fit the Motown mould. No pretty boy whose talents were limited to smiling, dancing and singing songs written by others, he was a complex, moody, thoughtful and talented man.

In 1970, he recorded single ‘What’s Going On’. It opened with the words: “Mother, mother/There’s too many of you crying/Brother, brother, brother/There’s far too many of you dying.” The song addressed the war in Vietnam and police brutality. Gordy called it “the worst record I ever heard,” and refused to release it.

However, Gaye said he would record nothing else unless the song was released. Eventually, in early 1971, Gordy relented. The song topped the Billboard R&B chart for five weeks. After which Gordy asked whether Gaye could record a whole album of songs like that.

Two months later, in the grip of inspiration, Gaye recorded the album in ten days.

The album tackles all the issues Motown had avoided: war, brutality, addiction, pollution, the pouring of money into moon shots while inner cities decayed. There’s anger, yes. But there’s sadness and caring, too, and wistfulness.

The album still sounds utterly current; and when Muldaur became distraught at the state of the world in the 21st century, her thoughts turned to the black social consciousness music of the ‘70s - started by Marvin Gaye with this album. This was the music she’d been looking for.

“It was like protest music you could dance to,” she said. MDS

because Joan Baez was there. And she’s like, “Oh, God, what am I doing here? I’m not a real singer.” And I said, “Now, Jane, just sing it like we were singing it at that benefit.” And she went out there, put on her little headphones and sang her heart out.

It’s really funny. When she started singing, the lead part was already on, so (sings), “I’m gonna lay down my sword and shield” - and we hear “Ba bum ba bum/Down by the riverside/Ba bum ba bum.” And she’s doing the “ba bum ba bums,” and my main engineer turned around and said, “Well, do you want her to do that? Should I stop the take?” I said, “Are you kidding?” She just reminded me of a girl in the eleventh grade choral group, just singing her little heart out.

Where did you get the idea to slow the song ‘War’ down, and give it such a delicate, mournful reading?

Mournful - that’s it! I have to say credit goes to Joan Osborne and her band. I had never heard Edwin Starr’s version. But I had heard her version, and I kind of thought that’s how the song went.

Actually, it’s funny, because the people at the record company didn’t like my version of ‘War’. And even my guitar player said, “Well, I miss that whole angry thing.” I said, “But this isn’t about that.” I said, “These are women mourning. Their husbands, lovers and children are being killed for no good reason. This is the feminine take, the people who bring life into the world and nurture and nourish it for eighteen years till your child is grown. And then your child is snatched up and sent off for no good reason to be killed and maimed.” I had to fight to keep it on the album.

How would you like people to respond to the album? Well, my music has been the soundtrack - I mean, I could really write a little book, which would have to be X-rated, if I had written down all the little stories that people have told me. People come up to me and tell me these stories about what they were doing or what they were inspired to do when they heard various songs of mine. So, it’s clear to me that my songs have been the soundtrack to various love and lust affairs.

And the thought occurred to me that, if things continue as they are, pretty soon there won’t be any people to make love and make romance and babies, and no place to do so, either, and so it’s our hope that these songs will just give people the idea that instead of feeling utterly hopeless about what’s going on in this world, that they say, “Yes! We can change things!”

It’s just like, you know when you have to clean the whole house and you put on some really bumpin’ music to kind of motivate you? Well, I want this music to motivate people to do whatever they can on a local level to effect a change in this world. MDS

early forty years ago, a self-titled album by Harmonica Williams and Little Freddie King’ was released by the tiny Ahura Mazda label and created something of a stir, a tough down-home Blues album by two unknowns out of New Orleans, a city where the music is usually more sophisticated.

Having already played with the likes of Snooks Eaglin, and befriended Buddy Guy and Slim Harpo in his teenage years, Freddie would go on to release further albums and tour with Bo Diddley and John Lee Hooker, yet he remained an unjustly overlooked figure until the start of the new millennium, and has reemer-

gence on the Fat Possum label.

Since then, Little Freddie King has toured all over the world and appeared on major Blues festival bills. The excellent “Messin’ Around The House”, made with drummer and friend ‘Wacko’ Wade, and released in 2008, has sustained this late appreciation…

BM: Where and when were you born?

Freddie: I was born in McComb, Mississippi on 19th July 1940. My father, Jessie James Martin, played guitar in the Delta on weekends, when he wasn’t picking cotton. He played with all the Delta musicians of the day. He used to leave his guitar in the corner of the room and I started playing around with it.

Did you ever run into Bo Diddley in McComb?

Bo Diddley was born in McComb, and his family lived a cou-

photos: Andy Ford

One of the main reasons Little Freddie is still performing today, and releasing new material, is his drummer and close friend “Wacko” Wade – he also has some pedigree. “I have been playing since 17 years old,” he told Blues Matters! “I joined one of the most progressive R&B bands of the late-50s – The Nite Owls.

“While under age, I routinely played the night club scene with New Orleans’ unknown black performers of the day, such as Ernie K-Doe, Oliver Morgan, Jessie Hill, Sugar Boy Crawford and Huey ‘Piano’ Smith.”

Wade would go on to record with Allen Toussaint and play with the likes of Guitar Slim, but after being drafted into the Vietnam War, he returned to a very different musical scene in New Orleans, and playing Blues only became a serious vocation again in the early-90s, when he met Freddie.

“He was the real ‘s**t’ when I heard him play that guitar,” he affirmed, “and then add his hard life voice to the lyrics - I was hooked. He not only played the Blues, he lived it.

“Freddie needed a drummer for his regular New Orleans Jazzfest appearance, which he asked me to play – I jumped at the chance. It was then that I realised the power of this man’s music and presentation of the Blues. I had goose bumps listening to him play. It cut deep and was very simple and direct.”

The duo now play two regular gigs a month in New Orleans – “one at D.B.A. Club on Frenchmen, first Saturday of month for fans from out of town and the other is our Ninth Ward (By-Water) juice joint gig at BJ’s Lounge on Burgundy” – whilst the rest of the year he takes bookings under his company “Wacko” Wade Production, LLC –“For overseas gigs in France, Brazil or whoever wants to see the last of a dying breed of Juke Joint performers.”

Wade also set up the label, Madewright Records, on which “Messin’ Around Tha House” was released, after Fat Possum didn’t take the option for Freddie to record a second album.

“I was surprised, because ‘You Don’t Know What I Know’ received very good reviews and was at the top in Europe,” he said. “Anyway, Freddie said it was time to own the ‘whole banana’. I created Made Wright Records and agreed to a deal with Burnside Distribution Corp for outlet. I will say it kept our creative juices flowing.”

Even so, Wade can’t be sure if or when fans can expect a new album. “With Freddie, it is month by month; he says one thing and then changes his mind,” he revealed. “I know traveling is wearing on him and he wants to stop. I tell him we have a gig in Spain, and he says, ‘Okay,’ so you never know.” DH

ple of blocks from where we lived. He was older than me –in his twenties, but I remember seeing him around when I was 14 and getting ready to take off for New Orleans.

I saw Bo many years later in California at John Lee Hooker’s club, where my band were performing. We talked about our families, and neighbours we both knew. Mostly we drank beer. Man, he could drink beer by the pitcher.

What were your early bands?

My early gigs in New Orleans were playing guitar for different performers, such as Slim Harpo or Polka Dot Slim –mostly playing all around the city and outskirts. I played a lot at the Dew Drop Inn with different performers.

I met Harmonica Williams out of Jackson, Mississippi and we formed the Mississippi Delta All-Stars Blues Band. Our kind of Blues was different from the New Orleans R&B scene of the day. We gave it the real “gutbucket” sound, with Williams on his harp. He could blow.

Why did you move to New Orleans?

I came to New Orleans around 1954, because I had visited on a school bus trip from McComb and I liked the fast pace and vibes it presented. Also, I was tired of working

the farm from sun up to sun down – working the fields, feeding the stock, cutting trees for firewood, and all that.

Did you ever see Guitar Slim?

Slim died in ’59, but our paths crossed a couple of times when I started playing in the black clubs around New Orleans in 1957. I was a big supporter of his style and sound. That’s why I did ‘Things I Used To Do’ on my latest CD “Messin’ Around Tha House” – a tribute. His son, Jr. is a big fan of mine, and I see him around the city, because we were on Orleans label together at one time.

Which other Blues artists were popular in New Orleans at that time?

Reverend Charles Jones, Snooks Eaglin, Babe Stovall, Percy Randolph... Jimmy Reed used to come in town along with Ray Charles, Champion Jack Dupree, Guitar Junior (a.k.a Lonnie Brooks), Vincent “Polka Dot Slim” Monroe, Eddie Taylor, and it goes on and on.

“Wacko” Wade (left) with Little Freddie King.

photo: Jerry Moran

Did you ever meet “Boogie Bill” Webb?

I met and played with “Boogie Bill” when he came back from Chicago in ’59 or ’60. Harmonica Williams and Bill were buddies from Jackson, Mississippi. I was also working on the river doing longshoreman work with “Boogie Bill” –we worked the banana boats from South America. When we got off, we would go bar hopping and playing music in the black neighbourhoods. We all were friends with Polka Dot Slim and Arzo Youngblood.

You began recording with Polka Dot Slim in 1966...

I was good buddies with Vincent, he took me over to Excello when he was recording, and that’s how I got to meet and play with dudes like Guitar Gable. I played guitar on several songs by different guys that asked me. I remember working on ‘Trick Bag’ – his version.

How did you meet Harmonica Williams? Who was Newton on the Ahura Mazda LP, and why did you pick the name Little Freddie King?

I met Williams from Newton, who was living in the city. Just hanging out in gin-joints and talking. Williams just came to town looking for a guitar player. Newton was the singer.

Ahura Mazda came about because we were the only Blues band in the city. Steve Johnson heard us and loved the gut-bucket stuff. We were all drinking for three days and Steve and Parker kidnapped us and said, “Let’s go record

some of your songs.” We were loaded and tired from all the playing and clubbing. That’s why we did ‘Born Dead In Mississippi’ - we were loaded and said, “What the hell!”

My fans named me “Little Freddie”, because I had played bass a few times with Freddie King when he was in New Orleans visiting. I knew all his songs and played them after he left, so they called me Little Freddie King.

Can you tell me about some of those other people you have played with - Bobby Mitchell, Eddie Bo and others?

Never got into knowing them much, just played my axe and headed for a barroom to get some cream-sherry.

Do you feel New Orleans is a Blues town?

New Orleans has the Blues - and is the Blues. There are many versions of Blues around the city, but my “gut-bucket” country style Delta is the only one in town. Most of my stuff is off of Lightin’ Hopkins and Jimmy Reed, simple and straight forward, with punch. If you want the real stuff, come see me at BJ’s Lounge once a month.

How did you get on Orleans Records?

I had shut down my playing music and hanging out in the late-80s and early-90s, since I had my stomach cut out from drinking, and my wife shot me three times. I gave up playing, all but the New Orleans Jazz & Heritage Festival, which I owed to Quint Davis for bringing me there for the first festival in the early-70s. I gave up music and worked doing electric work. Orleans Records had heard about my history in the Blues and came and asked me to record. I guess I was talked into it by Carlos Ditta.

And Fat Possum Records?

That came about after hearing my Orleans recordings ‘Sing Sang Sung’ and ‘Swamp Boogie’, plus they knew I was on some Excello recordings, and they had wanted to purchase the Ahura recording. Mathew said he could not find the owner, so he gave up. My drummer, “Wacko” Wade, had sent Fat Possum a demo of “Walking With Freddie” and it stuck in Mathew’s head. He called us to come on up to Oxford and talk – “You Don’t Know What I Know” was the result.

Tell us about 'Messin' Around Tha House'…

The songs were the slow stuff Fat Possum did not want to release. “Wacko” took them and added two new songs, and we decided to issue it ourselves, and cut all the bulls**t out of wheeling and dealing with third parties. Fat Possum were nice to give us the remixes, which “Wacko” digs.

Who are your favourite Blues singers?

Nobody, I just like Albert Collins and Albert King. I always listen to Hooker, and my cousin Lightnin’ Hopkins.

What makes a good Blues singer?

Having experienced and lived the life, Drinking, women and gambling will give you a good case of the Blues. If you play an instrument, it does not take long to put the feelings into music. ND

fter years of constant gigging and a clutch of brilliantly original albums packed with great songs and mind-blowing, other-worldly slide guitar, Sonny Landreth is finally registering on the radar of mainstream rock and Blues fans - and not before time.

The past decade has witnessed the Louisiana guitarist, singer and songwriter's rise from a highly individual virtuoso sideman and "guitarist's guitarist" to wider recognition as an artist in his own right.

If any endorsement was needed, you need look no further than the sheer number of famous musicians with whom he has worked and who queued up to appear on his most recent album, "From The Reach" - John Hiatt, Mark Knopfler, Little Feat, The Allman Brothers Band, Gov’t Mule, John Mayall, Jerry Douglas, Dolly Parton, Junior Wells, Eric Clapton…

It’s little surprise that Landreth has decided to gain renewed appreciation for 2000’s “Levee Town”, now released as a remastered “Expanded Edition” via his own Landfall Records label, replete with unreleased tracks, additional artwork, and once again a whole host of revered names, including John Hiatt and Bonnie Raitt.

Before he joins the elusive company of those names championing his cause, Blues Matters! caught up with Sonny backstage at the Borderline venue, chilling out after the second of a pair of scorching London gigs - his first UK dates in almost three years…

BM: So what have you been doing over here this trip? Sonny: Well, basically, we wanted to open the door and come back, because it's been so long. We used to make more frequent trips. Long story short, we had to get all the right people in place. Now I've got an independent release on my own label for my own material, this is the beginning of what I would like to see as a long-running, continuous thing.

So, you're not with your old record label, Sugarhill, any more? No, I'm not. In fact, the cool thing now is I've finally outlived the contract, so the masters revert back to me every two years. “Levee Town” just came back. We just remastered the original and added five bonus tracks that were on a reel-to-reel two-inch tapes I’ve had in my hallway for nine years. It’s nine years old, so I guess it’s stood the test of time. So, we kept the original sessions and I had couple of my friends come in and add some instrumentation to some of the songs. It's the beginning of a new era for me.

The other thing is “Levee Town” was released in 2000. It was my former management and my former booking agent. At the time, I had one gig booked and there was no promotion on it at all, so I always felt that album never got its due. I mean, I spent three years making it, so in a way; this is like a second chance for it.

I was listening to it the other day and, y’know, all the songs are good. They're holding up, y'know?

So, what plans to you have now? Are you going to be producing a new album?

Well, you've got to always look ahead, so you can hit the ground running. I fancy doing an instrumental album. I've wanted to do it for a long time. I've got a lot of instrumen-

"You know, the business is one thing, the music is something else. You learn that early on, and you hope you can keep the two together and survive that enough."

tals and ideas for that, but I haven't quite got the vision yet. There has to be a vision for every project I do. I always know it when it happens - it sort of locks the course, but an instrumental album is something I would really like to do.

Any plans to work again with the LA Blues Alliance? Good question. My friend Mike Post - I was talking to him the other day. He came down to the New Orleans Jazz Fest. He goes every year with his wife and some friends. That's a good question. I would love to. We did a show at the House Of Blues in LA last year. We did four nights and they filmed it. I love all those people on that album. I’m really proud of that album.

It's interesting that you did very different versions of ‘Storm Of Worry’ on the LA Blues Alliance album and again on “From The Reach”. Well, that's a good thing to bring up, because if we were in a songwriting workshop, that would be a good example of how songs evolve. I had the idea for that song a long time ago, just in the back of my head, kind of on the back-burner.

The agreement with the LA Blues Alliance was everyone came into that project - Keb’ Mo’ and myself and all the others - with two songs each. So I came in with my two songs, and that was one of them. After cutting it, when I got ready to do “From The Reach”, I kept hearing all these changes - in fact, the major becomes a minor, and then I added the bridge and all these changes, and we got Eric Clapton playing on it - why not? - and that just made it for me. That's when I knew the song was right. When all that comes together like that, it's a good example of that concept.

So, do you anticipate the next project will have a lot more collaborators, like “From The Reach”? I'm thinking that way. Yes, I'm thinking that way.

“From the Reach” seems much more of a guitaralbum, rather than a song-based album... Yes, well, I hope that that's maybe the hook, but I would hope the songs would make it last, because, really, if you don't have the songs, you don't have anything. And for me, I was really happy with that collection of songs.

Yes, they're great songs, but personally, I'm still very attached to “Levee Town” and “South Of I10”...

Yes, that's a good point. It's what speaks to the individual that matters. Adrian Legg had this quote that I read somewhere, which said, “Pretty much everything we as artists do happens in other people's heads.” I love that. It really rings true. It's what touches you... I mean, I love music, and when I was a little kid I had my favourites and they always transport me back.

Over the years, Sonny Landreth has honed and developed a palette of guitar techniques which make his playing distinctive and instantly recognisable. His playing also leaves many in awe of a man they perceive to have mastered it all.

“I was talking to my dear friend Mark Knopfler earlier, and we were talking about guitar and how, even now, we still find these new discoveries,” revealed Landreth. “Mark put it beautifully. He said, ‘When you look at the big picture and it all adds up, that's the deal.’ It's the thing which gets me out of bed!”

Like many slidemen, Sonny favours open tunings - his Strats are generally tuned to a chord. However, few players deploy the range or variety of tunings Landreth does.

His use of minor tunings is particularly unusual and gives songs such as ‘A World Away’ (A minor) and ‘Congo Square’ (D minor) a strange, haunting, almost otherworldly quality, to which Landreth adds a huge repertoire of picking techniques, based on a total mastery of the instrument. He knows exactly where to bash, stroke, pinch or tickle each string to coax out notes and harmonics most players wouldn’t even realize existed.

Landreth’s most revolutionary technique – the one which shapes many of his trademark licks and sounds – involves fretting notes behind his glass slide, allowing him to form chords and suspensions not otherwise available to a slide player.

“The string gauge is 13-56, so really pretty much what you'd expect for an acoustic guitar with a medium action,” continued Landreth. “Not real high and not too low, and the reason is you want to have enough height so when you're sliding, in particular across all six strings, everything rings out and you get that sustain and you can feel it.

“At the same time, I have to be able to reach back behind the slide and fret those notes and they have to intonate, so it can't be too high for that. When you fret behind it, that note's not going anywhere.”

The combination of fretted notes and shimmering, vibrato-laden slide notes produces an array of effects which, once heard, make Landreth’s music unforgettable.

And it’s pretty fortunate Landreth enjoys what he’s doing: “I have tendonitis, so I have to keep practicing,” he disclosed. “You don’t want to stop for a while and then hit it hard again. But it's in my nature. TA

Sonny displaying his guitar prowess.

photo: Blues Boss

What artists are you listening to at the moment?

Well, honestly, I confess I don't get to listen nearly as much as I would like to because I'm so involved in so many projects, but each year we take our break in December and January. Theoretically, I usually end up doing a little something or other. But anyway, that's when I have my piles of CDs, and I go back and check things out. But through the year, I like to keep up with the music of my friends like Sam Broussard, Mark Knopfler and Derek Trucks. I love Derek, he's so different - awesome.

Also, there's an international festival in Lafayette every year which coincides with the jazz festival in New Orleans. That's the last weekend of April, and you get a lot of those groups coming over from places like Madegascar. There are a lot of French-speaking countries in Africa that have musicians who are brought over for this festival. It's free, it's downtown and it's really cool, man. They fly to New Orleans for the jazz festival and then they drive up the interstate two hours to Lafeyette, and get in the middle of that, and then they go back to New Orleans, so that’s a good way to go.

What's the next move now?

We go home, then we're in and out all summer. We're

going to Canada, and I think what we're looking to do is perhaps come back to the UK in November. Like I say, this is the beginning of something here we want to continue.

That's good, because it's two or three years since you were last here, at Dingwalls in Camden - I remember you had a very loud Marshall amp on stage with you! Yes, they are loud in a small club like that! My favourite part of that whole gig was the guest list (laughs). I had one guestEric Clapton. It's pretty cool when you only have one guest and it's Eric Clapton! He's a sweetheart, man. I love him. I've done Eric’s festivals. I love doing that because it's such a great cause and, for me, that's when music and all the musicians come together for something which has nothing to do with business. I mean, the reason we all got into it in the first placemusic as healing. It should be like that. One thing leads to another, and all these people come together, and it's very cool. It was an honour to be playing. The last Crossroads Festival, you were on the DVD. It must have raised your profile a fair bit... Yeah, it did. I owe a lot to Eric for that. I'm most appreciative, and he obviously went out of his way to make that happen. It really has helped us. You know, the business is one thing, the music is something else. You learn that early on, and you hope you can keep the two together and survive that enough. If you can make your way through it and still keep some of the magic, I think you've done pretty well.

You're very much moving centre stage as an artist in your own right, having previously had a reputation as a sideman. Do you see yourself still doing side projects?

Well, I do a little bit, but honestly, I don't have time for it. I mean, I've always kept my own band, and always done it, but that particular part did not have the profile, like you're saying. Now we have that profile and it's a beautiful thing. I still do eight to ten shows with Jimmy Buffett a year, and I do other projects - mostly recording.

You've been playing with Little Feat quite a lot... Yeah, they're like family. I love to work with them...

I did wonder about the timing of this trip, because Little Feat have been over here…

Yes, we just missed them. They were here earlier in the week... I didn't know they were over here until I heard while we were in Germany. Looks like we crossed over the Atlantic! TA

"I've got a lot of instrumentals and ideas for that, but I haven't quite got the vision yet. There has to be a vision for every project I do.""

arry Goldberg may not be an instantly recognisable name to many of our readers, but the chances are he’s been in the background on at least one recording in your collection, or performed with one of your favourite artists…

Born in Chicago, Illinois in 1941, by his mid twenties, Goldberg had already played with the likes of Howlin’ Wolf and Muddy Waters, and backed Dylan at his infamous electrified performance at the Newport Folk Festival in 1965. After these experiences, his reputation as a keyboardist had been cemented, and he would go onto contribute to recordings from the Ramones, Gram Parsons and Leonard Cohen, as well as countless others.

However, Barry had more strings to his bow, recognised for his work as a producer - particularly his collaboration with Percy Sledge - and songwriter, with everyone from Joe Cocker to Gladys Knight benefiting from another of Goldberg’s gifts.

By all accounts, Barry’s talents have ensured he’s kept some pretty esteemed company during his career; Blues Matters! had a lot to live up to…

BM: Let’s go right back to the beginning and talk about how you got into playing music…

Barry: I got into playing piano at about the age of 5. My mom played and sang, and we would play duets together for company. One of our songs was ‘Chattanooga

Shoe Shine Boy’ by Red Foley. Mom was a mean stride player, with a great left hand.

Later on, I had a rock’n’roll band in high school called Denny Lee And The Ramblers. Our rival band on the north side of Chicago was a band led by my buddy Mike Bloomfield.

You were sitting in with the likes of Muddy Waters, Otis

Rush and Howlin' Wolf, amongst others, when still in your teens. What was that scene like?

We would listen to this radio station at the end of the dial, a show called “Jam With Sam”. His theme song was Little Walter's ‘Blue Lights’. His show started at midnight and he would take us on a mystical Blues cruise every night. My parents were not too crazy about rock’n’roll in the first place, so when they heard Little Walter's harrowing harp sounds with that reverb, and the Wolf howling coming from my little bedroom, they were a bit concerned. Being from Chicago, during this very special time and place, when the Blues was happening was so cool.

When I was around 17, Mike Bloomfield would take us down to the west side and south side of Chicago to discover first hand what the great masters like Muddy and Wolf were like in person. We would go down to clubs like Sylvios and Peppers, and not only sit in with the great ones, but become friends with them, as well. They were very gracious and generous to us. I would sit in for Otis Spann a lot when he played with Muddy. I also remember playing ‘Killing Floor’ with Howlin’ Wolf. At that time, I also played with my good friend Otis Rush, who is a beautiful man.

You also spent a couple of years working with Steve Miller, even getting as far as signing a record deal...

Steve Miller was on the scene, and he had learned the Texas shuffle from T-Bone Walker himself. We had a very cool trip. We grooved together for a little over a year, replacing the Butterfield Blues Band at a legendary Blues club called Big Johns. After a while, we just wanted to go in different directions.

How did you manage to get involved with Bob Dylan at his infamous, electric debut at the Newport Folk Festival?

During 1964-5, I would sit in with the Butterfield Blues Band band a lot, and they were going to play the Newport Folk Festival in 1965. Paul and Michael asked me to join

"You just got to keep on keepin’ on. Blues forever!""

photo: Ellen Stone

them. When we got to Newport, Butterfield's producer said he didn’t want keyboards with the band at this time. I was really bummed. That night we were all hanging out in this house and Bob Dylan was there. Michael had just recorded with him in New York, and introduced me to him. Bob said he needed a keyboard player for his gig the next night and Michael told Bob I would be great. He asked me, and I couldn't believe it. I didn't get to play with Butterfield but wound up playing with Bob on that historical gig. The beginning of folk rock!

Then it was onto the Electric Flag with your old schoolmate Mike Bloomfield. How did that come about, and why was your involvement so brief?

Two years later, in 1967, I was doing session work in New York City. One of the sessions was playing piano on the Mitch Ryder And The Detroit Wheels hit record ‘Devil With A Blue Dress’. Michael came to New York to talk to me about a concept he had for an all American music band, combining different styles of music, like Blues, R&B, pop, rock’n’roll, Motown, Stax... I was very interested, and said I would help him. His specialty was Blues and folk, and he knew I was into Percy Sledge, Otis Redding, Phil Spector and Motown. Our Chicago buddy, Nick Gravenites, who wrote ‘Born In Chicago’, was already in San Francisco setting up a home base for us. We contacted New York ses-

sion bass great Harvey Brooks, who accepted, and my old buddy from the twist days in Chicago, the great tenor man Peter Strazza, who accepted as well. We still needed a drummer. We went to see Mitch Ryder at a rock’n’roll show - he was sharing the bill with Wilson Pickett. When we walked in, Pickett was doing ‘Midnight Hour’ and the whole theatre was moving from the groove. We looked at each other and knew we had found our drummer. His name was Buddy Miles. We met with him, and he decided to make the move and join us. The “Wicked” Pickett was not too happy about losing his drummer, and we left town as quickly as we could!

We arrived in San Francisco, which, at that time, was like being in the eye of a hurricanesex, a lot of drugs and rock’n’roll. We immediately went into intense rehearsals. Michael, who really never liked the spotlight, was very nervous, and became a strict disciplinarian. It was very stressful. We had a couple of warm up gigs at the Filmore West, one opening for the Cream, but our big debut was at the Monterey Pop Festival. To relieve some of the pressure, some of the band members started using hard drugs. This was our downfall. The Flag was something so unique, with the horn

section, Michael's exciting playing, Buddy's beat, our soulful vocals, Nick’s unique vocal sounds and writing - all the components were there to make some very special moments in music that I will never forget. If only we could have kept ourselves together, the band would not have broken up so soon, and we would have left an even more important mark on musical history.

I was becoming more and more f**ked up and was the first to quit. Michael soon followed, then Nick.

You got back together with Mike Bloomfield in the early70s, but the all-star line-up didn’t work out, only releasing “The Band Kept Playing”. What happened there?

They say you can never go home again, and sometimes that's true. We did try to do the Electric Flag again in the ‘70s, but the magic was gone. The first blasts always last!

You also put out a lot of solo albums between 1966 and 1976. Any favourite memories from those times?

During my troubled period in the lat-60s, I did put out a couple of solo albums. I still managed to have a lot of fun working on them. Working with my old pals Harvey Mandel, ‘Fast’ Eddie Hoh, Charlie Musslewhite, Danny Whitten of

Crazy Horse, Eddie Hinton, and the Muscle Shoals guys, including Duane Allman, was a blast. I would like to think some good music came out of those records.

You’ve also done a lot of sessions and production work with the likes of Percy Sledge, Charlie Musselwhite, James Cotton, Leonard Cohen, and even The Ramones! What are your favourite memories of some of the people you’ve worked with?

I did do a little session work during that time including Super Session, and forming a beautiful friendship with Gram Parsons, playing and writing with him on The Flying Burrito Bros’ “Gilded Palace Of Sin” album.

Regarding some of my other session work, there were some memorable moments working with my idol Phil Spector on two albums. Just watching him work and create his sound in the studio was a religious experience for me, but, man, was I nervous during the Ramones’ ”End Of The Century”! I was the only non Ramone in the studio playing

live, and it took them a while to accept me. As soon as Phil told them I was a rock’n’roller who played on ‘Devil With A Blue Dress’, Joey Ramone said, “Hey, that's cool, man, we dig that record.” Dee Dee, Johnny and Markie also approved. Just to listen to the playbacks was incredible. ‘Danny Says’ was one of my favourite cuts. Joey was a great kid! The other Spector album was Leonard Cohen's “Death Of A Ladies Man”.

Another album I am very proud of was “Stand Back” by Charlie Musselwhite, featuring Charlie on harp, Harvey Mandel on guitar, little Bob Anderson on bass and the legendary Fred Below on drums. Downbeat magazine said it was one of their top fifty Blues albums of the century. Another great Blues album was the James Cotton “Verve Years” album produced with Michael in Chicago.

Among the most special and rewarding moments in my career was meeting and working with Percy Sledge on an album called “Blue Night”, which I had the hon-

The late Paul Butterfield was born in Chicago, and, as a teenager, developed a love for the Blues harmonica. He got together with a physics student, by the name of Elvin Bishop, and, in 1963, they formed a band with Jerome Arnold and Sam Lay, who had both played with Howlin' Wolf. This was a key event in introducing the Blues to a white audience.

It was during this time that he first met the late Mike Bloomfield, who was playing the same Chicago clubs with his own band. They soon got together, and it was with Bloomfield as lead guitarist that The Paul Butterfield Blues Band signed to Elektra Records, releasing their debut album in 1965. Famously, it was this band (without Butterfield) who played the Newport Folk Festival with Bob Dylan.

After a second album (“East-West”), Bloomfield quit the band, and formed The Electric Flag, while Elvin Bishop took over on lead guitar with Paul Butterfield. But it was the beginning of the end.

Bloomfield was pursuing his dream of "American music" with The Electric Flag. They wanted to combine Blues, soul, country, rock, and folk, and their line-up included a horn section. They made their debut at the Monterey Pop Festival and issued their debut “A Long Time Comin’” in 1968. Unfortunately, some of the band were too busy dealing with substance abuse, and Bloomfield left the band shortly after the album was released.

1970 saw the Paul Butterfield Blues Band breaking up, with Butterfield putting together a new outfit called Better Days. They made two albums but neither were commercially successful.

Mike Bloomfield went on to work as a solo artist and as a collaborator, even reuniting with Paul Butterfield and Sam Lay for the Chess Records album “Fathers And Sons”, alongside Muddy Waters and Otis Spann. 1974 saw the abortive KGB supergroup alongside Ray Kennedy, Barry Goldberg, Rick Grech and Carmine Appice, but eventually, his continuing heroin addiction saw him abandon the guitar for a time.

On 15th February 1981 (the day his final album “Crusin' For A Brusin’” was released), Mike Bloomfield was found dead in San Francisco in his parked car. Heroin and cocaine were found in his system, with the official cause of death ruled as an accidental drug overdose.

Paul Butterfield was also working solo, although he did perform/tour with various outfits. His final album, “The Legendary Paul Butterfield Rides Again”, came out in 1986, but Paul Butterfield died in his home in North Hollywood, in 1987 from a heart attack, brought on by years of drug addiction and alcoholism. SAH

Paul Butterfield (left) and Michael Bloomfield (right).

photo: Deborah Chesher

our of producing along with my pal Saul Davis. Undertaking this project was serious. Jerry Wexler, my mentor, gave me encouraging instructions on how not to f**k this record up. Keeping the edge on Percy's voice without losing the warmth was essential. We brought in Steve Melton from Muscle Shoals to engineer and get the sounds right.

After we finished, we sent the mixes to Jerry Wexler. Man, was I nervous. Two days later, Jerry called me and said “I have three words”. I sat down shaking! “A f**king masterpiece”! I almost fainted, this is from the godfather of rhythm & Blues - he doesn't bulls**t! That was it for me. I didn't care about the critics or any other comments; this was only equalled by my buddies from Muscle Shoals each calling me to compliment us on the record. David Hood, Roger Hawkins, Jimmy Johnson… all the great ones. It did get a GRAMMY nomination and won the WC Handy Award for Soul Album Of The Year.

Your name also appears on the credits of a lot of TV and films. Do the likes of “The Secret Of Lizard Woman” and “Return Of The Living Dead III” have something special hiding away?

I do a lot of scoring for movies and TV. One of the scores I am most proud of is “Pow Wow Highway”, a contemporary Native American film that George Harrison produced.

I love scoring, and it’s very lucrative, but the thing that really gets me off now is playing gigs live.

You’re still working away in the Blues, with the likes of Shari Puorto. What are you currently working on?

My current band is the Chicago Blues Reunion, an aggre-

gate of old comrades from the early days in Chicago. We were the kids then, now I guess we’re the semi-old Blues guys! Corky Siegel on harp, Harvey Mandel on guitar, Nick “The Greek” Gravinites on vocals and guitar, Gary Mallabar on drums - from the Steve Miller Band, Rick Reed on bass, and sometimes Sam Lay. Over the years, the members of this band have taken their Blues roots and influenced many artists that they have worked with, such as Janis Joplin, Bob Dylan, The Rolling Stones, Canned Heat and the Ramones, but the Blues is still at their core. We just finished a live recording and film “Live In Chicago” at the Park West, with Dave Mason and Marcy Levy guest performing.

I am currently wrapping up the mixes for Timm Martin of Out The Box Records, a Chicago label. Every time we play together it is a celebration. We carry the legacy and memories of the great Blues masters that we learned from, who are forever in our hearts every time we play, along with our fallen comrades, Michael Bloomfield, Paul Butterfield et al.

Any last words for our readers?

I am still writing and working with younger artists, who I believe in. You mentioned Shari Puorto, and she is one of them. Shari is the real deal, a true fine young soul mama! You know it's still the Blues, with its ups and downs; there is still a lot of great new talent out there to turn me on. Amy Winehouse, Joss Stone, Soledad Brothers, Shemekia Copeland and Eli “Paper Boy” Reed are a few among the young rock and soulsters who inspire me. You just got to keep on keepin’ on. Blues forever! SAH

(clockwise, from left) Barry on stage with Bob Dylan at the Newport Folk Festival (1965); Barry with Percy Sledge; with Phil Spector; and with Otis Rush.

eaching fifty issues of our magazine is the perfect milestone to pay our respects to a Bluesman who has been celebrating sixtyfive years in the industry in 2009, James Cotton.

Perhaps for younger readers/newcomers to the genre, his name won’t be as familiar as many of the artists who recorded for Chess Records – his own ability and influence has been over shadowed by the impact of fellow Chess harpist Little Walter – but there has been renewed recognition in recent years, with many contemporary players acknowledging his influence, reissues of classic recordings with the likes of Johnny Winter (“Breakin’ It Up, Breakin’ It Down” – “listening makes me feel like I'm back at home with Muddy,” said a nostalgic Cotton) and Charlie Musselwhite (“Superharps”) - as well as the upcoming reissue of

1991’s “Mighty Long Time” - and the unveiling of a roadside marker at his birthplace in Tunica, Mississippi.

“I'm very proud of the honour, and it makes me feel good that the state I was born in recognises me,” averred Cotton. “When I was young, I walked down that road so many times and I never dreamed there would be a marker there on Highway 61!”

The youngest of eight brothers, Cotton was born on 1st July 2935 to a family of cotton pickers (Tunica, Mississippi has since become a big casino town – “I think the casinos help a town by giving people jobs, but people have to watch that gambling,” warned the harmonica player).

His first exposure to music, and the harmonica came via his mother’s limited ability on the instrument, but it was on hearing the “King Biscuit Time” programme that James first realised the possibilities of the instrument and his passion was ignited.

“Radio station KFFA out of Helena, Arkansas, played the Blues,” recalled the harmonica player. “My uncle had a wind-up Victrola, and we used to listen to Robert

"I don't smoke or drink any longer and I'm on my treadmill working out every morning. I've got more energy than I did twenty years ago, and I feel great."

photo: Kurt Swanson

*includes Cotton quotes from an earlier interview with Billy Hutchinson

On 10th March 2008, the Rock and Roll Hall of Fame inducted the man who preceded James Cotton on Muddy Waters’ recordings, Little Walter.

“Little Walter was one of the best Blues harmonica players in the world!” exclaimed Cotton, and there are few that would disagree with that statement.

Although Walter was an accomplished (and recorded) guitarist, it was his radical use of amplification with the harmonica that revolutionised how the instrument was played and would subsequently influence countless players – he would ultimately be regarded as the harmonica’s equivalent of Jimi Hendrix.

Walter’s harmonica work augments many of Waters’ classic Chess cuts of the ‘50s, and he would enjoy his own time in the limelight as a bandleader, enjoying hits with ‘Juke’ and ‘My Babe’.

Ultimately, alcoholism would play a major part in Walter’s decline, and he died after an altercation outside a nightclub in the South side of Chicago. He was just 37.

Walter’s legacy is inestimable, regularly cited by Blues harmonica players today, and the industry has been eager to recognise his impact in recent years, with the The Rock and Roll Hall of Fame selecting ‘Juke’ as one of the 500 Songs that Shaped Rock and Roll, and his induction into the GRAMMY Awards Hall of Fame in December 2007.

Cotton played at Walter’s Rock and Roll Hall of Fame induction ceremony, a poignant moment for the man who would follow in his footsteps recording with Muddy.

“I was honoured because of all the harmonica players there are, I was asked me to play it for Walter.

“I'm sorry he wasn't there to accept it himself. Walter was a friend of mine.” DH

Nighthawk, Houston Stackhouse and Wynonie Harris.”

However, there was a certain player that stood out above the others. “Sonny Boy Williamson!

“Sonny Boy Williamson was the first musician I ever saw play with a band,” added Cotton. “It was him and Joe Willie Wilkins on guitar, Gene Curtis Peck on drums, and ''Five By Five'' - people called him that because he looked like he was five feet tall and five feet wide but, of course, he wasn't - on piano. That was the band.”

Cotton learned Williamson’s theme tune to the “King Biscuit Time” show, alongside other favourites by the musician, and would regularly entertain the workers on the plantation, where he was too young to pick cotton himself.

By just 9 years old, both of Cotton’s parents had passed away, and so his uncle took the talented youngster to his hero, with whom he had an instant rapport and would build a lasting bond during various stays at his home.

“(I stayed) off and on for six years,” he said. “His wife, Mattie, was a real sweet lady.

“The last I heard she's married to a preacher now - a little different from Sonny Boy!

“Sonny Boy was one of the best harmonica players I've ever heard in my life,” continued Cotton, “and, I guess, to tell the truth about it, other people thought he was good, too. He left us his music, music from his heart.”

With Sonny taking Cotton under his wing, the youngster was afforded the opportunity to play at nearly every juke

joint in Mississippi - “He was a real nice person to me, and he was a good man” – even if he was too young to actually step inside! (It’s reported Cotton would make more money through tips warming audiences up on the steps of the juke joints than Sonny would make playing inside).

“Most of the juke joints were people’s housestwo bedrooms and a kitchen,” alleged Cotton. “They'd take all the furniture out of the house, put it outside for the night, and move the music in! The kitchen was usually in the back. They'd cut the kitchen door in half, leave the top open, close the bottom and nail a shelf to the bottom half to serve food and corn whiskey. The food was fresh and tasty - fried catfish!”

When Sonny suddenly left for Milkwaukee Wisconsin, the now teenage Cotton was forced to move to Memphis, where he would shine shoes and play for tips on Beale Street.

“Beale Street was all black mostly and it had black-owned restaurants all up and down it - The Old Daisy Theatre was there,” he recounted.

“A lot of music was in W.C. Handy Park at the time, and people hung out there… Those were the good old days!

“Most towns have panhandlers nowadays, but I think people have a hard-time in Memphis. The fac-

One of the greats: Little Walter.

photo: courtesy Music Avenue

tories left, it became hard to get a job.”

However, it was on meeting Howlin’ Wolf that Cotton was able to put his schooling from Williamson to good use – even if a previous Wolf performance had failed to make much of an impression.

“It was in Tunica, Mississippi, that I saw him for the first time in a place called Hard Face,” remembered the harmonica player. “I thought he could play the harp, but not like Sonny Boy!”

Cotton started playing juke joints much farther afield than he had with Williamson, and having enjoyed mentorship from a second Blues legend, the harmonica ace was given the chance to cut songs for Sun Records at just 15, and was fronting his own radio show for KWEM in West Memphis, Arkansas by 17.

At 19, Cotton had a regular Friday gig at the Dinette Lounge, and it was here that he met a third Blues legend – a man who would be instrumental in bringing

the musician to a much wider audience, and giving him the platform his talent deserved.

Junior Wells had left Muddy Waters’ band abruptly in Memphis, and a chance viewing saw Cotton quickly drafted into the band – where he would remain for a dozen years.

“Well, Muddy was already Muddy Waters when I came into the band,” he said. “Him and Little Walter, Jimmie Rogers and Elgin Edmonton, the drummer, had already set a pace for themselves.

“Muddy wanted me to play just like Little Walter. I played a little bit stronger than Junior did and Muddy thought I could do it. I did!”

However, Cotton wasn’t happy simply emulating Walter, who was still playing on Waters’ records. “After a couple of years, I really wanted to be myself,” he revealed, “and that's when I told him, 'Muddy, I will never be Little Walter but I can play your music.’ After that went down, I recorded with him at Chess…. I think the music speaks for itself - it still makes me smile.

“By 1961, I'd convinced Muddy I could play his music and he turned me loose! Remember 'Got My Mojo Workin'' at Newport?”

Now Cotton had gained the respect and trust of Waters and the seminal label, and was able to express himself in a way sidemen at the time weren’t afforded - but music wasn’t the sole focus. “We were all drinking ladies men back then!”

Although Cotton was now an integral part of Waters’ band, and was enjoying the lifestyle that afforded, he was becoming disgruntled by the way Chess were treating him – “I guess everyone has been ripped off a little bit” - and by 1966 felt it was time for something new.

With such a strong reputation, it wasn’t hard for Cotton to secure a record deal and three albums in the late-60s for the Vanguard and Verve labels (“Cut You Loose!”, “The James Cotton Blues Band” and “Pure Cotton”) proved he was far more than a mere sideman, and cemented his reputation as one of the best harp players of his generation.

Over the next two decades, Cotton would record for esteemed major and independent labels such as Blind Pig, Alligator and Capitol Records, picking up three GRAMMY nominations and reuniting with Waters for the celebrated “Hard Again” album.

However, by 1994, Cotton career and life were in jeopardy, as he battled throat cancer. Thankfully, surgery and radiation treatment allowed Cotton to quickly return to the road, and his next release following recovery would become his most celebrated – 1996’s “Deep In The Blues” won the GRAMMY for Best Traditional Blues Album.

Now in his sixties, having survived a life threatening illness, endured the passing of fellow greats/close friends and reached the pinnacle for any artist in his field, it would have been understandable if Cotton started to take things a little easier… Yeah, right! Cotton’s schedule only gathered pace, recording a trio of albums at the start

photo: Chris Jacobs

of the noughties for Telarc and continuing with a tour itinerary that acts fifty years his junior would struggle with.

“I'm still firing on all engines!” insisted Cotton. “I know my lifestyle has changed for the better. I don't smoke or drink any longer and I'm on my treadmill working out every morning. I've got more energy than I did twenty years ago, and I feel great.”

Keeping fit and healthy has allowed James to take his music overseas, even coming to our own little island (so often shirked by big American names) – performing as part of the Chicago Blues Legends at the Maryport Blues Festival in 2005.

“I loved it, and I had a good time,” he enthused. “I always have a good time playing the Blues, and it’s always fun playing with my old friends.”

Although photographers at the event were warned in advance! “When they flash, it throws my concentration off,” asserted Cotton, “and I don't know anybody who wants to see spots in front of their eyes.”

Cotton managed to squeeze in a recording session with Chris Barber during his brief UK stopover, cutting the instrumental ‘Slow And Easy’. “I haven't recorded it anywhere else,” maintained Cotton. “That song came from deep inside my heart - as all my songs do.”

Today Cotton lives in Austin, TX – “I like it here,” he insisted. “It's my home now. It's a good place to come home to - quiet and peaceful. And, as everyone knows, Austin is the live music capitol of the world” – and is planning his next venture into the recording studio.

“My band is going into the studio with me very, very soon,” promised, “and we are all looking forward to it.

“The older I get the more I find myself interested in different kinds of music, and I'm writing more now on my new CD. I think it's going to be a big surprise to a lot of people.

“Of course, my first love is the Blues, I'll never leave it, but it's fun branching out in other areas, too.”

Whilst many of the older generation are dismissive and suspicious of the new breed, who they accuse of diluting the true meaning of their beloved form of music, James takes a more positive and optimistic stance.

“It's very different now,” he admitted. “Young people have a different way of getting it across. They interpret it differently, but I can tell they still feel it, and that's the key to the whole thing.

“The Blues will always be around, it changes like everything else, but it'll always be played.”

And his advice for budding harmonica players: “From the very beginning I always looked at my audiences,” informed Cotton. “They've always told me how I'm doing.

“It sure makes me feel good to look at them and see the joy in their faces, because of my music. Each time I start playing, I give them my music, which is me, and in return, they give me back their feelings. For me, that's a beautiful feeling, like no other.” DH

(above, from left) James Cotton, Johnny Winter and Muddy Waters.

photo: David Gahr

here aren’t many proponents of zydeco - a form of American roots or folk music which evolved from the late-1800s call and response music of the black and multi racial French speaking Creoles of south and southwest Louisiana – that have enjoyed the kind of mainstream success which has been bestowed upon Stanley Dural, a.k.a Buckwheat Zydeco.

Born 14th November 1947, Buckwheat learned his trade backing “the King of Zydeco”, Clifton Chenier, before branching out on his own and recording GRAMMY-nominated albums and developing a renowned live show that would lead to signing with Island Records – the first zydeco act signed to a major label –and support slots with the likes of U2!

Buckwheat’s dedication to the music, described as a hybrid genre blending Afro-Caribbean rhythms and Blues, with soul, rock, country and the French-rooted Cajun music, over thirty years, has ensured his standing at the forefront of the genre, and finally won over the leading Blues label as he celebrates thirty years in the business….

BM: Many of our readers may not have experienced zydeco music, so can I start by asking you to describe what zydeco is, and what its origins are?

Stanley: Old-time zydeco was just originally played at home for the family, or just for your friends at a get together. After people worked hard all day in the fields or whatever,

it was the way they relaxed and spent time together - all generations; grandparents, parents and kids.

My greatest zydeco influence was “the King of Zydeco” Clifton Chenier. Clifton was amazing, the best. He showed me what could really be done with zydeco music and how exciting it was. He also got me back to appreciating my roots. Clifton, who was a Creole French speaking native of Opelousas, Louisiana, was an eminent performer and recording artist of zydeco. He blended Cajun and Creole music with R&B, jazz, and Blues. He won a GRAMMY Award in 1982. Zydeco can be traced back to the southern states, and I wondered if you would say it’s a music genre that is confined to the States, or is it popular elsewhere in the world? Whilst zydeco is very popular in the States and, as you say, especially the southern states, there are Zydeco bands from many countries around the world. Everywhere from the UK to Australia and Japan!

I know you didn’t start out as a zydeco musician but played a bit of R&B in your early years. Can you tell us about your early career and how you found zydeco? My father introduced me to the accordion, and was good friends with Clifton Chenier, but my real first love was the Hammond B3 organ. I played organ for all kinds of people, like Joe Tex, Barbara Lynn and Gatemouth Brown. However, when I first saw Clifton Chenier play the accordion that's what opened my eyes to that instrument and to my roots in zydeco music. Then I started Buckwheat Zydeco in 1979.

Your real name is Stanley Dural, but you record and play under the name ‘Buckwheat’...

"We'll be all over the place spreading the word. Playing music is what I love, and the people always have a hell of a time!"

photo: Rick Olivier

My friend gave me the nickname when we were kids because he thought I looked like the character from “The Little Rascals” (an established American series of short comedy films - KW)

I also notice that on your “Jackpot” album there is an encore featuring ‘Organic Buckwheat’. Can you tell us what this is?

On the album, there’s plenty of my signature accordion, but for the first time ever one of our albums specifically features the horizontal keyboard on a threesong Hammond B3, ‘Encore: Featuring Organic Buckwheat.’ So, I suppose it’s a little like going back to my roots.

I understand you were the first zydeco artist to be signed to a major record label when you were signed to the Island label of Chris Blackwell. Can you tell us how that came about, and what impact it had on you, your music and the band?

We got signed by Island Records and the first Island album, “On A Night Like This”, changed everything for me and the boys… I think for zydeco music in general. Having a major label behind us meant that Buckwheat Zydeco, and zydeco music, too, would enjoy formidable promotion, marketing and distribution. We didn’t think anyone at Island, including Chris Blackwell, thought that a Buckwheat Zydeco record had any real pop potential. We were given a budget allowing us four days to record tracks and one day to mix – a pitifully small commitment for any major label recording. But it was more than twice what we had ever received, and we were determined to maximize the opportunity. We adopted a more professional approach to developing a recording, beginning with more careful song selection and - a first for a Buckwheat Zydeco record – an extensive rehearsal outside the studio. We spent a week at Paul’s Playhouse, a club in the tiny rural community of Sunset, north of Lafayette, working from 10am into the night. We honed zydeco classics, such as ‘Ma ‘Tit Fille’ and Clifton Chenier’s ‘Hot Tamale Baby’. We also covered Bob Dylan’s title tune and the Blaster’s ‘Marie Marie’, and made them our own. After that week we knew we had something great.

You own the label Tomorrow Recordings. Can you tell us about some of the artists signed to this label?

In 2000, I produced an outside artist for the first time and issued Lil’ Brian And The Zydeco Travelers’ “Funky Nation”, the first album by an artist other than Buckwheat Zydeco on the Tomorrow Recordings imprint. That disc drew praise from San Jose to New Orleans for its funky mix of roots and cutting-edge influences. USA Today and others have given the record, and Lil’ Brian’s live shows, top ratings.

Then came Sean Ardoin & ZydeKool, who pulled in raves for “Pullin'”, their national debut on Tomorrow Recordings released in September 2001. This strikingly announced that a great new songwriting and performing talent had emerged from southwest Louisiana.

Alligator Records is home to some of the world’s premier Blues and roots rock talent, and is regarded by fans and the media alike as the top contemporary Blues record label in the world - Buckwheat Zydeco following in the footsteps of his mentor by signing to the label.

In 1971, Bruce Iglauer, a 23-year-old Blues fan, used his limited savings to record and produce his favourite band, Hound Dog Taylor & The HouseRockers. Following his heart, he quit his day job with Delmark Records and began working with Hound Dog Taylor and his new record company, full-time.

Hound Dog Taylor was recorded live in the studio in just two nights in 1971, and the album captured the band at the height of its powers.

With the remainder of his money, Iglauer pressed 1000 copies of the album, loaded his brand new albums into the back of his Chevy and hit the road, visiting progressive rock and college radio stations and record distributors between Chicago and New York.

In 1975, Alligator got a shot in the arm when the label began its long association with the “Queen of the Blues”, Koko Taylor. Taylor recalled: “It was a very small company at the time, but it was the best thing that ever happened to me.”

Taylor’s debut Alligator album, “I Got What It Takes”, won the label its first GRAMMY nomination. In 1976, Alligator received another, this time for Hound Dog Taylor’s posthumously released “Beware Of The Dog!” album.

In 1978, guitarist Albert Collins joined the Alligator family as their first non-Chicago artist. Collins’ label debut, “Ice Pickin’”, earned yet another GRAMMY nomination - in all, six Alligator recordings received nominations between 1975 and 1978 (finally, in 1982, the label won with zydeco pioneer Clifton Chenier’s release, “I’m Here!”).

The late-80s and ‘90s was a period of enormous growth for the label, with recordings by world-class Blues players like Koko Taylor, Luther Allison, Charlie Musselwhite, Lonnie Brooks, James Cotton, Buddy Guy, Junior Wells, Albert Collins, Carey Bell and Clarence “Gatemouth” Brown. Alligator’s roster read (and still reads) like a who’s who of traditional and contemporary Blues.

By 1991, with 125 releases in the catalogue, one thing was clear: Alligator Records was the biggest and most successful Blues label in the world. Today, it stands proud as the world’s most decorated and largest independent Blues label. KW

Clifton Chenier photo: Edmund Shea, courtesy Arhoolie Records

Following in the footsteps of his mentor Clifton Chenier.

Sean Ardoin's ZydeKool sound is at once propulsive and irresistible, filled with pop hooks and driving dance beats. Many see him as the future of zydeco, and a natural to crossover to a wider audience.

You lead what is often described as the “world’s greatest party band.” Can you describe one of your gigs and give us a feel of the excitement you generate?

I'll tell you, I try to give it all up on stage. It's like a party.

I read somewhere that you have collaborated with some pretty important people. Can you tell us who?

The band’s played a long list of high-profile gigs year in and year out, and our music can be heard in a slew of major motion pictures and television shows. Onstage and in the studio, we have collaborated with a who’s who of musicians, including Eric Clapton, Keith Richards, Willie Nelson, Dwight Yoakam, Mavis Staples and David Hidalgo. A whole new audience is being exposed to the fun and excitement of Buckwheat Zydeco; our song

‘What You Gonna Do?’ from "Down Home Live!" served as the theme music for the 10th anniversary season of Comic View, BET's number-one-rated series.

You have also toured with some pretty big names, including U2. What is the biggest audience you ever played to?

Man, I’ll tell you, playing in front of 75,000 at the Orange

Bowl in Miami, when we opened for U2, was amazing. Also, playing the closing ceremonies of the Atlanta Olympics was wild, so many people in the stadium and they told me a billion people watched it around the world. We had a gas and got to hang out with B.B. King, Wynton Marsallis, Faith Hill, Little Richard, and many others.

I really enjoyed “Jackpot!”…

“Jackpot!” totally captures our unique sound, which has only gotten more powerful and impressive during the last couple of decades. I don’t think anyone else is playing like this.

Tell us about the new album…

We wanted “Lay Your Burden” down to be a real step forward. 2009 is the 30th anniversary of Buckwheat Zydeco and I wanted something that would really show how far we've come and showed off all that we can do.

We've all been through a lot in the past few years, especially here in Louisiana with the hurricanes. But Louisiana always bounces back and we can learn from our problems but still celebrate life and appreciate the good times - I think that's what the album is all about.

How did you come to recording for Alligator Records?

Alligator is a terrific label, they've always liked us and we've always liked them. It wasn't any different for me in the studio other than it was nice to have the extra support and encour-

photo: Joseph A Rosen

agement. It just felt like with all the changes in the industry it was a good time to have some more good people behind us.

Is the Tomorrow Recordings label going to remain active?

Yes it is, and it will still release our catalogue, and our distribution deal is ongoing. All our options are open.

Why did you choose the covers you did for the new collection, and what do you feel you brought to your interpretations?

Anytime I do a cover, I look for a song that I can relate to musically, and I want to feel the lyrics. We spent a lot of time trying to come up with the strongest collection of songs for “Lay Your Burden Down”. We still believe in putting together an ALBUM of songs that work together.

Tell us about the guests on the latest album…

Well, Sonny Landreth is my good partner from way back, when we played together with Clifton Chenier. He a great guitar player and a great guy. Warren Haynes is amazing and he wrote the title track, we're thrilled to have him on the record. JJ Grey was someone both Steve Berlin and my manager Ted Fox liked, and knew I'd like, and they sure were right. Trombone Shorty is something else; I think he's going to really make some noise on the music scene. Steve Berllin is an old friend and he was a great to work with back when we did “Five Card Stud”. He always has good ideas, and it's terrific working with a real musician who understands everything I can do and want to do.

Tell us about the 30th Anniversary tour…

We'll be all over the place spreading the word. Playing music is what I love, and the people always have a hell of a time!

What was it like playing New Orleans event at the 02 in London last year? And how did British audiences respond to your music?

We had a blast, and, man, the people enjoyed themselves. We got so many emails from people, many who said they've never seen anything like it, and some from people who remembered seeing us with Eric Clapton at the Albert Hall, or other gigs in the UK.

Will you be returning to play the UK in the near future? Yes, we will. I just can't tell exactly when yet, but we'll be back! I hope they bring back the Festival New Orleans to London again. When they do, you can bet Buckwheat Zydeco will be there.

Do you think that zydeco has a strong future? Can you tell us about some of the young bands around and how it is attracting young audiences?

Zydeco is such a unique sound. I’ve been doing it for nearly thirty years and people haven’t gotten tired of it yet! There are plenty of great young guys around like Nathan And The Zydeco Cha Chas, and even his son Little Nathan. We made a great disc, “Funk Nation”, on Tomorrow Recordings with Lil’ Brian And The Zydeco Travelers. Check it out!

I noticed that you write most of the stuff on your albums, and wondered if you could explain how you write music… I love all kinds of music, when it’s time to make a record I

try to come up with a variety of sounds and sometimes go places no-one else has gone in zydeco. I usually do the music first and then fit the lyrics to it, but not always.

On one of your albums, you do a cover of the Hendrix classic ‘Hey Joe’. What other well known numbers do you cover?

‘Beast Of Burden’, ‘Walking To New Orleans’, ‘Hey Good Lookin’’… These are all great songs and it’s a good way to introduce people to the sound of zydeco, and what zydeco can be.

Can you suggest the best Buckwheat album to get started with?

If you really want to get what we’re like live you’ve got to get “Down Home Live!” on our label.

You’ve been in the business a long-time now, I think almost thirty years, and I wondered if you had any advice for new aspiring musicians who are just starting out…

Play what you love - and work hard! KW

photo: Rick Olivier

he album’s opening notes fall unaccompanied from the slide that had been rarely recorded for nearly a decade. A few moments later comes the album’s true revelation – the voice. Rich and expressive, it is powerful even when it drops to a whisper. When it rises to a shout, it makes the hairs stand up on the back of the neck.

The song is the self-penned ‘My Home Is In The Delta’; and a more fitting way to open this exceptional album could not be imagined. Muddy Waters’ greatest fame is that he took the Blues from the Delta, moved to Chicago, turned up his amp, and electrified the world. But this album, recorded after his hit-making heyday was done, represents a journey in the other direction: from the plugged-in Chicago sound to the acoustic sound of his Mississippi roots.

In some of Water’s earlier, chart-topping material, the sound was so full that it partly covered the power and nuance of his voice. But on this album, recorded with just two acoustic guitars, an upright bass and, on some tracks, a drummer, the spaces are as meaningful as the notes. The unequalled glory of Waters’ voice has room to be appreciated for the wonderful instrument that it was.

The year was 1963. Waters was 48; he hadn’t had a song in the charts for five years. Musical tastes were changing - Peter Paul & Mary were hot...so were The

Kingston Trio! So, Leonard Chess, the founder of Chess Records, asked Waters if he would do an acoustic album. He suggested that Waters go to Mississippi to find some old guy who played guitar – a reflection, doubtless, of the fact that Mississippi John Hurt, at 70, was finding an audience among white college kids.

Waters said he already knew just the guy. The recording session could begin the next day. But when he showed up with a baby-faced youngster, Chess swore in anger Until he heard the kid play!

So it came about that Waters spent the album trading acoustic licks with a young Buddy Guy. Willie Dixon was on bass; Clifton James played drums. Water’s slide is piercing and mournful. Guy’s fills are spare and wistful - a far cry from his electrified histrionics of recent years. The combination works to perfection.

The songs, six of which are originals, are classic Blues: they deal with loss, lust and the desire to return to one’s roots. Some had been recorded previously in electric versions. The CD version, issued in 1999, includes five electric bonus tracks.

The album’s quintessential moment is track nine, which was the closing song of the original “Folk Singer” album. Waters, accompanied only by his own slide, sings ‘Feel Like Going Home’ in a way that makes us understand that we all feel that way on some level.

This album is one of Water’s best. Don’t let the title fool you - it’s the Blues, as basic and moving as it comes. MDS

A FAVOURITE BLUES ALBUM?

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

WHEN MY BABY LEFT ME Furry Lewis

Maybe the most perfect Blues song. "She caught the rumblin', and I caught the fallin' down," is my favourite line of any song. Anyone that plays slide guitar owes something to Furry Lewiswhether they know it or not! There should be a statue of Furry Lewis in Memphis, TN.

MISSISSIPPI BO WEAVEL

Charley Patton

Charley Patton is my patron saint. The slide guitar work in this song is genius, and the melody is great. This is a song that kicked ass long before a song had to be 12 bars with turn arounds to be called a Blues song. Anyone who is a fan of any kind of Blues should get wise to Charley Patton. He is the original.

KOKOMO BLUES

Fred McDowell

Scrapper Blackwell first recorded the song Kokomo, Indiana near where he lived. Many

Bluesmen that followed recorded a version of it. Robert Johnson changed the Kokomo to Chicago and ‘Sweet Home Chicago’ was born. My favourite version of ‘Kokomo Blues’ is Mississippi Fred McDowell's version. It rocks as hard as any punk or metal song.

Despite The Reverend Peyton's Big Damn Band being described as “too Blues for Nashville and too country for the Mississippi Delta,” the band have built up a large and loyal following on both sides of the Atlantic thanks to debut album “The Whole Fam Damily”. The acclaimed collection features the song 'Your Cousins On Cops' – wrote after the Reverend saw his wife’s cousin on a US reality police chase show. Courtesy Sideonedummy Records, we have 3 copies of the album to giveaway. For your chance to win, tell us: How are fellow band members

Breezy Peyton and Jayme Peyton related to the Reverend?

*answers to the usual PO Box address or comps@bluesmatters.com.

LOUIS COLLINS

Mississippi John Hurt

John Hurt's style is so accessible. I like to introduce country Blues to people through him. This song has it all: great fingerpicking, beautiful melody, and the story is heartbreaking. Also, there is something about his voice that makes me smile.

DEATH LETTER

Son House

Son House lived this song, and it describes the great tragedy that plagued his life. It is

MIDNIGHT SPECIAL Leadbelly

haunting, beautiful, heartbreaking, and it is still a dance song. Son House has one of the most powerful vocal deliveries of all time in any genre.

PARCHMAN FARM BLUES

Bukka White

This is both an angry and a sad song. Bukka White lived this song, and it comes through in passion and rhythm. Washboard Sam's playing helps to kick it up in a way that you remember that Blues, regardless of subject, is dance music. Someone once said, "’Parchman Farm Blues’ and ‘Aberdeen’ are the same song." Well, yeah, they are the same song! But it kicks ass each time.

PUSHING MY LUCK

Robert Belfour

Robert is a kind hearted man, and I am lucky to call him a friend. He, like my granddad, retired from a lifetime of union work, but unlike my late granddad, Robert has been able to record amazing records, including ‘Pushing My Luck’ - a trance Blues masterpiece! Robert's style is hill country, but his fingerstyle is rooted deeper back

This song is socially biting, political, and just plain fun to sing. Leadbelly's songs never held anything back, and this song is no exception. So many folks have covered this song, but you can see Leadbelly singing it in prison in the back of your mind.

DO THE BOOGIE MAMA

James “Yank” Rachell

Yank wrote songs for Sonny Boy Williamson, including ‘Good Morning Little School Girl’, and wrote the standard ‘She Caught The Katy’, but ‘Do The Boogie Mama’ is my favourite. It is a dirty country Blues song by the greatest mandolin Bluesman. Before I was old enough to get in bars, I used to stand outside and listen to Yank play through the walls.

GOT MY MOJO WORKIN' Muddy Waters

So over-covered it has become a cliché, but the original recording of Muddy and his band doing it deserves all due respect. Muddy Waters may have plugged in, but it sounds like country Blues to me. RJP

to the days when Charley Patton walked the Earth.

(from left) "Washboard" Breezy Peyton, Reverend J. Peyton and Jayme Peyton.

VERNON NEILLY AND FRIENDS

With the sleeve a clever mock-up based on Stevie's 'Songs In The Key Of Life' album, this is a feelgood set right from the off. Guitarist, arranger and producer Vernon is based in California but he has gathered together musicians from three continents - North America, South America (the excellent guitarist Kiko Loueiro is from Brazil) and Europefor this warm and affectionate CD, which is far more than an ordinary tribute. The material selected is mostly from Wonder's ‘70s recordings, i.e. his best era. The sometimes complex original arrangements also mean that the ten tracks on this release can support elements of Blues, rock and jazz quite comfortably, and they do indeed receive a variety of treatments, from out-andout Blues-rock to hardcore funk. Stevie's numbers are usually strong, both rhythmically and melodically, and they do lend themselves easily to radical revisioning – as they frequently receive here – whilst keeping the essence of the compositions. An album of Wonder songs may not be truly groundbreaking, but they say that the simplest ideas are usually the best, and that certainly holds true for this varied and entertaining CD.

Norman Darwen

AL KOOPER White Chocolate

alkooper.com

Al Kooper has always been an interesting figure, with a wideranging CV that includes founding Blood, Sweat & Tears, with its pioneering pop/rock/jazz fusion, producing the first two Lynyrd Skynyrd albums, playing French horn on the Stones’ ‘You Can’t Always Get What You Want’, and perhaps, above all, busking the organ part on Dylan’s ‘Like A Rolling Stone’. He also has a considerable Blues pedigree from his time in the ‘60s with Blues Project and various collaborations with Mike Bloomfield. Disillusioned with the music biz, he’s started putting out his own albums himself, and this is the follow-up to 2005’s excellent “Black Coffee”. It’s not a Blues album – all his wide-ranging musical interests are on display. These include pop (he started as a Tin Pan Alley songwriter) and soul. In these categories, there are some fine songs, such as the brisk ‘You Never Know Til You Get There’, the catchy ‘I Cried So Hard’, and the funky ‘Staxability’ - a tribute to the purveyors of the classic Stax sound. Unsurprisingly, the Bluesier tracks are the highlights for me – the brooding, hypnotic ‘Candy Man’ and

a quite terrific version of Dylan’s ‘It Takes A Lot To Laugh (It Takes A Train To Cry)’, which has as good a horn arrangement (another of Kooper’s specialities) as you’re ever going to hear. Al Kooper’s got a lot of skills to bring to the table, and if you fancy a bit of a detour from Blues (with some Blues in it), you could do a lot worse than check him out.

Mark Harrison

BOOKER T.

Potato Hole

Anti-

Booker T. belongs to a rare breed – artists who can be instantly identified after just a few bars of any of their tracks. As that Hammond B-3 organ comes floating out of the mix, you know who this is. Of course, Booker T. & The MGs were the Stax house band back in the ‘60s and ‘70s, and their inimitable style formed the backdrop to the classic soul tracks by Otis Redding and Sam & Dave, amongst others. In their own right, they had massive hits with enduring classic instrumentals such as ‘Green Onions’ and ‘Time Is Tight’, the former with its definitive riff that keeps cropping up all over the place today. “Potato Hole” is Booker T.’s first album of new material for many years, and it represents a great return. The clean, rich sound of the Hammond keeps poking out of the mix, and the man still has the knack of making the simple sound great. The MGs aren’t here, but there has wisely been no attempt to replace them with soundalikes and going down the nostalgia road. Instead, various guitar players (including Neil Young, acquitting himself very well) fill the Steve Cropper berth with guitar parts that have a hard edge and a satisfyingly dirty sound that contrast very effectively with Booker T. doing his thing. Some fine drumming kicks things along with a great bounce, and every track (all instrumentals) is a sheer joy. It’s music that was great in the past, and it’s living on today.

Mark Harrison

J.C. SMITH BAND Defining Cool Cozmik

J.C. Smith comes originally from California but is now based in Chicago. Smith’s stated aim in life is, “to keep the Blues alive and a message for the people.” Smith is a big man who insists the Blues is performed in style to reflect its importance, so out go the familiar jeans and in come crisp, smart suits for performance. This current CD is a mix of cover and self-penned music. Smith has an exceptional vocal. It has great power, a lit-

RICK ESTRIN AND THE NIGHTCATS

Twisted

Alligator

The coiffure, the sharp suit and the thin moustache – for one anxious moment this threatens to be an offering of style over substance, but then the music starts and Estrin’s muddy, lugubrious harmonica washes over. For thirty years, Estrin played second fiddle in The Nightcats to recently retired band leader Little Charlie Baty, but from the time Robert Lockwood, Jnr told the young harp player that “Little Walter would be proud of you,” he was destined one day to step into the limelight himself, and he does so here with great panache. With the look of Vincent Price’s Dracula and a slightly adenoidal voice reminiscent of Randy Newman, Estrin is not the only noteworthy element here – the rhythm section is clearly very accomplished, and the silky guitar licks of Norwegian Bluesman Kid Andersen are as moody and consummate as you will hear anywhere. You could argue that not all of the fourteen numbers are suited to Estrin’s distinctive vocals, but just when they threaten to grate on ‘U B U’ (the superb harp playing distracts you) they blow your mind on ‘Walk All Day’ - a snorting standout track. There is some ‘50s style rock in ‘Earthquake’, some impressive work by Andersen on ‘Catchin' Hell’, and something very mellow in the appropriately named ‘Take It Slow’. This is R&B with the giblets left in, and an undoubted listening highlight of the year so far.

tle more polished than the usual Blues grit, but rich and full of soul. A striking feature of this CD is that Smith has the ability to almost transcend the constraints of vinyl, and it feels like he’s actually singing live in your living room. The CD opens with the self-penned, ‘Rite On Time’, a Chicago Blues number with a lot of soul. From this first taste of the CD, your foot starts to tap and it obvious the CD is going to be a treasure house of music. ‘Fool For You’ is a classic Ray Charles cover, and Smith’s vocal on this track is a display of passionate musical gymnastics. This, as on the rest of CD, is augmented by fine instrumental work by the band. On ‘Bluesman’, Smith shows his guitar skills. He’s not one of your fast licks or shreds brigade but works on producing solid Blues riffs. The Blues on this CD is alive!

Carol Borrington

BOB DYLAN

If you’re too young (or rather, not old enough) to ‘get’ Dylan, don’t worry. Forget the mythology, and the intellectual claims of Dylan obsessives, because he has. For the past three albums, he’s reinvented himself as some sort of Blues poet. He’s revisiting the music of his youth, what got him interested in the first place, and he’s turning out what are essentially Blues/roots albums (albeit with some slow, romantic tunes featuring Dylan, improbably, as a crooner). There’s the now trademark hoarse and rasping vocal; there are some catchy riffs; there are some cryptic and sardonic lyrics (cowritten with Robert Hunter, formerly Grateful Dead lyricist); there’s some nice, tight and powerful playing from a bunch of good musicians; there’s a lot of accordion; and some tasteful mandolin.

Willie Dixon even gets a co-write credit on ‘My Wife’s Home

Town’, which sees his ‘I Just Want To Make Love To You’ redone wholesale with new lyrics (Dylan did this trick on the previous album with songs by Muddy and Sleepy John Estes). The track’s a stormer, as is another out-and-out Blues tune ‘Shake Shake Mama’. The songs are all generic – Dylan’s not really trying to add to his songbook, he’s going down well-trodden paths and putting his footprints there.

Mark Harrison

NINA VAN HORN Hell Of A Woman!

Hommage Aux Femmes Du Blues

Ouistiti

It was whilst doing her radio programme about the pioneer female Blues artists that the singer, Nina Van Horn, got the idea of writing about these women, and telling their stories in her own way - singing their most daring, most political and most moving songs. As charismatic in a studio as at her gigs, Nina knows how to grip your heart. She tugs your heart strings with ‘Dirty TB Blues’ by Victoria Spivey, she makes a deep-felt reading of ‘Me And My Gin’ by Bessie Smith, she sends shivers down your spine with ‘Down In The Alley’, she manages the impossible…she brings back to life the soul and spirit of these pio neer Blues women. She soaks up their power, their rage, their love and breathes it all out with the utmost sincerity. Here, less is definitely more. Each of the fifteen tracks is like a needle going through the heart, a tear made up of sadness and happiness - you understand why the Blues is not born from a school of singing but a school of life. A school where Nina Van Horn went to join Bessie Smith, Billie Holiday, Georgia White and all the others.

Frankie Pfeiffer/Nat Harrap

Richard Thomas

CHARLEY PATTON

The Definitive Charley Patton: 75th Anniversary Edition

VARIOUS

The Roots Of Bob Dylan Proper

If you can’t afford the fabulous, but very expensive “Screamin’ And Hollerin’” box set, then this Patton set is a more then fine substitute. Spread over three CDs and a DVD, it contains twentysix Patton recordings, including the famous ‘Down The Dirt Road Blues’, ‘Pony Blues’ and ‘Pea Vine Blues’, as well as other lesser known cuts. It is interspersed with fifty other tracks by various Blues artists who influenced or were influenced by Patton, from the likes of the well known, Tommy Johnson, Blind Lemon Jefferson and Big Bill Broonzy, to the more obscure, Ardell Bragg and Sonny Boy Nelson. For instance, the set opens with Patton’s slide piece ‘Mississippi Boweavil Blues’, and is then followed by Bessie Smith’s piano led ‘Bo Weevil Blues’. The man died seventy-five years ago, but his influence is still being felt from the likes of Gomez to Bob Dylan himself, who paid tribute on his “Love & Theft” album from a few years back. He was also very popular in his day and influenced the likes of Robert Johnson. The sound quality on the whole is very good, the odd track is a little scratchy, but these recordings are getting on for being a hundred years old. The liner notes with the set are also very informative, comparing how Patton’s songs evolved from other artists’ work, and in turn to the likes of Led Zeppelin and Cream. The DVD features the likes of Charlie Musselwhite and Bob Brozman discussing the man’s legacy, and is a very interesting bonus to the already fine music. Whilst Dylan’s genius is not in question, we know he was something of a musical magpie, and the sixty tracks spread over three CDs serves to show what he learned and absorbed into his own style. There is folk, country and Blues a plenty on offer here, from legends in the mould of Leadbelly, Lightnin’ Hopkins and Bukka White to lesser known ‘stars’, such as Frank Hutchison (‘Worried Blues’), Gus Cannon (‘Minglewood Blues’), and Tommy McClennan (‘New Highway No. 51’). This is a cracking set with some obscure gems, and feels like a mini version of the famous “Anthology Of American Folk Music”. Some of the tracks are of inferior quality, which again is to be expected, but it doesn’t detract from the enjoyment of the music. You really don’t need to even like Dylan’s output to appreciate this set, but it is interesting to see from where he got some of his ideas and inspiration. The DVD is a ninety-minute analysis of Dylan’s work from several Dylanologists, and is interesting, if a little heavy on the analytical side.

Andrew Baldwin

they fit in with the rest of the album well. It’s hardly rock’n’roll, but if you like folk with a difference, you’ll like it.

Joe Geesin

With a dozen or so solo CD releases already under his belt, and other work, too, Lang is clearly a prolific singer/songwriter. His brand of folk is different to the usual strumming, encompassing not only Blues but various other world music elements. From country or eastern to Celtic touches, this Australian is clearly a guitar craftsman. The fingerpicking is intricate, and the sparse arrangements mean he is rarely joined by little more than Grant Cummerford’s double bass or percussion. From acoustic picking to slide, lap steel, and influences of Bob Dylan, Bert Jansch and Richard Thompson, there’s a range here. Lyrically many bases are touched - just compare ‘Copper Mine’ to ‘The Savannah Way’. There are also a couple of traditional songs, including ‘The House Carpenter’, which Lang has given his arrangement to so

STEVE JAMES Short Blue Stories

Hobemian

Steve James would be on any sensible person’s list of the very best contemporary American acoustic Blues artists. He’s got probably the best and most in-your-face guitar technique out there, full of brilliant and unpredictable runs and bits of business, but also full of feel and not at all show-offy. On this album, probably his best in a long career, he shows his real feel for the music and massive skill at getting it across. His admiration of the acoustic Blues greats of the past shines through, and he knows a thing or two about them, having played with, among others, Furry Lewis. But this album is no rehashing of well-known and done-to-death acoustic Blues classics. Steve James is very much an individual with his own take on the music. Of the sixteen tracks, ten are originals, and these feature a sardonic and witty take on contemporary life, as well as the inevitable dynamic guitar work. The covers are non-standard, and include a wonderful rendition of ‘Factory Girl’, the Stones song from “Beggar’s Banquet” – confirming that back then Jagger and Richards were capable of writing great original Blues songs. Steve James isn’t one of those real-

ly good guitar players whose voice is a bit of a let-down – his vocals are strong and full of character (he’s a very animated and entertaining live performer and you get the flavour of that here). A must for anyone who likes any kind of acoustic Blues.

Mark Harrison

MARC BENNO I Got It Bad!

Blue Skunk

Marc Benno is a singer, songwriter, guitarist and pianist from Texas. He’s been playing the Blues, R&B, rock, and country for over forty years, following his life motto is “the more you can diversify, the more interest you have in living!” Throughout his career, which has also seen Benno take a degree in Philosophy, he has played with and earned the respect of a who’s who of top musicians, including Eric Clapton, The Doors, Lightnin’ Hopkins and Bill Wyman, to mention just a few. The CD consists of ten tracks, which are either selfpenned songs by Benno or in collaboration with Gary Nicholson. Benno’s vocal throughout is more polished than the traditional Blues vocalist, but his register and intonation are good. His guitar work throughout is well-crafted, with crispness and precision. Benno’s not a showboater, he feels his way through each song and gives it just what it need from his Vintage 70s Fender Stratocaster. He is matched on this CD with a classy team of accompanying musicians. From the first note of ’Terminal Case Of The Blues’, you can tell he’s one of Texas musical sons. ‘Torture Me is a heavyweight R&B number of quality. ‘Chance With You’, a ‘50s style rocker, with its boogie woogie piano and rocking guitar, is a real foot tapper. ‘Tip The Jar’ is Blues-rock with a ‘60s feel and Bosa nova rhythm and great guitar work!

Carol Borrington

SPIRIT Blues From The Soul Acadia

This double CD is a mammoth retrospective that explores the rock and Blues of Randy California and the band Spirit. Unassuming and yet commanding is a fair summation of the man and his music. Split evenly between California’s own compositions and fascinating renditions of traditional Blues, the collection is timeless and very rewarding. Big Bill Broonzy’s ‘Key To The Highway’ is played with a country twang so popular of musicians of Spirit’s era, with deviations into southern rock seen in Mississippi Fred McDowell’s ‘Kokomo’. There a couple of oddities, ‘Jimi’s Back’ has California explaining the origins of his name, before changing pitch to sing an ironic spiritual folk ballad. Such vocals can then be forgiven during a towering version of Hendrix’s ‘Red House’. California is more restrained, and perhaps humbler, on his own work, and this is actually where his guitar playing deserves more attention, especially on ‘I Had A Dream’, which closes the first CD. In a typical example of their inspirational dysfunction, ‘Shattered Dreams’ best sums up the event that was Randy California and his Spirit. Albeit a reissue of previous collections, if new to the engaging ghost of Randy California then this is the best place to start.

Gareth Hayes

ERIC LINDELL Gulf Coast Highway

Alligator

If you like your Blues grizzled and slightly grubby, and have a preference for seven minute improvised solos by men with wispy beards in smoky rooms, then Eric Lindell won’t be on your playlist. If this is the case, then you also probably like a hard core and traditional sound, and that’s another reason to give this one a miss. However, if you temporarily embrace a collection of perfectly formed commercial offerings three minutes long, then you will enjoy Eric Lindell’s latest album. Motown influenced, and perfect for the summer, this is West Coast “blue eyed soul” par excellence, from the GO-GO club sound of ‘The Look’, the country influenced ‘Here Come The Blues Again’, to something very “Starsky And Hutch” with the funky ‘Raw Doggin’’, which is much more innocent than it sounds. A tight backline, and some elegant harmonicas by Sean Carey, enhance the soulful vocals of Lindell himself, and when the whole thing is over, you are left wanting more. Such is the euphoric ambience it creates, you can almost forgive lyrics that would make even the most sentimental teddy bear blush with embarrassment –“Sweet sugar dumpling/Your love is really something” - one notable example. Clean shaved, short haired and clean aired it may be, and unashamed in its commercial ambitions, but this is not to condemn it in the slightest. Eric Lindell writes punchy, smart, catchy songs and performs them with aplomb. Very enjoyable indeed.

SNOWY WHITE The Best Of Snowy White

Repertoire

Showing my age, I actually saw Snowy White playing with Thin Lizzy. I also remember my shock and horror when a couple of years later he popped up with his solo hit 'Bird Of Paradise'. A lot of people would have written him off as a balladeer back then, which would be very unfair, as his solo material has always been interesting, blurring the lines between the Blues, Santana-esque Latin rhythms and prog. style noodling. The latter was probably inevitable, given that he's been the go-to for live guitars whenever Pink Floyd and Roger Waters have set out on tour since the mid-

Richard Thomas

LUTHER KENT

"I grew up in New Orleans and then I moved to Baton Rouge, and there the Blues is very big there. Do you remember a gentleman called Slim Harpo? He was a good friend of mine... I’ve lived through a lot of different changes in music, but I keep coming back to the same place."

DEBORAH COLEMAN

"A lot of the women are great songwriters and great singers, yet to strum a chord is a novelty thing, and I think they should put the guitars down and not play them."

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VARIOUS

Delta Groove All Star Blues Revue Vol 1

Delta Groove All Star Blues Revue Vol 2

ROD PIAZZA Soul Monster CANDYE KANE Superhero

Delta Groove

The first two releases here are highlights taken from the label’s third annual Blues Revue, held at the Ground Zero Club in Clarksdale (apparently, “the home of the Blues”). The label has some good artists signed to them, but it’s a wide range resulting in a very mixed bag. Many of the artists get three or four tracks apiece spread across these two CDs. Los Fabulocos play a more rockabilly sound, with a strong hint of clichéd Spanish pop (remember Los Lobos?). Some twangy guitar solo though. The Insomniacs are more bar room Blues, with a touch of modern Rick Derringer. The Manish Boys (each of their tracks with a different guest) are more earthy, with a hard harmonica. The sets also feature off beat rhythms (think B.B. King with a touch of reggae), Blues, Delta Blues and Blues-rock. If there is any crowd reaction, you miss it because of the editing, but it’s still a fine showcase. That said, there are only twenty-one tracks across the two CDs, packaging is minimal and the same sleeve notes on each. From four minute blasts to nine minute workouts, it’s mostly thoroughly enjoyable as a label sampler. The new album from Rod Piazza and his band showcases some fine Blues. The opener is a disjointed funk number, but the harmonica and saxophone mix well. Rod’s voice suits the music well and his harmonica work is mean. The mix of guitar and piano on some tracks could nod at Savoy Brown. One track that stands out is ‘Key To The Highway’, where the trebly mix is slightly jangly, giving a fairground attraction feel. Miss Honey’s piano (she doubles up on bass, too) is reminiscent of Bob Hall at times. Some solid dirty Blues with, as the title suggests, a soul edge. Largely enjoyable, but the slower numbers don’t work so well. Candye Kane has named her latest album after herself, having survived pancreatic cancer. A lot to pull through, yet she’s still managed to lay down these fifteen tracks. The opening title track is a bright and breezy soulful Blues number, with saxophone and keyboards to give a Blues Brothers edge. A range of soft Blues feels, and with song titles like ‘Hey Toughen Up’ and ‘You Can’t Stop Me From Loving You’, there is a strong autobiographical feel. Her voice is strong on the heavier numbers, but some of the lighter numbers do drift into MOR territory. And while most of the songs are self-penned (and well written, too), Led Zeppelin fans will recognise the cover of Willie Dixon’s ‘You Need Love’. One of the heavier and direct tracks here, ‘Till You Go Too Far’, showcases Kane’s voice well, with strong harmonica and rhythms to match. More of this please!

Joe Geesin

70s. This 2CD retrospective does a good job of collating his music, reaching as far back as that 1983 hit single spawning album, "White Flames", and coming right up to 21st century tunes like 'Blues Is The Road' and 'What I'm Searching For'. He's still no great shakes as a singer, but nestles comfortably in a JJ Cale style that is warm and listenable. However, it's when the guitar that he's been playing for over forty years springs into action that you really sit up and pay attention. It's a nice package with good song-bysong sleeve notes by Snowy himself. He's over sixty now, but seems to enjoy playing music as much as he ever has, something that shines through his ever tasty guitar work.

Stuart A Hamilton

JIM BYRNES My Walking Stick

Black Hen

Add some Blues, gospel, Latin and Cajun flavours, and a twist of country, and you have the latest satisfying tonic from Jim

Byrnes. Indeed, Jim’s third release in five years is a neat, laidback rootsy affair drawing on most of the flavours of America’s musical heritage in the true songster tradition. Even retelling the stories of Stagger Lee and John Henry in ‘Three Shots’ and the excellent ‘Walk On Boy’, respectively. The material is enjoyable, and there is some lovely playing, particularly from Steve Dawson, who adds some cool electric slide on ‘Walk On Boy’ and ‘Drown In My Own Tears’. And mention should also go to Vancouver based gospel trio The Sojourners, who add lovely backing vocals throughout. Born in St Louis, but now a long term Canadian resident, Jim’s early musical influences were drawn from his St

Louis home, and by 13, Jim was playing Blues guitar. But it’s Jim’s gritty, weathered voice which binds the whole thing together in authenticity. Despite experiencing a tragic car accident in 1972, Jim has forged successful careers both in music and as an actor, with appearances in numerous TV shows. “My Walking Stick” is clear evidence of his talent.

Davide Styles

CHARLES WILSON

It is strange listening to this excellent CD to recall that, at one time, the Blues press would have rejected it out-of-hand as “soul music.” Thankfully, the almost coincident success of Robert Cray and ZZ Hill in the ‘80s changed many attitudes, and indeed, most Blues lovers will find plenty to enjoy here. Yes, Chicagoborn Charles does sing the Blues on ‘Somebody’s Tears’, performed as a tribute to the late great Little Milton (who just happened to be Wilson’s uncle), and on hearing the several southern soul styled numbers, it comes as no great surprise that Charles has a long album discography encompassing many labels from Ichiban to Delmark - I specify albums as Charles actually started recording in 1964. He brings all that experience to bear here, sounding occasionally like Sam Cooke or Curtis Mayfield, sometimes tackling smooth ‘70s styled sounds, or getting grittier and more low-down. Charles knows a good song when he hears it – all ten numbers are borrowed, not that it makes the

MUDDY WATERS Steppin’ Stone

Proper

slightest difference - and he is backed by some fine musicians who really understand what he is about. “Troubled Child” is a real winner.

Norman Darwen

MULATU ASTATKE/ THE HELIOCENTRICS

Inspiration Information

Strut

Neither truly experimental nor avant-garde, this dynamic album does stretch the synapses and skim many genres. Titles such as ‘Cha Cha’ and ‘Esketa Dance’ tell you what beat will be found behind the main line. ‘Addis Black Widow’ adds a flute to the fore, and if the track is a reference to arachnophobia then analogous imaginations are suitably stirred. Constantly genre defying, ‘Mulatu’ takes an ethnic stance in world music while hinting at such leftfield movements as death jazz. It is either very hypnotic or very, very annoying. Connoisseurs will turn it up, and critics will turn it down, but it’s actually quite hard to turn off. A strained ear might witness competent guitar and harp on ‘Blue Nile’, but the cynic would say that the noise could easily be out of a laptop. Calypso makes a pose at the front in ‘Live From Tigre Lounge’ which also mixes in Eastern flavour. To complete the categorisation anomaly, ‘Phantom Of The Panther’ rumbles with piano jazz. There are classical excursions, too. Take it or leave it, or pass it on.

Gareth Hayes

STEVE STRONGMAN

Blues In Colour

Canadian Steve Strongman began his professional career at the tender age of 16, playing the club circuit around southern Ontario. Since then he has built a solid reputation and reaped

I guess you could be excused for asking, “Do we really need yet another Muddy Waters compilation?” Well, in truth, there’s so many out there that many wouldn’t argue against it. However, this 3CD and DVD set has a slight twist on most others. Where this differs is in that it also incorporates Muddy’s biggest influences, as well as the artists he himself influenced. For example, CD one alternates between the influential track ‘Walkin’ Blues’ by Son House and Muddy’s version, Big Bill Broonzy’s ‘I Can’t Be Satisfied’ and Muddy’s version you get the picture. For anyone who loves Muddy but has yet to discover where he got his sound and style from, this is a neat and rewarding exercise. Disc two is all Muddy and features twenty of some of his best loved and most famous works, such as ‘Long Distance Call‘, ‘Hoochie Coochie Man‘ and ‘I’m Ready’. Disc three brings together solo tracks from the musicians who worked with Muddy and highlights everything that is great about the Blues, and further cements how important Muddy was during his lifetime. Tracks like Little Walter’s ‘Juke’, Buddy Guy’s ‘Try To Quit You Baby‘, James Cotton’s ‘Cotton Crop Blues‘, Junior Wells’ ‘Hoodoo Man‘ and Jimmy Rogers’ ’Walking By Myself’ highlight just some of the giants of the Blues that backed Muddy at some point, and went on to be great solo artists in their own right. Disc four is a DVD called “Talkin’ Muddy” that contains interviews with musicians, musicologists, Blues scholars and Delta historians discussing his life and work. If that wasn’t enough, you also get a twenty-eight page booklet detailing Muddy’s life, as well as brief biographies of all the artists featured here. Overall, this is a great package featuring sixty-four songs, thus making it a great addition to anyone’s collection. It also serves as a valuable history lesson to any newcomers to the Blues and demonstrates how important Muddy was as a link between old country Blues and rock music of the ‘60s and ‘70s.

Steve Hoare

a number of awards in recognition of his strong guitar work, songwriting ability and entertaining live performance. In 2007, his musical journey brought him back to his Blues roots with the release of “Honey”. His latest offering, “Blues In Colour” is a varied affair. Twelve original compositions taking us from the straight jump Blues of ‘Mean To Me’, though slow Blues, laidback grooves, acoustic country picking and some dirty slide work, to the gentle balladry of ‘Heart’. Standout tracks include ‘Lie To You’, with its southern rock groove (no line dancing please!), and I liked the dusty Americana highway feel of ‘Emily’, with some lovely lazy electric slide. Steve’s guitar work and big fat Gibson tone will no doubt please guitar fans, but his soulful vocals and harmonica work also deserve mention - as does his sparse but adequate rhythm section, featuring Alec Fraser on bass and Dave King on drums. “Blues In Colour” will only enhance Steve’s reputation, and it’s well worth investigating.

Davide Styles

STEVE BAKER AND DICK BIRD King Kazoo

Acoustic

As the title suggests, this CD features the kazoo. In its original format, the kazoo was a primitive African instrument used to imitate animal sounds. In the 19th century, it was redesigned

into its present format and used in jug bands and comedy music. Harmonica player Steve Barker and long time playing partner, guitar picker and singer Dick Bird have employed the humble kazoo, an instrument often ridiculed into their music to diversify it into the sphere of jug band and country Blues. The CD is a mix of new material and covers, and was recorded at Dirk Hornermann’s studio in Hamburg. “King Kazoo” has also involved accompanying musicians, Martin Roellger playing drums and washboard, Henry Heggen on jug and Martin Wichmann on upright bass. All other parts are played by Baker, Bird and the kazoo! The CD opens somewhat conservatively with the Tampa Red song ‘Ill Never Let You Go’, a harp driven effervescent number in jump Blues style. Title track, ‘King Kazoo’, written by Bird and Barker, defies you not to tap your feet and smile at this lively good-time Blues number, as harmonica and kazoo play side by side under Bird’s jovial vocal, and the jug joining the merry chorus with the washboard keeping the beat! Suffering from those recession Blues? This CD is for you to invest your sanity in. Blues with a feelgood factor.

Carol Borrington

MUTTER SLATER BAND

Riding A Hurricane

Proper

Billy Bragg lives in Burton Bradstock, a tiny village in West Dorset. One night in 2007, a band called Little Dixie were playing in the local pub, and in walked Mr. Bragg. Impressed with Little Dixie’s frontman, one-time leader of the legendary John Peel favourites Stackridge, Billy has ended up as producer on this debut album by Mutter Slater. Just the opening track, the humorous ‘Excuse Me, Ma’am’, is enough to draw you in and realise why Mr. Bragg found this man so appealing. Just a dozen tracks, varying tempos and moods, all act

as a perfect showcase for a songwriter and vocalist who really does deserve to be better known. Well, for one thing, with a name like Mutter Slater, you’re half way there. His lyrics are well-written, too – check out the wry ‘Pig In The Middle’, with its pointed line: “I wouldn’t treat no woman like that.” There’s a fine, rolling Bluesy celebration of a long-gone rock’n’roll golden age named after a motor bike – the Triumph Bonneville. Quirky and original, give this CD a listen – you’ll not be disappointed.

Roy Bainton

JIMMY WITHERSPOON Singin’ The Blues

Jazz Beat

The soft undertones of jazz-Blues are incredibly dignified. There is no greater sense of place in the world than that of a singer understanding his Blues. On this collection, recorded between 1958 and 1970, Jimmy Witherspoon becomes a fantastic example of how the mature Blues can be presented. The album’s opener, ‘S.K. Blues’, prepares the listener for a softspoken melodic breeze, whilst its follow-up, ‘When I’ve Been Drinking’, begins to touch upon the tough subjects of the Blues: “I won’t have to break my fists/When I’ve been drinking.” Gleefully, the band keep in line throughout the CD; there is no shakiness and each musician performs on a professional level to the extreme, but that seems to be the only negative point of this type of music - error was unaccounted for. There is a feeling that each man plugged away till each note was perfect, which isn’t a bad thing, but when a plateau is hit early on, nothing particularly spectacular can be noted since.

Matthew Clarke

PAUL THORN BAND

So Far So Good Live PAUL THORN A Long Way From Tupelo

Perpetual Obscurity

NAJMA AKHTAR & GARY LUCAS Rishte World Village

The stylish imagery of the rainbow and mystical album cover give absolutely no indication of the Blues inside. Veiled and veined, closer inspection reveals our two stars, deliberately ambiguous, yet enticing in their vision of hip anticipation. Gary Lucas is a sharp dressed man, and inside he offers a pure Blues backdrop to Najma Aktar’s very Eastern vocal swirl. Lucas’s chords open the album, as they do most tracks, before Aktar layers her smooth and absorbing voice, injecting a mix of clarity and confusion. Her meandering vocals engage trance-like with Lucas’s persistent guitar, as Indian melodies begin to dominate. ‘Aksar’ suggests a sorrowful tale simply by intonation of the Aktar sound. Indeed, the wonderfully extensive liner notes go on to say it is based on a tale of lost love and overactive imagination. More mystical and dreamy is ‘Woh Din’, a seductive story of romance that is halted with the next track ‘Special Rider Blues’. Gary Lucas’s favourite artist is Skip James, and this cover must be one of the most unusual. It works and will excite those of an open and exploring mind to be able to accept this chilling hybrid of cultures. Blues purists might disagree yet shouldn’t deny the

You can’t mistake Paul Thorn’s voice, so instantly recognisable with that husky ‘grain’, which only belongs to those who’ve enjoyed many long smoky, alcoholfuelled evenings - all the power of a wild beast and the tenderness of a true poet. Paul Thorn isn’t just a voice, he’s also a presence. On stage, he becomes an untamed animal who gives it everything he’s got, and that’s what you find in this live double album “So Far So Good” (featuring a seventeen track DVD and a sixteen track CD). You’ll be taken in by the sensational ‘Heart With 4 Wheel Drive’ or the hard-hitting ‘Burn Down The Trailer Park’, which reminds you that Paul was a boxer with quite a punch. But he doesn’t hold back to show you his other side, that of a man with a big heart, as tender and touching as his ‘Mood Ring’. And that double-faceted personality shines through in his latest album “A Long Way From Tupelo”, in which Paul confirms his ability as a true performer, whilst proving he’s also a charmer and poet. He’s a kind of dandy; a mix between Bryan Ferry and Calvin Russell, something Miles Copeland understood when he helped him release his first album “Hammer & Nail”. You don’t know it? Then get a feel for it as one of the main tracks is featured on the CD and DVD, a track as powerful as the hammer hitting a nail. When in studio, Paul brings as much energy and power as on stage, but it’s more channelled, as if in the former boxer’s life, there were two rings to show his talent: the studio and the stage. In studio, the power is controlled and the punchiest of tracks hit you hard in the stomach without ever knocking you out, so that you can continue enjoying the rest of the fight, and the twelve songs left, some of them love songs with that husky and powerful voice of Paul’s which makes you feel weak at the knees. This is an album you won’t put away in a hurry.

Frankie Pfeiffer/Nat Harrap

musical skills on show. Rhythmic percussion and discordant violin add more width on ‘Parda’, as an Urdu hoedown ensues. Delightful and diverting.

Gareth Hayes

NAOMI SOMMERS

Sommers is still a youngster but has already been recorded on around fifteen albums, and is musical proficient whether playing acoustic guitar or offering gentle vocals. Every song on this fourteen-track Americana album comforts with a duvet warmth that is matched by the glow emanating from the sleeve pictorials. That warmth is also inherent in the titles and metaphorical lyrics. Lush harmonies comfort as assorted instrument interject with smooth interludes that add to wider orchestration. In some respects, it is a bit too smooth, but who is going to expect anything different after the pure natural feel of the livery. ‘Hypnotizing’, in particular, offers an entrancing hug, as does the title track. A faster paced ‘Sea Of Heartbreak’ employs banjo and fiddle to neat effect, and, befitting the

mood of the album, puts a happy frame on a sad song. Hints of voodoo are recalled for a wandering mind on ‘Mama’s House’, as territories change with sweet transition. Lovely trumpet harmonies force their way in on a number of occasions, where dirty climatic Blues could easily have been an option. The mellow brass works and confirms the clean and safe Americana sound that engages bluegrass and folkcum-jazz. If there’s such a thing as trumpet Blues then there a few tracks here that steal that name by a margin. ‘Hard To Love You’ in particular is a worthy standard and, as such, trumpet player Daniel Rosenthal deserves a mention.

Gareth Hayes

CHARLIE MORRIS BAND Ten Tall Tales

BluesPages

This American, who splits his time between the US and Switzerland, has released several Blues albums, and this is his latest effort. He is backed by members of his Swiss touring band, and he opens the set with one of the better tracks in ‘Got Greedy’, employing some nice slide guitar to a talking Blues number, with a political message about the insatiable greed that the US clearly has over foreign oil. It is followed by a funky keyboard led ‘Monsieur Miracle’, which has a laid-back New Orleans feel to it. There are plenty of Blues shuffles on offer on the ten original tracks, and it is a very easygoing album that is all about the songs. Morris is an adept guitarist, and lets rip occasionally, but he doesn’t overwhelm the songshe serves more to compliment them. We get the regular Blues

THE

ROBIN HOARE BAND A Time And Place JAY TAMKIN Sorted

Rokoko/Wienerworld

Great Blues guitar is about elegant tone and an economic style. Cascading distortion, an overzealous use of effects pedals and a flurry of notes are an instant turn off! Therefore I have great pleasure in presenting contrasting, but equally impressive releases, from two British artists, who clearly know what it’s all about. The Robin Hoare Band are a highly respected act based in Sheffield. Their new release, “A Time And Place”, is a collection of ten original songs showing a strong Blues influence, but also introducing other influences, including funk and jazz. The funkier side of Blues isn’t something that particular appeals to me, although I appreciated Robin’s Albert Collins influence on the first two tracks. But the third track, ‘A Tale To Tell’, with a great Peter Green style guitar intro, quickly brought this CD to life. And it would be shameful of me not to give credit to some lovely piano work from Dale Storr. Elsewhere, ‘Like A Game’, ‘Found Myself A Friend’, with Dale Storr’s piano putting in another impressive appearance, and ‘Online Gambling Blues’, giving a contemporary twist to a traditional theme, all standout. Although less traditional in style, “Sorted” from Jay Tamkin is a highly impressive release, particularly from a 22-year-old. Twelve imaginative tracks, showing great musical maturity from such a young man. His influences are easy to identify, but Jay is no mimic, and although the obligatory SRV influence rises to the surface, on the Texas groove laden ‘Got A New Reason’, it’s impossible to criticise him for it. The CD is littered with great guitar moments. Just listen to the solo on ‘I Remember When’ for just one example. But it’s not just his solo work that impresses me. Jay uses catchy melodic rock riffs and picked phrases to weave an interesting tapestry into his work, the excellent opening track, ‘Get In Your Way’, is a fine example of what I mean. There are also two tracks showing Jay’s diversity. Tracks four and eight (or intermission one and two) are acoustic work outs showing Jay’s jazzy background - the bustling Django Reinhardt style ‘Nice ‘n’ Jazzy’ and the Latin laid-back feel of ‘La Frescura’. “Sorted” is an impressive debut release, and Jay is certainly in danger of getting some serious recognition.

Davide Styles

AMAR SUNDY Sadaka

DixieFrog

The son of a Touareg, Amar Sundy does not play traditional Blues. He is proud of his origins and he expresses them through a rhythm deep-rooted in North Africa, and the percussions bring out again and again this tribal atmosphere throughout “Sadaka”. Feel the rhythm which flows through Amar Sundy’s life in this album’s fourteen tracks, all written or co-written by the man himself. This CD is a ‘work of art’ with its own universe - its percussions, electric and acoustic guitars. There are some impressive guests: Pura Fe’ sings and plays the Hawaiian lap-steel guitar on ‘El Hathab’ and ‘Men’Na’, Eric Bibb sings and plays guitar on ‘Sahraoui’, and Joe Louis Walker takes on the vocals and plays the six-string on ‘Prisoner Of Misery’, giving this album a taste of magic - a taste of the desert. For Amar Sundy, there is a Bluesy base to which he adds bright or pastel colours. There are no black skies or dark thoughts, no fury nor rage; everything is peaceful, calm and serene. It will maybe surprise amateurs of pure Blues, and a real discovery for all of you wishing to embark on a musical journey. The album can be summed up by Amar’s own words: “Going about his nomadic way with his light thoughts, the blue man vanishes like a scent recaptured by the desert.”

Frankie Pfeiffer/Nat Harrap

topics, drinking, gambling and women - and the lyrics display wit and character. The centrepiece would probably be ‘Never Coming Home’, a lengthy slow Blues about road weariness in the music business. This is an enjoyable release without me itching to throw it back in the CD player immediately.

Andrew Baldwin

dance - I enjoyed every single one of the thirteen tracks on offer, made up of twelve originals and a closing, rearranged version of the Jackie WIlson tune 'Higher And Higher'. I loved the organ drenched 'One Eyed Jack', which also benefits from some Wet Willie style chick backing vocals (courtesy of the Stacked Deck Singers), the sprightly 'Money Talks', the a capella (you read that right) 'Come To Testify' and the slow, swamp Blues of 'Make My Woman Cry'. Hell, I could just list every song on the record and dribble over them all. This will definitely sit near the top of my best of list come the end of the year. So it’s big props to Tas Cru for a job very well done.

Stuart A Hamilton

JOE CASSIDY AND THE WEST END SOUND

The 47th Problem

Avenue A

The problem with Joe Cassidy’s “47th Problem” could be that it is likely to be described as sub-Dylan-esque in its troubadour-rock delivery and design. This pigeon-hole makes it additive though, rather than lower-league, as most of the album is well-worked and worthy. Cassidy’s singing style may be derivative, it will remind you of so many others, too (from Mark Knopfler to Joe Ely), but this shouldn’t deflect from a novel approach. Some of the straightforward rock tracks are contrasted with dramatic stance in ‘Beirut Boogie’ and the mammoth ‘Willie Mays’. The former conjures military dust and the latter a soundtrack that demands greater attention. ‘G3 Blues’ is an undeniably catchy, yet retro house-rocking snapshot of the band’s potential to party. By track eleven, ‘9th Floor’, the band assume a fully-warmed up posture (it’s not a live album) and some lovely slide guitar provides accompaniment to Cassidy’s poetry, which is lazily creative and reminiscent of Lou Reed. Lovers of album packaging will appreciate the gatefold sleeve and conceptual artwork.

Gareth Hayes

CHAZ DePAOLO Bluestopia

Rojer

I thoroughly enjoyed this, but then I've always had a soft spot for the irreverent approach to genres taken by the likes of Asleep At The Wheel. So when someone comes along, mixing up Blues, country, southern rock and even bluegrass, then there's a fair chance that they're going to make me a happy man. Of course, that's all by the by, if they forget to write some good tunes. Luckily, that's something that Tas Cru has in abun-

Chaz DePaolo is one of those Bluesmen who seems to be permanently on tour, and is probably playing somewhere right now. He's played with the likes of Buddy Miles and Commander Cody, and this is an enjoyable album. Equally split between originals and covers, straight from the off on album opener 'Down So Long', the Albert King tune, you can't help but be impressed by the guitar work of DePaolo and sax man Robert Chaseman. It's actually the funky brass work that really helps push this album along, lifting it from the ranks of the ordinary. Of the originals, it's the slow Blues of 'Woman In A Black Dress' that lifts the honours, although the closing instrumental 'Slideadelica' runs it close, as it's dripping with B3 organ and a guest appearance by harmonica whizz Jason Ricci. Out of the covers, you can't go far wrong with 'No More Doggin', the Roscoe Gordon tune that bounces along on a sprightly piano riff, courtesy of David Maxwell. It's not all one paced, as DePaolo demonstrates on the aforementioned slow Blues, and he even puts down his

electric guitar on 'Pearly Gates' to turn in a delightful acoustic Blues number. An enjoyable, but brief album, it comes and goes in under forty minutes, just like the records of old.

Stuart A Hamilton

THE ALAN FREED ROCK’N’ROLL BIG BAND A Stompin’ Good Time

Ace

The story of disc jockey Alan Freed is one of those American tragedies, which only the music industry could produce. In many respects, it was his audacity as a DJ as early as 1949 on radio station WJW in Cleveland, where he dared to play black R&B on predominantly white airwaves, which propelled him to the prow of the new ship rock’n’roll on 1010 WINS New York by the mid-50s. Freed wasn’t really a bandleader – he never even attended the recording sessions, and these line ups (average age 45-50 – not exactly rock’s teenage generation), including star saxman King Curtis, were recruited by Sam ‘The Man’ Taylor. The tracks are still invigorating, vibrant, punchy and seething with ‘50s energy, yet you’d not want to listen to the whole twenty-four tracks in one session. Sadly, the big band in R&B was already waning by the time these cuts were in the can, and within a year Freed’s career was down the pan after his continuing cross-culture bravado caused a riot in Boston in 1958, whilst the close proximity of a white dancer on screen to black singer Frankie Lymon got his show banned from TV. Then came the payola scandal and Freed’s life took a dive. Alcoholic, he died, aged just 44, in 1965. This CD, however, is a stirring reminder of the dazzling early days of rock’n’roll.

Roy Bainton

COLIN LINDEN From The Water True North

There is no doubting that Colin Linden is a polymath of the music scene, whether it be writing, producing or performing. This time, he takes a turn at the microphone, whilst self-producing. The theme of the work is a memorial to the trials and tribulations of New Orleans at the time of Hurricane Katrina and her subsequent recovery. The album puts us in New Orleans from the start, and the clever use of percussive instruments on the opening title track mirrors watery elements, as strained guitar raises the emotional level. ‘Built Right On The Ground’ has withdrawn vocals and a guitar beat taken straight from hobo Blues that gives an honest acoustic vision. The understated sound is not too far away from Ry Cooder and the likes of Guy Tortora, where intricate picking and shuffling works well for intellectual attention or for just leaving it in the background. Rick Estrin styled comic Blues structure is exercised efficiently in the shape of ‘Trouble Only Comes In Threes’ before the mainstream rock parable ‘Between The Darkness And The Light Of Day’. The interesting crooning throwback ‘John Lennon In New Orleans’ is a bit of a misfit, especially parked next to the sepulchre ‘Later Than You Think’. The album will tug a nerve amongst anyone connected to New Orleans.

Gareth Hayes

DJERICHO The Whitechapel

djericho.co.uk (EP)

It’s a mystery to have nine tracks on an EP, but this is a mysterious piece of work. The nourish location fraught with shadowy corners and elusive characters is self-fulfilled in the style and atmosphere of the conceptual album. Smoke and shadows mirrored in horns and double bass. It is a pedalling of a slow groove that makes it a jazz work that enters and streams across other genres. It is a monochrome delight. It would be obvious to call ‘Icecream’ the coolest track, yet it is. ‘Upslide’ takes a improvisational title and makes it an improvisational sounding track which clever skips and deviates from the straight and narrow. There are no vocals on the album apart from on ‘Whitechapel Beats Factory’, the last track, which flicks the noir to neon as elements of techno override the ambient Blues mood. Perhaps this is an analogy for the changing face of the East End of London. An interesting piece that tests tastes, and attracts the innocent down alleyways typically out of bounds.

Gareth Hayes

LITTLE LOST DAVID Skin And Bones

SonyATV (album sampler)

‘Skin And Bones’ is a Celtic folk ballad, but, as with the debut EP, if feelings, emotion and human soul are part of the Blues, the CD has the essence of the genre. Its starts gently, with marvellous vocal, harmonies and instrumentation, and finishes in a turbulent flurry of harmonies and instruments. ‘Hell Followed’ shows David’s recondite songwriting ability, in this delicate, predominately folk ballad, but with Blues hazes to the vocal. ‘The Lost Child’ is a song that shows David’s music in the same vein and quality as Jethro Tull. 'The Lost Child', with its mix of folk and R&B, is reminiscent of Roy Orbison in vocal quality. It’s not traditional Blues, but I do hope someone other than me is listening to David!

Carol Borrington

MAGGIE ROSS AND PHOENIX BLUES

Maggie Ross And Phoenix Blues

myspace.com/maggierossblues (EP)

In January 2009, Maggie Ross walked onto the Blues Matters! stage at Skegness’ Butlins Rock And Blues Festival to take part in the public jam session. It is no exaggeration to say she blew the crowd away. Maggie at that point decided that she wanted to sing the Blues and put together a band called Phoenix Blues. This is their first EP, consisting of five tracks, all classic covers. ‘Fuel To Burn’ is a hot Blues-rock version, which Maggie aces with her vocal acuity, power and passion, and great instrumental back-up. ‘I Just Wanna To Make Love To You’, the Etta James classic, is tackled with grit and full vocal belt - there’s some pretty impressive guitar work on this track, too. She can sing a ballad, too - listen to her version of ‘Loving Arms’, which will break your heart.

Carol Borrington

JOEL OWEN

Joel Owen

Musician (demo)

This is a four song demo from Leicester’s Joel Owen. Joel made his recording debut in 2006 releasing “One Of Those Days”. He quickly began to establish a reputation on the Leicester acoustic scene and is now making his continues on page 98

Blues

CREEDENCE CLEARWATER REVIVAL

Creedence Clearwater Revival

Bayou Country

Green River

Willie And The Poor Boys Cosmo’s Factory

Pendulum

Fantasy/Universal

Creedence Clearwater Revival came from nowhere with their self-titled debut in 1968 and by 1970 were one of the biggest rock acts on the planet, but, in time-honoured fashion, it didn’t last, and by 1972 they were no more. Their legacy was assured. A multitude of albums had virtually invented the canon of southern rock. Their self-titled first album, released in 1968, spawned one hit, ‘Susie Q’. Like many bands at the time, they relied on cover versions, including Wilson Pickett’s ‘Ninety Nine And A Half’ and ‘I Put A Spell On You’ by Screamin’ Jay Hawkins. Even at this early stage, John Fogerty’s rough and wailing voice was in place. The band really hit their stride with their second album “Bayou Country”, which was released in 1969. It saw the band hone their southern Blues and rock styles, with John Fogerty becoming increasingly confident, both as a songwriter and as a singer. It still stands up as a truly great record, from the swampy groove of ‘Bayour Country’ to the fratparty funk of ‘Good Golly Miss Molly’, they were on the money with every track. The album’s biggest hit, ‘Proud Mary’ proved that Fogerty was a force to be reckoned with. “Green River” was released a few months later, still in 1969. Unlike the first two albums, there were no longer jam tracks, just tight playing. It spurned several hit singles, including ‘Bad Moon Rising’. Fogerty’s southern drawl continued to evolve and the album was quickly followed by another, “Wille And The Poor Boys”, which also came out in the same year. By now, Fogerty really was firing on cylinders. “Wille And The Poors Boys” contains some of his best songs, including ‘Fortunate Son’. Critics still tended to look down on the group and their lack of pretension, but the public loved them. Their next album, “Cosmo’s Factory” came out in 1970, and it was another faultless set of taut, rocking Blues. By this time, the band was shifting serious units and the album produced several hit singles. It was their fourth album in two years, but the quality had not dipped at all. Whatever problems there were between band members, and by this point, there were a few, they didn’t show. It was only with “Pendulum”, which was also released in 1970 that the wheels started to come off in spectacular style. Within two months of its release, Fogerty had quit the band, leaving the three remaining members to soldier on until 1972, when they called it a day. “Pendulum” took a bit of a pasting at the time of its release. Looking back, it’s certainly not a bad record, but it’s easy to see why critics/fans used to their rough and ready rock’n’roll grooves might object to the more soulful and polished production on offer with this album. The band left behind them a series of excellent albums, which set the template for many other Blues-rock acts to follow. All of the reissues come with previously unreleased tracks and informative liner notes. They came, they saw and, by thunder, they rocked.

CHICAGO BLUES HARMONICA PROJECT More Rare Gems

Severn

The next time someone tries to tell you that the traditional Blues is dead in its original setting, don’t say anything – just play them this CD. This follow-up to 2005's “Diamonds In The Rough” brings together a bunch of Chi-town Blues club regulars – from the relatively well-known Harmonica Hinds and the recently deceased (2008) Little Arthur Duncan, through the ‘known only to the cognoscenti’ Russ Green, and on to an unknown, such as Big D, this presents a romping, stomping, rocking, rolling, lowdown selection of a dozen tracks. This is the

pure, unadorned Windy City Blues – though with just the merest hint of funk on Jeff Taylor's cover of Jimmy Reed’s 'Honest I Do', and all with superlative backing courtesy of a group of young-ish veterans, going under the totally appropriate name of The Chicago Bluesmasters. Billy Boy Arnold sounds to be a major influence on several of these performances, and, in my book, that is a recommendation in itself.

Norman Darwen

In the swing and Americana side of Blues, Bay Area singer and harmonica player discovered his musical direction while at university. This, his third full solo album, and a couple of years in the making, is a lot more authentic than what most young Bluesmen produce. The opening title track, despite its bubblegum pop party lyrics (think Racey), nods heavily to ‘Mustang Sally’, crossed with Eric Burden’s two War albums. So, that’s no bad start, and from then on it’s more mainstream Blues, with a boogie rhythm, spanking piano and a heavy lean on the lead harmonica. There’s a soulful and jazz feel to the ballads. Most of the tracks are selfpenned, but one cover most will like is Ray Charles’ ‘If You Were Mine’, where the piano and guitar have a chance to shine. A good album with variety to keep you interested.

Joe Geesin

NICO BRINA

25 Years Live On Stage 1984-2009

nicobrina.com

German Swiss boogie woogie pianist Nico Brina now has seven CDs, one DVD and one LP to his name, and for his 25th anniversary, he has released “25 Years Live On Stage 1984-2009”, with sixteen tracks recorded separately at various concerts. The set opens with ‘Jump Ahead Boogie’, an instrumental which sets the listener rockin’ and hungry for more. He then follows it with a cover, ‘All Shook Up’, which sets a pattern for the rest of the album, as originals and covers arrive alternatively throughout the set. The covers include classics such as ‘In The Ghetto’, ‘Route 66’ and ‘Whole Lotta Shakin’ Goin’ On’. Most of the covers are good but some don’t lend themselves to a boogie woogie interpretation, such as ’’Before You Accuse Me’, which seems disjointed. The originals are a great vehicle for Brina’s wonderful boogie woogie technique and are, without exception, good high quality stuff to make the heart stir. Brina plays with a four-piece band, with bass drums and guitar, and some of the guitar playing is pretty tasty, too. The set also includes the world’s fastest boogie (as certified by the “Guinness Book Of Records”) - ‘Nico's Highspeed Boogie’which is good fun. This is a terrific album!

Kevin Wharton

JOEY SKIDMORE

Ventriloquist Doll

Sunthunder

This is Kansas singer-songwriter and guitarist Skidmore’s sixth CD. It features the last recording of friend and comusician, the late Nikki Sudden. Nikki’s final acoustic guitar track being laid down for the CD just two weeks before his death, and therefore a special project for Skidmore. The material is mainly self-penned by Skidmore, with contribution by Sudden and a few covers, notably one by The Who. The opening track, ‘Pistol In My Pocket’, sees Skidmore and Sudden sharing the vocals in a punky rock number tinged

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mark in London. On this demo, Joel is backed by a sparse band, featuring just percussion and saxophone. It works quite well, but Joel’s gentle and morose voice is slightly irritating, and musically his work lacks punch. This is not Dylan or Neil Young. There is something uncomfortable about the whole concept of Joel’s music. And to be fair it is a trait that exists in the work of number similar musicians that seem to have sprung up recently. There seems to be a pretentiousness which exists in the artist as well as listener that really has is no place in any form of folk music.

Davide Styles

PEGGY SUE Lover Gone

myspace.com/peggywho (EP)

This band has, from its onset, experimented with their Blues folk rooted music. The thing that hits home on this EP is the growing level of maturity and command in the vocals. Each have impressive vocals in their own right, but combined they hold a magic symbiosis. Gone are the naïve and child-like vocals, in are the vocals of growing top quality musicians, gaining the dirt of musical experience under fingernail. The title track is only short but hits the spot. ‘Milk And Blood’ is raw and Blues rooted, while at the same time showing the band’s unique talent to innovate and create in new formats. ‘The Conservationist’ lyrics are complex and its tempo rises and to match their narrative perfectly. This band just keep on growing!

Carol Borrington

MICKEY WYNNE Running On Empty

Harmonia (EP)

Liverpool born Mickey learnt to play at 6, became a songwriter at 9, and by 16 years old was teaching Julian Lennon to play guitar. He’s been a top session player; house-writer for MCA, producer, played in numerous bands but, with this EP, is stepping out in his own right. The EP opens with the title track, which is a Bluesrocker and a glorious melting pot of the influences of Blues roots - Peter Green’s Fleetwood and Led Zeppelin. ‘Against All Odds’ is a confessional rock ballad. 'French Blooze', with its convoluted lyrics and equally complex structure, is interesting. ‘All Quiet’ is a punk Blues style protest song, with profound, passionate and condemning lyrics. He’s different from the rest of the pack!

with Blues, before the track ends in an explosion of instrumental rock. The title track, ‘Ventriloquist Doll’, with Skidmore’s deep macabre vocal and convoluted lyrics telling a tale of lost love are suddenly interrupted by a tender rock Blues guitar solo, before growing musically dark again, giving the whole thing an eerie feel, as Skidmore chats to his new friend - a dummy!

‘It’s Gonna Be Alright’ is a mix of Blues, country and rock and comes from the pen of Sudden. Its catchy lyrics and an impressive instrumental section makes for good contrast to the more heavy weight rock. The CD ends with The Who classic ‘The Good’s Gone’, and Skidmore puts his own creative slant on this cover. His dark vocal, the pounding drum beats, thumping piano and guitar riffs, end this CD in true Who tradition - heavy, loud and with clout.

Carol Borrington

THE BLACK CROWES

Warpaint Live Eagle

When The Black Crowes announced their hiatus after the poorly conceived (and received) “Lions” album in January 2002, few expected the band would return – but after Chris and Rich Robinson had got their solo albums out of their systems, and Chris’ marriage to Hollywood siren Kate Hudson came to an end, the band returned with the acclaimed “Warpaint” album in March 2008. It’s an indication of how sure the band were about this release, and its ability to stack up against their favourite songs, that they played the album in its entirety at the Wiltern Theatre in Los Angeles on 20th March 2008 (even Neil Young came unstuck doing this!). In a live setting, the album is even more impressive; Chris more grandiose – given free range to holler, scream and ham it up when necessary – and breath-taking soloing (‘Oh Josephine’) as the group open up and songs trail off on extended jams. The real star, however, is Luther Dickinson, given the spotlight and showing himself as one of the most intelligent if underappreciated slide guitarists today. Even the album’s weaker moments – in particular, ‘Ever Green’ and ‘Wee Who See The Deep’ - are elevated given a heavier sound and deeper groove, whilst ‘Movin’ On Down The Line’ is given an otherworldly Zepp-esque (‘No Quarter’) treatment, before transforming into an old-fashioned boogie. Great fun! As a bonus, disc two features six tracks, including favourite ‘Bad Luck Blue Eyes Goodbye’, old b-side ‘Darling Of The Underground Press’, and four covers, standout being Delaney and Bonnie’s ‘Poor Elijah/Tribute To Johnson’, given the full Crowes swaggering treatment. On this form, the only question is why they never became the biggest band on the planet – and why Robinson isn’t regarded today as an all-time great rock vocalist.

THE ARTWOODS Art Gallery

Repertoire

The Artwoods, one suspects, have evaded the radar of many music fans, probably because their bid for stardom in the mid-60s was ultimately unsuccessful. Their pedigree was unmistakable - Ronnie Wood’s younger brother (Art Wood) fronting alongside drummer Keef Hartley (before he joined John Mayall), and a pre-Deep Purple Jon Lord. This rare and generous twenty-six track album is almost a microcosm of popular music of the era – Wood had a solid Blues apprenticeship with Alexis Korner, but his own music reflects shades of Manfred Mann, The Doors, The Zombies, The Moody Blues and The Rolling Stones, and even perhaps a Vivian Stanshall homage in the opening lines of ‘Keep Lookin’’. Nevertheless, this is a serious album and merits more than one listen if you find the ‘60s sound a little basic and formulaic – The Artwoods stuck to the rules, but broke them frequently enough to become conspicuous versus many of their contemporaries. The clear standout track, as pointed out by Chris Welch in his excellent sleeve notes, is the atmospheric Blues number ‘Walk On The Wild Side’ (no, not that one), which demonstrates a willingness to experiment, and indicates that even with shorter hair and a mod suit, Jon Lord’s Hammond playing had aspirations for something altogether louder and heavier – ‘Hush’ was simply one step away. A lost treasure for those who like their R&B upbeat and nostalgic.

Richard Thomas

JOE PRICE Rain Or Shine

Blues Acres

If you are after smooth, polished production then I am afraid this CD will just not be for you. If, on the other hand, you want to hear your Blues on the rough and ready side, recorded sim-

ply and very obviously in one take live then certainly check this out. The ten tracks may all be new originals but they hark back clearly to the masters of the genre: Honeyboy Edwards, John Lee Hooker, Elmore James… The tracks are an equal mix of instrumentals and vocals and, from the off, there is just a true essence, love and reverence to how country/Blues started out. So foot stomping, goodtime swing is present in bucket loads to rattle the walls and floorboards. 'Hornets Nest' gets things rolling with Joe's throaty vocals over the top of strident National guitar. It sounds so natural, authentic and so wonderfully infectious that you don't want it to stop. Switching to electric for 'Joe's Guitar Stomp' continues the fun. Mostly solo throughout, except when joined by his wife Vicki on vocals, and playing a mean guitar herself on 'Steel Guitar' and 'Last Stop Now'. The rousing 'Beer Tent Boogie Woogie' and 'Rock Slide' draw things to a close.

Graeme Scott

POLLY AND THE BILLETS DOUX Fiction, Half-Truths And Downright Lies

Bleak Mouse

Polly And The Billets Doux are a four-piece English group who are trying to pull of that clever balancing act of mixing folk, Blues, country and a bit of soul. It's a laudable ambition, and one that they come close to achieving on more than a few occasions. Polly Perry takes care of vocals and double bass, Andrew Steen plays guitars, harmonica and vocals, Daniel Everett plays bass and sings, and Ben Perry hits the drums.

Darren Howells

They are very keen on harmony vocals, but they come across a wee bit ramshackle, although given the style of music they're purveying that may actually be deliberate. It's also just as well, as none of them are standout singers. However, they have an enthusiasm and a zest that makes songs like 'Follow My Feet', 'Don't Trouble Trouble' and 'Lead Me On' a pleasure to listen to. It's a very olde worlde sound, as they saunter through their hand-crafted songs, which wouldn't be out of place in an old black&white photograph. It's the kind of thing that should have been issued on wax cylinder rather than a CD, and although it won't be making many visits to the hi-fi, when it does, it will be warmly welcomed.

Stuart A Hamilton

DAN HICKS & THE HOT LICKS

Tangled Tales

Surfdog

The band name and album title suggest that this is one horny sexual and sensual piece of work; just the ticket for taking romance a little further. It is certainly innuendo driven, but with the music having more skiffle than rough and tumble, it may not light that candle of love and lust after all. Moving hillbilly melodies in and out of the aforementioned skiffling, this is good time music from the barnyard. ‘Blues My Naughty Baby’ takes us back to an innocence, lying somewhere between the ‘30s and ‘50s, and by the time ‘Song For My Father’ comes

THE MIGHTY BOSS CATS

The Mighty Boss Cats

The House Of Blues

themightybosscats.com

around, the scene is well and truly set for crooning and spooning. Hicks casts a vocal shadow like the late John Martyn on the slower numbers, such is his drawl and inflection. Swinging fiddle on ‘The Rounder’ replays the dance hall theme, and smooching is replaced by hoedown. Cajun flavours many tracks and ‘Ragtime Cowboy Joe’ would tantalise cowpokes and farmhands from California to Cumbria, or anyone that likes to chew straw. To cap it all, ‘Let It Simmer!’ ends the album by bubbling over and lifting the lid on a broth that proves to be an aphrodisiac after all.

Gareth Hayes

DEANNA BOGART BAND 11th Hour

Vista

Deanna Bogart is a multi instrumentalist and singer-songwriter who has performed with an impressive list of artists, including Buddy Guy, B.B. King, Brian Setzer and Larry Carlton, to name just a few (which speaks volumes for her talent). This, her latest release on Vista Records, combines many elements, including soul, R&B, jazz, funk, country and Blues, and while it’s certainly versatile, at times, I feel that there’s just too many styles on offer here, which often leaves the listener slightly confused as to the overall direction. There’s certainly no denying the level of musicianship, though, and along with contributions from Tommy Castro and The Knight Bros, every band member sounds on top of

Richard Townend is omnipresent throughout these two Mighty Boss Cats efforts, and there really isn’t much to distinguish between the two pieces of work. Both come across as works in progress, or possibly works done just for fun, rather than any serious ambition to hit the ‘big time’. ‘Plenty Of Time’, from the self-titled album, is a six-minute shoegazer reminiscent of the style of JJ Cale. It shouts out for an angrier guitar, not to take away from the mood, but to add greater presence and identity. Perhaps adequate refrain makes it fit for purpose. JJ Cale is perfectly referenced again on ‘Can’t Understand’, which is a delightfully intricate skiffle. Delta Blues is the theme in the lyrics of ‘Down In Mississippi’, and whilst the dreamlike excursion is adequate, the lack of dirt and grime means the excursion is as a tourist rather than as a resident. Overall, there is a surprisingly narcotic infusion across both albums. This seems at conflict to the band’s name that suggests something more hip and happening. Restrained rockabilly would be the theme of the later tracks, and they are flawless yet not fulfilling. ‘The House Of Blues’ has more depth in production and, if anything, is more Chris Rea than JJ Cale. All the music is instantly likeable, but the title of the album does betray the content - it is more lullaby than angst. This is best exemplified by ‘Advice Of A Fool’ that could be positively compared to Clapton’s ‘Tears In Heaven’ for pace and performance. ‘Country Farm’ is a clever concoction of Delta and modern Blues. ‘I Need A Friend’ is a companion piece for ‘Put Your Faith In Jesus’, and both could be labelled as Blues from the pews. Both works won’t challenge any faiths, but it is redeemable nonetheless.

Gareth Hayes

their game - the instrumentals ‘Almonjoi‘, ‘Unkl Funk’ and ‘Thrash Boogie 2010’ demonstrate this perfectly. Bogart herself plays piano, tenor sax and handles vocal duties throughout, and puts in some fine work - the highlight being the title track, ‘Eleventh Hour Blues’, which conjures up images of a late night smoky jazz club.

Steve Hoare

KIMON & THE PROPHETS Roadhouse Party

myspace.com/prophetsband

Fans of Stevie Ray Vaughan will lap up this three-piece as they launch into a fiery selection of electric Blues. Kimon Katafigiotis heads up the trio, but there is no doubt that the support team are, like with the Stevie Ray sound, very much part of the package; in particular Concrete Jungle’s Marc Gambino on bass. The first three tracks are powerhouse Vaughan-styled originals that clearly announce the brand.

Considering the veteran status, the vocals aren’t as distinctive as you may expect, but the guitar play is very worthy. ‘You Beautiful Thing, You’ changes the pace, and the introduction of horns adds an extra width.

Considering it looks like a live album, it isn’t, the production is excellent and care has been taken to get the sound on the button.

The tight sound works very well on their cover of Hendrix’s ‘Fire’ and it is clearly a favourite number for the band. The

inclusion of David Bowie’s ‘Rebel’ and ‘Heroes’ also hints at devotion to a previous era; whether they really fit in here is open to question. Kimon’s straining vocals seem more comfortable on the covers than his own numbers, though. It is a competent effort and certainly value for money, as the sixteen track album is accompanied by a satisfying DVD - but we won’t mention the dreadful Don Henley ‘Boys Of Summer’ cover!

Gareth Hayes

THE DAVID LANDON BAND This Time Whip

This is the fourth album from the long-time San Francisco Bay area Blues-rock four-piece, and it’s a good ‘un. Leader and guitarist David is a versatile and highly accomplished player, but all the individual band members have achieved formidable reputations on their local scene. Listening to this accomplished set, it is easy to understand why. If you want to imagine what rock superstars The Eagles would sound like singing the Blues, try ‘Who’s Loving You?’. You want a good old-fashioned pounding shuffle, with very Freddy Kinginflected playing? Try the instrumental ‘Log Jam’ (which also has an excellent break from Tony Stead on the old Hammond B-3). A little deep-soul maybe? Go for ‘Say Goodbye’ then. There’s old-time rock’n’roll, too, a little supercharged rockabilly, a Jimi Hendrix styled psychedelic rocksoul hybrid, a gospel into powerhouse Blues-rock ballad called ‘This Time’ and even a gentle, wistful singer-songwriter styled elegy for a closer. And, of course, the Blues pure and simple - the eight and a half minutes of ‘I’m Gonna Quit You’ is enough to convince most readers, but there are other examples, too, in this very worthwhile release.

Norman Darwen

DARREN DEICIDE

The Jersey Devil Is Here

Ever Reviled

Born in Chicago, rather appropriately on Halloween, Darren Deicide is a self taught guitarist and vocalist, offering a contemporary Bluesy punk brew. Sort of John Lee Hooker meets Johnny Rotten, he no doubt draws on a mix of Blues styles, influenced by the musical environment into which he was born, and then adds an overwhelming dose of death and destruction. “The Jersey Devil Is Here” is a dark brooding offering, fuelled by Darren’s rumbling distorted guitar, stomping foot and menacing vocal, with occasional sparse percussive backing. The overall effect is unapologetically miserable, raw and slightly amateur. With appropriately satanic lyrics on titles such as ‘Napalm, Death, And Fire’ and ‘The Infidelic Boogie’, there is very little respite. Even when Darren switches to acoustic on the title track, the result is even more disturbing. While I admire Darren’s raw approach, the overpowering bleakness of the CD almost makes it a parody of itself, and therefore, I sadly find it difficult to give it any credibility.

Davide Styles

THE LUCKY STRIKES The Lucky Strikes

theluckystrikes.com

The initial blast of distorted fuzz is the kind of opening you wish that every album would start like this (either that or a soft, orchestral hum - but you can’t have it all!). The Lucky Strikes begin as they go on, there is no letting up; its a fuzz train wrecking through old Memphis, prohibition-eras Chicago and New York and the Wild West. The Lucky Strikes sing about chain gangs like it was a recent problem, wailing and screaming an agonising pain. It is, however, a fruitless conservation of an ancient mythology. Yes, they do take a different route to obvious contemporary comparisons, but at the end of the LP you wish for something a little more than a garage rock runthrough of unbreakable country Blues tall-tales. Alas though, more interesting than not. Especially seeing as their sound has enough balls to burst through Mick Jagger’s scrotal bag.

Matthew Clarke

JOE GIDEON & THE SHARK

Harum Scarum

Bronzerat

ROBERT BRADLEY’S BLACKWATER SURPRISE Out Of The Wilderness

Quarter2Three

This band was formed in the mid-90s in Detroit Michigan, when blind veteran street performer Robert Bradley was discovered by Michael and Andrew Nehra, and given the opportunity to record his own brand of singer-songwriter soul music. This lead to an increased profile and brought about local success through regular paid gigging. Fast forward some fourteen years and this erstwhile busker is now friends and collaborator with the likes of Kid Rock.

“Out Of The Wilderness” was recorded in Hollywood and contains more personal observations and tales of hardship and heartache from the pen of Bradley. The compositions are piano based and mostly played at a slow tempo. This and the rather limited range of Bradley’s voice, which called to mind Richie Havens, makes for a rather uninspiring experience. The standout tune is the Bluesy ‘Don’t Pour Water’. Even when Bradley tries to get out his comfort zone, the more up-tempo ‘Everybody Wanna Party’ does not really take off.

Noggin

DAVE SANDERS Fuel Only

myspace.com/davesandersfuelonly

Intriguingly-titled this personal excursion has its feet in many camps, but will always find a piece of itself in the broad rock category. ‘Can’t Get Satisfied’ is suitably manic, with agile slide guitar as it superbly conjures up a mood of frustration - selfpenned, the title shouldn’t be confused with the similarly

“Harum Scarum” is a revelation. The opening bars to track one (also the title track) gives an impression of a White Stripes copycat, the fuzz-Blues sound screaming out of the speakers, adjacent to hurricane-spit slap of the drums. The notion here is to learn not to judge so quickly – well, at least not before Gideon launched into his album-length rant as a self-professed prophet. ‘Civilisation’ follows, an epic spurge of new-age philosophy and post-modern metaphor: Gideon sticking to his sharp-throated lyrics as powerfully as Nick Cave in Grinderman suit or a pensive Billy Childish. Soon, the formula of big muff super fuzz-bound guitar riffs and sparse skin hits is twisted to the frightening (‘Dol’). ‘Kathy Ray’ is the perfect example of a 21st century fairytale, before the band begins to sharpen their hipper-than-thou references for ‘Johann Was A Painter And An Arsonist’. However, the Shark shifts at the half-way point, swapping prophecy for down-to-earth reminiscing and downright heart-wrenching. ‘Hide And Seek’ shows Gideon to be as witty as a decipherable Mark E Smith, where ‘Anything You Love...’ is a gorgeous swaying ballad, whilst never becoming over sentimental. Finally, closer ‘Pale Blue Dot’ shows the real heart of the Shark; a great track to end a truly uncompromising album with as much bite as there is bark.

Matthew Clarke

labelled Blues classic. Sanders diverts down the Blues alley with ‘Ageing Blues (How Frankie Blew Town)’ and an up tempo rocker that bounds along like a Dr Feelgood number. The production is first class and helps the flow of ‘Water, Baby & The Bath Tub’, a daring mix of genres that will please fans of nuBlues. The sequencing of the track listing suggests that there is a story to be told and that Sanders is taking us on his journey. It probably takes more than one listen to take in the ride, and that is a clever carrot for the curious musical tourist. ‘Bedroom Eyes’ and ‘Goodnight’ sandwich the eclectic genre journey that just about grips a challenging rock surface.

Gareth Hayes

KIRK FLETCHER

Even if you don’t immediately recognise the name, there’s still a fair possibility that you’ve heard some of Kirk Fletchers guitar picking over the years, because, for the last decade or so, he’s been one of the ‘go to’ guys when Bluesmen are looking for someone to spark up their band. Which is why, as well as a high profile stint with The Fabulous Thunderbirds, he’s also served time with Janiva Magness, Hollywood Fats’ band, James Cotton, Charlie Musselwhite, and numerous others. However, this 10th anniversary reissue takes us right back to

the days when he was just another young would be hotshot looking to make his name. John Stedman of JSP actually first heard him when producer Jimmy Morello played him a demo recording over the phone, and he signed him up there and then. The album stands up quite well, ten years on, although it can be quite schizophrenic, with two lead vocalists on the main set. Jackie Payne and John Marx take care of vocals, with Payne coming across best. Add in a third singer, Roosevelt Caldwell, on the original demos that appear here as bonus tracks, and it feels more like a compilation than a beginning to end album, especially when the instrumentals are some of the best tunes on offer. Fans will be pleased with this reissue, but it’s not an essential acquisition for the casual passer-by.

Stuart A Hamilton

JON BYRNE

It’s Boring Being In Control

Militant

“It’s Boring Being In Control” is Byrne’s debut album, and it’s an unusual recording indeed. Byrne can be described as an acoustic singer/songwriter, but it is hard to pigeonhole him beyond that. Certainly there is little in the way of Blues. His vocals on this album are harsh and sometimes miss the notes he is aiming for. Sometimes they seem to be out of sync with the music, and they are often grating - I read somewhere that he sings with passion as opposed to talent! There is a dark sense of humour in this collection of twelve songs, but they didn’t work. Some of the humour is a bit too schoolboy and the gratuitous swearing is annoying. Perhaps designed to shock, but it simply disappoints. The subject matter is often bizarre, ranging from sex and drugs to observations on life, including the future generation and death. They all have one thing in common - they put out very dark views of life. Generally the

songs on the album are well crafted and there is some neat backing from some soulful sounding singers. This album is an effort to listen to, and I suspect Byrne’s live performances will be a much more enjoyable affair. Having said that, don’t go if you are easily offended or depressed.

Kevin Wharton

RICHARD RAY FARRELL & THE SPANISH BAND

Camino de Sanluca

Blue Beet

WILLEM MAKER New Moon Hand

Fat Possum

Willem Maker’s back story is disturbing and gut wrenching, and no doubt the knowledge of his past adds to the weight and intensity of his music. As a teenager – and on the road to success with previous outfit Ithica Gin (who were offered a support slot to Ryan Adams) – Willem suffered severe lead and mercury poisoning due to the illegal disposing of copper slag near his home, resulting in manic episodes, time in psychiatric care and the near loss of life. Little surprise, then, that this period inflicts much of Willem’s songwriting, angry on the sleazy Blues-rock of ‘Lead & Mercury’ (“There’s poison lead and mercury/ Raining down on our heads/On our babies’ beds/Stole my youth/took my brightest days”), if still defiant, and somewhat grateful, on ‘Saints Weep Wine’ (“Leave the fever in the past/Ready the plow and sharpen the axe/Raise the dead, love/Rise to the task/Outlast/Outlast”). Vocally, Willem’s growl works best on the more ominous heavy rockers (‘Rain On A Shinin’’, ‘Stars Fell On’, ‘Old Pirate’s Song’ ), his lazy delivery making the lyrics difficult to decipher, and therefore much of the meaning lost on the sparse piano or guitar accompanied numbers (‘Hard To Hold’). Songs are also delivered more as a series of one-liners, often repeated, but with the likes of Alvin Youngblood Hart, Jim Dickinson and Cedric Burnside lending support, the album has the right balance of power and delicacy, and will hopefully see Willem, now 31, regain the momentum with his career so unfairly lost all those years ago.

Darren Howells

‘The Thrill Is Gone’ is a joy, and an equal to the original version, one of the all time classics from the master. Wonderful flowing licks delivered with power and feel for the Blues – lip smackin’ indeed. The rest of the album is a mix of rock and Blues, with a mix of twelve tracks split between four originals penned by Farrell and eight covers. Their version of Deadric Malone’s ‘As The Years Go By’ deserves special mention. Remember Peter Green at his soulful, masterful self? This transports the listener right back then with some stunning work by Amador. The title track, written by Farrell, closes the album, a fun track with some gutsy stuff from his guitar. Every aspect of this album, from writing and production to musicianship, shouts quality!

Kevin Wharton

THORBJORN RISAGER Live At Victoria Cope

This nine-piece Danish band are just super. I had a lot of fun coming to know this music. It is good time stuff that moves along on the sum of the parts. Those parts include influences such as Chicago Blues, soul, funk and a little jazz - and it is a heady mix that gets the feet tapping, and pretty soon you are bouncing around the room. The cuts are all taken from a couple of nights when the band played in Malmo, Sweden – although, at times, the tracks do not flow as if it were a concert you were listening to. Dare I say, in this case, that is probably due to the between song chat being in Danish. The songs, though, are in English, so are very international. They remind me a lot of Canadian band Downchild, and music like this will never age. This really is a hot band. With fine playing, and solos kept short, tight and powerful - it appears that there is hardly a wasted note here. The energy level is kept on max, just the way you expect a roadhouse Blues band to sound like. Ten of the songs are originals, and one from the drummer. This will keep you entertained!

Graeme Scott

KELLY CARMICHAEL Queen Fareena Dogstreet

Playing in rock bands since 1987, it is a surprise to discover that this is only Kelly Carmichael’s second album, and even more of a surprise to find out it is not rock but a very different musical adventure. Banjo and accordion dominate this Cajun adventure from Kelly Carmichael. ‘She’s Funny That Way’ is an addictive prohibition Blues number that enjoys muted trumpet and sepia-toned vocals. Tapping feet, cool slide and shadowy sounds illustrate an understanding of atmosphere creation on ‘The Last Fair Deal Goin’ Down’. The bluegrass instrumental ‘Cincinnati Flow Bag’ lifts the spirits and dancing is inevitable as smiles overcome frowns. For all this exuberance, the album is probably a little too safe, and the expert production makes it very clean - perhaps too clean. That said, the understated vocals help make it very approachable, and will satisfy lovers of the genre as well as newcomers. All the band get an opportunity to shine and display talents on ‘Booker Blues’, especially drummer Jean-Paul Gaster, who works his socks off.

Gareth Hayes

DUKE ROBILLARD’S JUMPING BLUES REVUE

Stomp! The Blues Tonight

SUNNY AND HER JOY BOYS

Introducing… Sunny And Her Joy Boys RONNIE EARL AND THE BROADCASTERS

Living In The Light Stony Plain

These three releases from Stony Plain record company are part of a growing movement of good Blues music, both from indigenous musicians and through recording companies, coming out of Canada. The first CD is by the legendary Duke Robillard. The aim of the CD is to revisit the music that inspired him to a long career as a singer, songwriter, instrumentalist, bandleader and producer - and to try to reproduce the authenticity in a new era. It also showcases the vocal talents of his protégé, Sunny Crownover. This sixteen track CD, with its mix of new and cover material, is certainly a toe-tapper, captivating your imagination for the music that offered so much to future generations. The second is the debut CD by Sunny Crownover and her band, featuring Duke Robillard, who brought Sunny to the attention of Stony Plain and worked the project with her. Originating from Texas, and now based in New England, Sunny takes you on a trip through the Great American Songbook on the first offering of her vocal talents. This CD is more for the jazz market than Blues but Sunny has proved on Robillard’s “Stomp! The Blues Tonight” that she is capable of crossing genres, and it would be great to see her do a CD of more Blues orientated individual material in the future. “Living In The Light” is the latest offering by highly talented US guitarist Ronnie Earl. The CD showcases what a great guitarist Earl is, with his technical precision, but mostly his pure passion for his music. It features two exceptionally talented vocalists in Kim Wilson and Vermont based singer Dave Keller. ‘Love, Love, Love’ features confessional, spiritual-based lyrics, Keller’s rousing vocal and Earl’s interpretative underscore, crossing to a middle instrumental with Dave Limina’s slow emotive keyboard, intermixing with equally heart-wrenching riffs and then finishing in a vocal and an instrumental of frenzied joy. It sets the standard for a CD of quality. ‘What Can I Do For You’, the Dylan classic, showcases the calibre of Kelly’s vocal and Earl’s display of pure guitar excellence, with all the feeling of a classy Blues guitarist.

Carol Borrington

Anyone with Peter Green’s Splinter Group on their CV is going to know the Blues and be worth listening to. Fortunately, Roger Cotton does not disappoint with this, which is his first ever CD. Roger has been a mainstay of the British Blues scene for many years and has toured with many big names. For “A Long Way Back”, he has assembled a crack team of troops, including Buddy Whittington, Marcus Malone and Papa George.

The end result is an engaging selection of Blues tracks, with various singers taking it in turns to do the leads. It feels like a relaxed jam session, with friends enjoying each other’s company. Many of the songs really swing, including ‘Monday Monday’, which is sung by Paul Cox. The assembled band switches from bar room Blues to

swing and jazz, with a real lightness of touch, with makes the whole project great fun to listen to. There is even a fantastic funky jazz interlude with ‘A Day In New York’, which sounds like the theme tune from a lost ‘80s police television show. This is a fun record, which will keep the listener hooked to the end.

Jamie Hailstone

KATE ROGERS BAND Beauregard

katerogers.net

Kate Rodgers is a Toronto based musician and “Beauregard” is her third CD. On this occasion, she has recorded under the name of The Kate Rodgers Band and on her own label. The songs are all self-penned or co-written with fellow band member Matthew Bannister. Kate, and the CD, belongs to that new generation of musicians who are mixing and matching genres, so the CD is a combination of Blues, folk, jazz, rock and even reggae, mixed in with new patterns and sounds. Kate’s vocal is impressive in quality and range. Her intonation and the pure feeling she put into her music marks her out as different from the rest. She’s also backed by a set of highly skilled musicians and not afraid to bring a selection of different instruments into play. So, you get instruments like viola, glockenspiel, dulcimer

and even kitchenware listed on the sleeve! ‘Go’, the opening track, makes you prick-up your ears immediately and want to explore the CD further with its choir vocals, spirited horn section and interesting ending. ‘54 Rounds’ underlines the quality of Kate’s music and its diversity. ‘Stealing From You’ is a moody folksy rock number, great vocal and piano underpin. Each track stands in its own right, but none of them is overtly Blues in the traditional sense. This, though, is a good CD, and Kate’s a talent that needs more recognition.

Carol Borrington

ERIC BIBB

The much travelled Eric Bibb was born some fifty-eight years ago in New York, and both his father and uncle are steeped in the musical traditions of his native country. Eric Bibb has combined acoustic Blues with other roots forms of gospel and folk to create a kind of latter day sub-genre, which treads unashamedly in the footsteps of his hero Richie Havens. His concerts are renowned as powerful and spiritual events; the ones released here are no exception. The two shows were recorded live at FIP Radio-France Studios in December 2008 and March 2009. Spread across the two CDs are some eighteen tunes. Bibb plays fingerpicked acoustic guitar and is

accompanied by Larry Crickett (drums), Trevor Hutchinson (bass) and Staffan Astner (guitars). The concerts finds Bibb in joyous mood, and he presents well known songs such as ‘Kokomo’, ‘Diamond Days’ and ‘In My Father’s House’, with the audience participation he typically encourages. The second CD, from the later concert, has only six audio tracks, including the well known ‘Goin’ Down Slow’, and ends with his ubiquitous composition ‘Don’t Ever Let Nobody Drag Your Spirit

Down’, which features Amar Sundy on electric guitar. Disc two also has a twenty minute enhanced section, which has Bibb in conversation, and also includes brief excerpts from his live performances. Personally, I prefer his studio work, but this is a fine representation of his own considerable live presence.

Noggin

DETROIT REBELLION

Detroit Rebellion Ramp

There isn’t a great deal of biographical information available about this folksy troubadour, but he cites influences such as Leadbelly, Tennessee Ernie Ford and The Beatles. An odd combination! “Detroit Rebellion” is his self-titled debut CD, brandishing story driven acoustic folk, very much in the mould of a modern day Woody Guthrie. Detroit Rebellion tells us that he is returning to his roots, giving us his own interpretation of the songs his “pappy” sang to him. Armed with only his acoustic guitar, he pounds out gutsy, imaginative rhythms on fifteen quirky compositions. “Detroit Rebellion” tells tales of personal experience and comments on politics and social injustice, covering all the standard folk topics. ‘Don’t Make Waves’ looks at civil liberties; ‘War Crimes’ speaks for itself; ‘The Rabbit’ looks at enslavement; and, by now, the obligatory theme of the social issues in the wake of hurricane Katrina is nicely covered in

‘New Orleans’. Although Detroit Rebellion’s music doesn’t hold a great deal of appeal, I liked his no nonsense approach. His work comes across as being far more genuine than anything I have heard from the current folk revival this side of the Atlantic.

Davide Styles

IN PROGRESS BAND Out Of The Blue

THE WORK

theworkinprogressband.com

The four gruff-looking guys who make up The Work In Progress Band relay heavy features on heavy bones and a suggested world-weary appearance that could also reflect a longitude of experience. This is a high-octane album of rich Blues that has the energy of those early-80s releases so popular with labels like Alligator. Chiefly, the Blues albums that you bought knowing exactly what you were going to get. Robust rhythm, grieving vocal and screaming guitar may a formula make, yet, when on form, it’s Blues in the headlights - as simple as that. The title track, also known as ‘Down The Road’, has a rollercoaster back beat of ZZ Top proportions. The pace slows for the curiously titled ‘Dimebug Of Your Love’, which shows that they can go all out funky, too. ‘She’s A Work In Progress’ has the sweetest diversion in tone, and is irresistibly catchy, before the soulful groove of ‘One Woman’ that takes more than a nod to the pace and virtuosity of Robert Cray. No surprise then that their last number, ‘Young Bob Blues’, is a tribute to Cray, where great credit must be paid to John Marshall on guitar.

Gareth Hayes

KRIS MORRIS I Think We Both Know weeksweeksweeks

This is the first full album release from Kris Morris, an Australian-born London-based singer-songwriter who has in the past been likened to both Ray LaMontagne and Ryan Adams. Morris has a distinctive vocal and is an impressive songwriter with some well-crafted songs. The main theme of the album is lost love, such as the title track, or failing relationships like the opener ‘So Beautiful’. Indeed, even the song entitled ‘Old Shirt’ details relationship issues. The album is primarily acoustic based; however, my favourite tune features both electric guitar

THE GROANBOX BOYS

Gran Bwa Groanbox

and drums. The song in question is ‘Oblivious’, which has a fuller and Bluesier sound than the other songs. Lyrically, it is more positive, not wholly unlike Marcus Bonfanti. A few more songs of that style would have been beneficial on the album, which, on the whole, is quite limiting in both lyrical theme and use of instrumentation. However, there is hope after the darkest places referred to in ‘A Little Light’, and the album does finish on a more positive note with the tune ‘Closer To You’, which includes some lyrical optimism and pleasant female backing vocals, as the narrator suggests he is now ready for love. Let’s hope it lasts!

Duncan Beattie

ROBIN TROWER RT@RO.08

Freeworld

The title of the new double enhanced CD refers to a live show recorded at the Royal Oak Theatre in Michigan last year. I think that if we are honest, Robin has never been afforded due recognition here in the UK for the fine player he is. Ably assisted by Davey Pattison's vocals, with Glenn Letsch and Pete Thompson on bass and drums respectively, Robin powers his way through seventeen tracks in front of an enthusiastic crowd. However, no attempt has been made to make the songs into a concert format. By that I mean that following each number, the recordings cut off to be picked up again at the start of the next one. So, this juddering approach mars an otherwise fine set. The songs reflect Robin's career to date and include 'For Earth Below', 'To Rolling Stoned', 'Bridge Of Sighs', plus 'Twice Removed From Yesterday' and 'Hannah' from way back in 1973. Newer cuts include 'Go My Way' and 'Another Time Another Place'. All are given fairly extended workouts and still sound fresh. It's a pity about the way this has been "pressed".

The Groanbox Boys are a British threesome, and an unusual onethey play banjo, guitar, accordion, harmonica, calabash, rain stick and many other percussions and kitchen utensils. The album is in the guys’ image - truly haunted. It’s an infernal mix of raging Blues and slow songs, an insane mixture of sounds hitting each other, merging and separating (not always on friendly terms) to produce fourteen crazy tracks. Once I tell you that “Gran Bwa”, the title of their third CD, is the name of an ‘loa’, a Haitian Vodou spirit, you’ll begin to understand what I mean by ‘haunted’. “Gran Bwa” is Creole for "great wood" (from the French "grand bois") and is the Great Spirit who resides deep in the woods. He is also associated with the gateway between the spiritual world and the material world, the passing of time and healing, which are all themes found in The Groanbox Boys’ songs. This is a pure Blues album, which reminds you of the Delta songs hummed by the slaves in the moonlight after a hard day working in the cotton fields, whilst the alligators roamed the marshes in the pouring rain. This album proves that Blues has no age and no boundary, and that it’s here to stay - even beyond that gate and its fascinating woods.

Frankie Pfeiffer/Nat Harrap

Why butcher live recordings? Let the set flow the way it happened. I may not have been there, but I would like to hear the gig properly. The music is so good; however, it tips the balance back in favour again.

Graeme Scott

King Albert/New Orleans Heat

This release features two of King’s finest albums from his stint with Tomato Records in the late-70s. 1977’s “King Albert” is laced throughout with his legendary trademark playing and lays down some great ‘70s funky grooves that certainly make this recording easy to date. Accompanied by the Motor City Blues Band, Albert works his way through eight glorious tracks, including a delightful slow funk version of the B.B. King hit ‘You Upsets Me Baby’. Tracks like ‘Love Mechanic’ and ‘Let Me Rock You Baby’ are straight from the ‘70s disco dancefloor, but with Albert holding court, they’re very easy on the ear, and hold plenty of charm, especially

LEADBELLY

The Definitive Leadbelly VARIOUS

The Little Red Box Of Protest Songs The Roots Of Led Zeppelin

Proper

when he kicks in with one of his great solos. Released the following year, “New Orleans Heat” was recorded by legendary producer Allen Toussaint at his Sea-Saint Studios. Accompanied by some of the best New Orleans session musicians of the day, this is a stronger set of songs, helped with updates of several of his earlier classics, including 'Born Under a Bad Sign'. If your new to the delights of this particular “King of the Blues” then you might want to start with a ‘best of’ compilation, but if like me you simply haven’t played him for a while but are more than familiar with his stuff then this is a great way to reintroduce yourself to the big man.

Steve Hoare

ELEKTRO FARMER Ultra Natural Delphy

When you’re dealing with a trio, and one of them – Stephan Sperlich – is listed as playing “electronics, synthesizer, cello,” it is a fair assumption that the sound is not going to be conventional Mississippi Blues. Even though the other two members of this Austrian outfit supply vocals (occasionally sounding like Sting), guitar and upright bass, work from that assumption and you will not be disappointed – the fourteen numbers here are all Blues-based, often taking a Bluesy riff as their jumping-off point and then meandering into what the website describes as “Blues/Dub/Electroacoustic music” - a reasonably accurate description that saves a reviewer a lot of effort! Much of the

For the indefatigable staff at Proper Records, life must be musical heaven as they continue to compile these fabulous collections. As with all these three boxes, there’s not only a comprehensive booklet of well-researched liner notes, but also a fourth disc: a DVD with interviews, rare footage and discussions on the various featured artists. This makes each set quite the bargain. “The Definitive Leadbelly” lives up to its name, too – eighty-two tracks which easily explain why they let this huge, powerful dynamo of a folk/Blues artist out of jail. When you hear the originals of ‘Rock Island Line’, ‘Bring A Little Water Sylvie’ and ‘Midnight Special’, you realise where Lonnie Donegan got ninety percent of his inspiration. As a time-served old leftie, I’ve done my time on picket lines and marches, so having a box of CDs like “The Little Red Box of Protest Songs”, containing just about every US agitprop waxing you need, is one helluva nostalgia trip. The DVD features a fascinating short film, ‘To Hear Your Banjo Play’, as well as interviews covering the work of Woody Guthrie and Pete Seeger. War, as with the Almanac Singers delivering ‘Round & Round Hitler’s Grave’, strikes and unions with Woody and others, hunger, poverty, earlier versions of the ‘credit crunch’ – it’s all here. All that’s missing from these stirring ‘60 cuts is ‘The Internationale’, but knowing Proper Records, they might get around to a Russian Revolution box before long. From a pure Blues and early R&B/rock angle, “The Roots Of Led Zeppelin” box is probably the most varied and exhilarating of the three. The sixty tracks cover such a wide time frame and musical spectrum, beginning with Blind Willie Johnson’s moving ‘Jesus Make Up My Dying Bed’, plus stacks of material by Big Bill Broonzy and Robert Johnson, Bukka White and Memphis Minnie, then into the dark electric Blues of John Lee Hooker, the uplifting work of Muddy Waters, B.B. King and Ray Charles, among others, until on disc three we’re dancing in the aisles with Jerry Lee Lewis, Little Richard, The Diamonds, Platters and the mighty Chuck Berry. All this plus a fine DVD featuring some enthralling interviews. For fans of real, authentic, down-home ‘people’s music’, Proper continue to do us proud.

Roy Bainton

guitar work is jagged and angular, the bass anchors the whole, and although much of the set is experimental, it is, for the most part, also perhaps surprisingly accessible –well, if you do ditch the blinkers.

Norman Darwen

TIMO GROSS Desire

ZYX

South German Bluesman Timo Gross quotes a long list of luminary guitar icons as influences, but with his latest album, “Desire”, he establishes himself as a notable performer within what could be classed as ‘smooth Blues’. It is a polished showcase of some undoubted talent, but while a plate of prime beef, creamy mashed potatoes and perfect gravy is revved up with mustard, the slightly sanitising production of his third album doesn’t add the much needed punch of piquancy that would turn a perfectly pleasant offering into something very accomplished. One critic described Timo Gross’s blend of Blues as not exploding from ‘emotional overheat’, and some of the earlier tracks have perhaps had too much of their spleen removed, but things get better, and his self-penned numbers are well crafted and skilfully executed. Occasionally reminiscent of Clapton in mellow mood, he certainly has a knack for writing a catchy hook, his accomplished playing frequently impresses, and there are some clear highlights – ‘Howlin’ Diablo’ has a strong Latin feel and shades of Little Feat’s ‘Spanish Moon’. Perhaps the highpoint is a cover of John Ellison’s’ ‘Some Kind Of Wonderful’, where some cracking honky tonk piano and the silky backing vocals of Helene Brannan elevate this standard. With fourteen generously long tracks averaging at over four-and-half-minutes each, this is for Blues fans who like to be caressed and massaged with aro-

matherapy oils. This is tuxedo rather than scuffed leather; it’s savoury pickle and not hot chilli sauce.

Richard Thomas

ROY ROGERS Split Decision Blind Pig

Already a Blues hero thanks to his production skills with John Lee Hooker and Ramblin’ Jack Elliot, Rogers, as a Blues artist himself, is no slouch. With a host of records already under his wide brimmed hat, you know to expect a combination of some terrific slide playing and well-crafted songs. According to Rogers, the thinking behind this record was to really work on the songwriting. Well, he’s certainly done that, offering as many different flavours of the Blues as there are tracks. He’s ably supported by The Delta Rhythm Kings, who make it all sound so easy. His voice isn’t his strongest suit, but he knows what it can do and wrings the best out of it. Surprisingly, it’s not the Blues shouters, but rather when he turns soul balladeer on ‘I Would Undo Anything’, a beautiful ballad and an album highlight, that his voice is the most convincing. Three instrumental tracks further underline the diversity on the record, best of the bunch being ‘Rites Of Passage’, a jazz number driven by George Brooks’ saxophone, before Rodgers adds some Blues grit in the form of a ‘Crawling Kingsnake’ type riff. The effect is reminiscent of “Hot continues on page 111

The Jerry Ragavoy Story: Time Is On My Side 1953-2003

Ace Composer, arranger, producer, all-round background genius, Jerry Ragavoy may not be as familiar a name as many other similar facilitators – Burt Bacharach comes to mind - but his penchant for discipline over vocalists in the studio has produced some of popular music’s most brilliant and memorable records - and a number of these feature here on this fine twenty-four track set from Ace. This package is a complete and thorough look at his work. It comes with a highly detailed, twenty-eight page set of notes from Mick Patrick, which are a pleasure to read. The music is magnificent, too – even the less familiar tracks, such as The Majors sauntering through the effective ‘Wonderful Dream’, Kay Winding’s superb ‘Time Is On My Side’ or The Enchanters with ‘I Wanna Thank You’. These songs, their production and performance all combine to provide a living piece of aural history. They conjure up so many scenarios – the ‘50s, ‘60s…but most of all they remind you just how important a good producer and arranger really is. Just listen to Ganret Mimms singing ‘Cry Baby’, and the point is made. Wonderful stuff.

Roy Bainton

Highlights From The History Of Rhythm & Blues 1925-1942

Rhythm & Blues

This compilation is culled from volume one of a 4CD, ninetyseven song, thirty-two page box set of recordings highlighting material from the period 1925 -1942. At the moment there is a companion volume two that brings the history lesson up to 1952 on a further 4CDs, and perhaps it is envisioned that further releases will follow slowly bringing us up to date with this wonderful genre. I am not in a position to comment at all on the quality of the background information in the booklet, or the full track listings, however, based on the sleeve notes of the "Highlights..." CD then each song and artist has plenty to engage entry level buyers. I say that because I see that this is where the appeal of these sets will lie. Real aficionados will likely have, or have access to, most of what is on offer here. There is a wonderful choice, though, and much to savour form the likes of Leroy Carr, Tampa Red, Bessie Smith and Robert Johnson. Covering, as it does, swing, spirituals, ragtime, jazz, gospel, Blues, boogie woogie and jug bands, you can dip into Jimmy Rogers 'Train Whistle Blues', 'Holy Mountain' (Elder Otis Jones) or 'Minnie The Moocher' from Cab Calloway then move on to Lionel Hampton Orchestra playing 'Flying Home'. Having had the taster, I wouldn't mind tackling the main course.

Graeme Scott

Legends Of Benin

Analog Africa

Following on from the successful “African Scream Contest” and Orchestre Poly-Rythmo De Contonou releases – which have already been lauded in these pages - this release presents music by four West African composers, recorded between 1969 and 1981. As with its forebears, this CD presents some incredible recordings, much of it bearing strong traces of the American sounds of Blues, soul and funk, sometimes, quite obviously, in other places buried fairly deeply in this multi-layered, grooving music. A couple of numbers start off with a crisp soul beat, many feature Bluesy electric guitar playing, and all feature call-and-response vocals in classic fashion. James Brown came to mind more than a couple of times, particularly on the tracks by El Rego Et Ses Commandos, who has a singer called Eddy Black Power. Power and funk are what these tracks are all about.

Norman Darwen

Ultimate Blues

Decca

This double-disc set has forty-one tracks, and is a little disingenuous in its title. There are many fine songs within, but some you wouldn’t quite label as Blues. It has a lot of the classics from the likes of B.B. King (three selections), Muddy Waters (three) and John Lee Hooker (two), as well as newer artists such as Joe Bonamassa and Beth Rowley. It does seem a strange mish-mash of chosen tracks. The music is a thoroughly enjoyable listen, but most Blues fans will find they already have a lot of these tunes. It seems like it is being aimed at the general/casual music fan who fancies a few ‘classic’ Blues tracks in their collection - it might also appeal to younger music fans who might have a feeling for the Blues genre. For serious Blues collectors, it’s a little weary, and there are so many better sets out there that deserve your money more.

Andrew Baldwin

Blues Before Sunrise Live - Volume One

Delmark

DJ and drummer Steve Cushing has presented the “Blues Before Sunrise – Blues Heritage Showcase” between midnight and 5am for many years on Chicago’s public radio station 91.5FM WBEZ. This CD is culled from a live benefit concert held at B.L.U.E.S. in Chicago in October 1996. The four artists featured here are Big Wheeler, John Brim, Billy Boy Arnold and Jimmy Burns. Big Wheeler kicks things off with a rather tired and predictable version of Willie Dixon’s ‘I’m Ready’, and makes his way through four other Blues standards. John Brim, a guttural and somewhat monotonic vocalist, is backed by some of the Ice Cream Men as he presents four originals from his Chess era recordings. Things pick up, and certainly have more bounce, as Billy Boy Arnold, a smart vocalist and harp player, comes on to sing ‘Streetwise Adaptor’, with a great little guitar solo by Johnny Burgin. Finally, Jimmy Burns lays down ‘You’re The One’ and ‘Leaving Here Walking’, using the same rhythm section as Arnold. Whilst this is far from the best of Chicago Blues, it is a fair representation of the live form.

Noggin

GOMEZ A New Tide Eat Sleep

“A New Tide” might be Gomez’s sixth studio album, but anyone expecting a radical change in musical direction –bossa nova anyone? – will be disappointed. Instead, one of the Britain’s greatest and least-hyped bands has delivered another utterly flawless and perfect collection of songs. Over the years, they have honed their mixture of rock, Blues and country and come up with an almost perfect formula. This is a group who sound totally at home with each other and can churn out great song after great song. Songs like ‘Little Pieces’ sound great on the first listen and simply get better with every single play you give them. The intricate arrangements on all the tracks are a joy to behold. They have come a long way from when they were just another indie band from Southport. While they might not be the most celebrated band to come out of the UK over the last fifteen years, or the most prolific, Gomez are the most consistent. If you have never thought about buying one of their records, this might be your opportunity. Their musicianship simply speaks for itself. You won’t see any of them staggering out of the Ivy or the Groucho any time soon, but “A New Tide” is a classy rock album that deserves to be heard.

Jamie Hailstone

songs played. I particularly enjoyed 'Sleeping On The Ground', the slow Blues treatment of Otis Rush's 'Double Trouble' and the sensitive acoustic playing of 'Rambling On My Mind'. Stevie wraps his vocal and organ skills brilliantly around the all time classic 'Georgia On My Mind' (‘Hoagy Carmichael’). These guys could probably have played all night, but the set here ends with a rousing version of 'Cocaine'. A real pleasure to listen to.

Graeme Scott

RUBY TURNER I'm Travelling On RTR

continued from page 109...

Spot”, the great soundtrack album Hooker recorded with Miles Davies and Rogers played on. With the songs being the main focus, the playing can be restrained, sometimes polite and in need of more slide wizardry, but Rogers’ polished Blues still shine and, occasionally, dazzle.

Duncan Jamieson

ERIC CLAPTON AND STEVE WINWOOD

Live From Madison Square Gardens

Reprise

Take two master craftsmen, add the talents of Willie Weeks on bass, Ian Thomas on drums and the incomparable Chris Stainton on keyboards, and you end up with just a glorious album or, in this case, two albums. The music is that beguiling mix where the players are seemingly so relaxed and having fun that it is hard to reconcile the fact that it has taken years to get to the point. I know that might appear stupid, but it is deceptively simple sounding but damn tight at the same time. I should point out that there is also an uncredited (that's unforgivable) horn section along for the ride. Interestingly, there are only two, 'Presence Of The Lord' and 'Tell The Truth', Clapton compositions here, whereas Stevie gets seven, including 'Dear Mr Fantasy' and 'Glad', out of a total of twenty one

Take one of the finest voices around and marry that to some great gospel Blues songs, keep it pared back to the absolute minimum of instruments and production, and you end up with this wonderful CD. It really is about as close to perfect as you could ever want. You don't have to be particularly religious to savour the passion that flows from every one of these fifteen tracks. Just hitch yourself to the opening 'All Aboard/This Train' and enjoy the ride. I promise you that you would have to be a particularly cold person not to be moved by 'Get Away Jordan', 'Old Ship Of Zion', 'Strength, Power And Love' or 'Take My Hand, Precious Lord'. We all know that music is a great healer, soother and inspirer, and by going back to her roots, Ruby has ended up with a fantastic album. She mostly handles all the vocal parts herself, blending the harmonies together exquisitely. On 'Precious Memories' she is joined in a duet by her mum, Violetta Douglas, and you get that indefinable element that can only come when you mix familiar voices together. The songs were all recorded here in the UK, under the control of Bob Lamb, and he has done a fine job. As a bonus, you get a band version of 'The Love Of God', as well. There is so much quality on offer here that I will not pick my favourite, just buy it and decide for yourself.

Graeme Scott

ALEX GOMEZ Love Sex & Drugs

Deltalectric

Alex Gomez is back with another ten tracks of low life sleaze, guitar punk Blues, vitriolic profanity, and a reckless life plan. That is, if the pursuit of casual sex and substance abuse can be deemed to be a life plan. It’s certainly not one that should be recommended to the children of today. Deep down, I have a sneaking suspicion that Mr Gomez is really a geography teacher with a fine collection of button-down cardigans and a vivid imagination, so I intend to make sure that our paths never cross in real life. After all, I'd really hate to lose that dirty feeling I get when he cranks up his electric slide and lets rip on diseased street anthems like 'Here For The Drugs', 'Naked & Dirty' and 'Feel Me There'. Mr Gomez has never made a bad album, but this is one that sits happily in the upper echelons, snuggling in beside "Always Never" and "Warm Sensations". This is exactly the kind of thing that gives the Blues a bad name, and, as such, is to be heartily encouraged. Now, if you’ll excuse me, I really need to scrub this feeling off.

Stuart A Hamilton

LEVON HELM Electric Dirt

This is Helm’s follow-up to his 2007 “Dirt Farmer”, recorded at his Woodstock studio, The Barn. Its opening number, a cover of the Grateful Dead’s ‘Tennessee Jed’, sets the theme of the CD. Helm's version of this spirited Blues gospel number celebrates the music that has been such an essential part of his life. A music whose life-giving blood still pumps with equal strength through Helm's body, as it did in his youth. 'Stuff You Got To Watch' is a celebration of the music of Muddy Waters. Randy Newman’s 'Kingfisher' is given the full New Orleans treatment. Close your eyes and you are on Beale Street as a marching band passes, horns blaring! ‘Heaven’s Pearls’ is a gospel Bluegrass number which was co-written by daughter Amy - father and daughter in a touching duet. Two generations celebrating a common strand of music, Helm’s gravely vocal complimented by Amy’s mellow tone - a perfect contrast to set-off the lyrics. Helm’s cover of the civil rights song ‘I Wish I Knew How It Would Feel To Be Free’, offered in Blues gospel format, ends the CD in style. This song, once a protest, now becomes a joyous celebration of the change from slavery to the present equal rights in the US. Helm’s life-long musical spirit is still kicking in this CD!

Carol Borrington

LITTLE JOE WASHINGTON Texas Fire Line

Dialtone

The white bearded and dreadlocked figure that is on the front cover of this album strongly suggests a reggae artist – that could not be further from the truth. Little Joe Washington is a 70-something Bluesman from Houston with a scratchy voice and a completely individual guitar style. His music harks back to the Ike Turner or Jackie Wilson sort of Blues and soul, and he sets up jam after jam on the album, with the horn booming out, the keyboards swelling and the guitar chicken scratching in and out of the mix. His guitar playing is hypnotic, and while he really does hunt around the fretboard on jams like ‘Fonky’, with the drawling baritone horns pulling him into line every now and again, he sounds like a man in a world of joy. He can do ballads, too - ‘You Send Me’ is just on the jagged edge of listenable, but he gets the song over better than any crooner ever did. This guy sounds as though he is at his best playing live and the whole album has that live feel to it, as though the band played live in the studio. Huge fun, completely authentic and I am now desperate to find his back catalogue

Andy Snipper

JEAN SHY & THE SHY GUYS

The Blues Got Soul

King Edward

Singer Jean Shy’s name does not mean a lot in Britain, though she is very well known in Europe, particularly in Germany, where she recorded this set – much, though not all of it, live –with local musicians who know her well. Jean was born in Chicago and had recorded for the mighty Chess Records and

the well-respected Brunswick label before she arrived in Europe in 1980. Her music is a mix of Blues, rock, soul and good oldfashioned rhythm & Blues items, like Ray Charles’ ‘Unchain My Heart’. Her gospel roots are frequently well in evidence, though never more so than on the Bluesy ‘Precious Memories’ and the closing

‘Amazing Grace’; on the other hand, Leon Russell’s ‘Song For You’ sounds very like an Elton John ballad performance.

‘Livin’ The Blues’ is (oddly maybe) an out-and-out rock number, and ‘Never Loved A Man’ recalls Aretha Franklin, but ‘Rock Me’ is a very powerful Blues and the Tina Turner sound-alike ‘Old Time Rock ‘N’ Roll’ is nearly that (‘Old Time Blues-Rock ’N’ Roll’ maybe?). It would be good to see Jean in Britain.

Norman Darwen

THE HEAVY The House That Dirt Built Counter

Whatever they are drinking in the West Country must be good stuff, because The Heavy’s second album is dark, dangerous and guaranteed to show you a really good time. Kicking off with a B-movie trailer sample, it then dives straight into a raucous, rocking slice of punk Blues, with the superb ‘Oh No! Not You Again’, which also features Shingae Shoniwa from the Noisettes on backing vocals. The retro R&B stomp of ‘How Do You Like Me Now?’ could well be one of the best Blues tunes you will hear this year. It’s a strange brew, featuring slices of Tom Waits and a dash of Sharon Jones & The Dap-Kings. Everything on this record is larger than life, and it sounds all the better for it. They even manage to shoehorn on some 2-Tone ska on ‘Cause For Alarm’. If ever there is a band that can take the Blues into the 21st century, then it is definitely The Heavy. Call it punk Blues, call it voodoo funk - call it whatever you like! The Heavy are 110% original and a musical force to be reckoned with. This music is definitely not for the faint-hearted, but if you like your music mad, bad and dangerous to know, “The House That Dirt Built” could well be for you!

Jamie Hailstone

FAT MATTRESS

Fat Mattress I

Fat Mattress II

DICK HECKSTALL-SMITH A Story Ended

Esoteric

Esoteric are beginning to release some of the real gems of the late British progressive Blues era albums, and these three albums are a fine example of the genre. Fat Mattress was formed by Noel Redding after the end of the Jimi Hendrix Experience, getting back together with the musicians he had been playing with before getting the gig with Hendrix. The music sits in the general area of psych/Blues, although there are a lot of folk elements as well – very much in keeping with the style of the time. The songs are not limited to any particular style and flutes - mellotrons and three part harmonies sit comfortably alongside the more traditional guitar work. All the musicians in Fat Mattress had gigs with other luminaries of the time – Englebert Humperdink’s drummer! –but they sound as though this was the music they wanted to play rather than a paying session. ‘Naturally’, from the second album, sounds fresh and lively and very Traffic-esque, with some superb guitar from Redding and strong organ courtesy of Mick Weaver. And ‘Mr Moonshine’, from the first album, shows the full jangly face of the late-60s. The band are all good enough to be able to play with freedom and not lose control, and the music has a verve and swing to it that lesser bands tried to achieve but couldn’t. Dick Heckstall-Smith’s “A Story Ended” was his first solo project after Colloseum bit the dust, and it shows his origins in jazz as well as Blues. Heckstall-Smith was one of the very few musicians to play both with Alexis Korner and Graham Bond and the breadth of his talents are shown off here. The transposition to digital from the original vinyl is remarkable – there are tonal elements I had never spotted before. Opening with ‘Future Song’, the guitar line from Caleb Quaye has a sinewy, almost sax like quality to it. Elsewhere, you are treated to performances from Chris Farlowe, Graham Bond, Jon Hiseman, Rob Tait and Dave Greenslade – a veritable feast of talent. The music is complex and bears repeated listening to get the best from it. The packaging on all three of these albums is excellent, with plenty of liner notes and bonus and unreleased tracks, but the core of the original releases shines through with a high quality sound and a new lease of life.

seal of approval. From the start, this brilliant album exhibits all that is great about US rock. From the wonderful guitar solos and smooth vocals of Michigan-based band leader Rusty Wright, through the harmonies and vocals of his wife Laurie LaCross Wright, classic keyboard accompaniment to rock solid rhythms and occasional horns parts, this is simply marvellous. In all styles, whether it is southern rock (‘World Upside Down’), Blues ballads (‘Messin’ Round’ and ‘Make A Liar Out Of Me’), blistering Aerosmith-type rock (‘Last Day Of Whitey Malone’), done-me-wrong Blues (‘You Ain’t Thinkin’ ‘Bout Me’) or the sensational energy of ‘What A Ride’, this band has all the chops. Lynyrd Skynyrd’s influence is plain to see in a ‘A Change In The Weather’, so much so, I half expected to hear Van Zant’s vocals! The blistering rave-up conclusion is the title track of the album. This truly is powerful stuff!

Noggin

ERNIE AND THE AUTOMATICS Low Expectations

Open E

Out of Boston, Massachusetts and featuring, in guitarist Barry Goudreau and drummer Sib Hashian, a couple of ex-members of multi-million selling rock band Boston, this six-piece band tread the sometimes wafer-thin line between rock and the Blues. Rather than Blues-rock, though, the rock here is very much of the ‘80s anthemic variety, not just down to the guitar

stylings but also from the sax playing of Michael ‘Tunes’ Antunes, and less occasionally the jazz-fusion approach of lead singer and keyboards player Brian Maes. Make no mistake, though, these guys can and do play the Blues, though they also certainly avoid many of the clichés others might fall into. All the songs are originals, with all band members chipping in at some point over the dozen numbers. Try ‘Blues Town’, which is a reasonably straight-ahead shuffle, the spooky ‘I’m Gonna Haunt You’, the “is it Blues or is it rock?” of the title track or the modern jazz/soaring rock-flavoured instrumental closer to get an overall view of this outfit’s considerable capabilities.

Norman Darwen

WHITESNAKE

Slide It In: 25th Anniversary Special Edition

It’s a whole quarter century since my second favourite Whitesnake album was released – not expected at the time

ANA POPOVIC Blind For Love

Eclecto Groove/Wienerworld

A Netherlands-based Serbian female Blues guitarist ripping up the US with Billboard Blues chart success will always register on the radar of most aficionados with an eye for something different. Throw in some serious critics comparing her to Jimi Hendrix and Stevie Ray Vaughan and you are duty bound to listen to what she can do. The conclusion is that Ana Popovic can do plenty, and even though ‘Blind For Love’ stays anchored to her Blues roots, there is plenty of elasticity in the chain. Under the influence of producers with experience working with AC/DC, Prince and Paul McCartney, there is something for those who like it heavy in ‘Wrong Woman’, and her slightly accented, breathless vocals give everything the requisite raunchiness when required. The sound of the Deep South is evoked in ‘Steal Me Away’, but even that has added edge, and she seamlessly switches from mellow to rough, atmospheric to simplicity and back again throughout fourteen quality tracks. Ricky Lee Jones is in there, some ‘Car Wash’ funkiness in ‘Lives That Don’t Exist’, and for cynics who focus on novelty and image, the soloing and songwriting craft of album highlight ‘Putting Out The APB’ shows that Popovic has many added dimensions. The finale of 'Blues For M' is a building jazzy Blues number with a memorable building crescendo leaving the residual emotion that Ana Popovic is a jack of all trades and master of them all – it’s a gem.

Richard Thomas

given favourites Bernie Marsden, Neil Murray and Ian Paice had been given the axe from the band. I wasn’t to know that it would be the last Blues rooted release from Whitesnake for over twenty years. Some of the best ever Whitesnake songs are tucked away on this release, with ‘Gambler’, ‘Love Ain’t No Stranger’ and ‘Standing In The Shadows’ amongst their finest. However, it got silly as David Coverdale rejigged the line-up even before the album was released - and then the new band re-recorded the guitar and bass parts for the US issue, which came out with a new mix and running order. However, this remains an absolute pearl, and the 25th anniversary has been celebrated properly, despite the US issue being the main portion! But as most of the four million people who bought this live in America, it probably makes sense, even if the running order here is actually wrong - although you’ll find eight of the ten original recordings appearing as bonus tracks, as well as their cover of Little Willie John’s ‘Need Your Love So Bad’. Add in an acoustic version of ‘Love Ain’t No Stranger’ and a DVD, with seven videos, including promo clips, a “Top Of The Pops” appearance and some live cuts, and this is essential.

Stuart A Hamilton

as jazz. The opening track is Neil Young’s ‘Don’t Let It Bring You Down’. Sally has put her own slant on the song; her vocal reassuringly takes on the message of Young’s positive lyrics into a good cover. The title track, ‘Blue Flame’ relies very heavily on jazz instrumental, but Sally’s emotive, dark, almost macabre vocal takes on a Norah Jones Blues sound. ‘Cream Tease’ is a Blues shuffle with a seductive and classy vocal - she sounds a bit like a female Ian Siegal here, so it’s good stuff (definitely double cream!). The CD is fundamentally for the jazz market, who have an undiscovered talent on their hands, but it would be interesting to see Sally tackle more Blues because this a lady who sounds as if she could cross genres with ease.

Carol Borrington

BARBARA BLUE Live Volume 2

Big Blue

Sally Willis is a London-based singer with a difference. She trained at RADA and has been putting her voice to work narrating documentaries, radio plays and now this CD. It is a mixture of self-penned, co-written and covers material.

Accompanied by her band, The Magicians, the CD is strongly jazz influenced in its instrumentals, but Sally’s rich chocolate, sultry vocal, with its ability to be gritty or polished as required, with superb register and innovation, contains as much of the elements of the Blues

Recorded at the Silky O’Sullivan on 7th June 2008, this second ‘live’ volume crowns Barbara Blue’s eleven year career as a professional singer. Together with her loyal pianist, Nat Kerr, Barbara sings with her heart and soul, and you can’t help being sucked in by tracks such as ‘Broken Hearts Row’, which the public starts singing before letting Barbara’s voice fly away high, so high she gets a well deserved ovation. Barbara is one of those female singers who has a powerful voice and knows she doesn’t need to overdo it to impress. She just shows from time to time that she can go high, even higher, always in control of each note - one of those singers who doesn’t need to prove her technical prowess but who makes you feel every note, every word she sings. With swinging tracks like ‘You Can Have My Husband’, Barbara is in perfect harmony with Nat Kerr, her piano player - her voice twirls, plays, follows each black and white key, and lets them get away to produce a light and happy sound. With ballads such as ‘Drunken Angel’, the warmth and emotion in Barbara’s voice will send shivers down your spine and brings such colour and intensity to each song. This recording is something extraordinary and overwhelming, which leaves you thinking that life in Bluesy colours is certainly worth living.

Frankie Pfeiffer/Nat Harrap

ANDREA MARR Little Sister Got Soul!

Andrea Marr is a rhythm & Blues singer based in Victoria, Australia, and her release “Little Sister Got Soul” is the follow-up to her first album “Watch Me Work It”. She is highly regarded in her home country and, indeed, she was the Melbourne Blues Appreciation Society's Performer Of The Year in 2005 and represented them in Memphis. This album showcases her talents as a songwriter, with seven songs written or cowritten by Marr, and interpreter of other people’s songs. The first of these is Dinah Washington’s ‘Soulville’, which opens the album in style, before the sensual ‘Steam Up Your Windows’. A great interpretation of Etta James’ ‘I Prefer You’ follows, before the sassy ‘Don’t Touch What You Can’t Afford’. The bravado of ‘Superwoman’ contrasts with the reflective cover of Glenn Kaiser’s ‘If I Leave This World Tomorrow’. Marr is ably backed with a tight band, brass instruments on several tracks and, vocally, by members of the Urban Praise Gospel Choir. Most important, though, is Marr’s very developed vocal prowess, which is the main focus of the album.

VARIOUS

The Golden Age Of Gospel 1946-1956

Sound Of New Orleans 1992-2005

Frémeaux et Associés

It all makes up for a feelgood album of varying styles and tempos. The fun and joy that was poured into making the album that Marr refers to in the sleeve notes is quite apparent. If you love artists with the groove of Kyla Brox, make sure that you pick up this one.

Duncan Beattie

SAM SULLIVAN A Way Out

Selecta

As reliant on sax solos as he is extremes of guitar, this enjoyable album is a on a mission of good-time that is reminiscent of the buoyant vibe delivered by Jake and Elwood Blues. It’s not a tribute in any way or form, but that essence of experience, strength and hope floods out. In particular, this is embodied with ‘Anything You Want’, where Sullivan throws his soul into his singing - and even comes across a bit like Tom Jones! The sax interludes, by Dan Allan, work well and add a mellow groove that makes the music less predictable. This doesn’t make it a hybrid genre though, and this labour of love hits the target of Blues on every track. ‘Been Here Before’ shines with more pained vocals amongst distinguished guitar work and leads nicely into the linear funk of ‘Alright’ - the latter track easily being the best on the album, and one that will please fans of soul, too. The drums are produced high in the mix on most songs and give the feeling of a live album, which helps with the flavour of energetic immediacy but perhaps won’t suit the ears of the fussy.

Gareth Hayes

In “The Golden Age Of Gospel 1946-1956”, the fifth volume released by this French label, you’ll find no less than forty-four songs covering the ten years following the World War II, which gives a real insight into what gospel was at that time - from sermons by preachers, such as Reverend Kelsey and Reverend C.C. Chapman, to large choirs like The St. Paul Baptist Church Choir, as well as smaller formations like The Five Blind Boys or The Harmonizing Four. This double compilation also remembers singers whose names are carved in the history of gospel: Sister Rosetta Tharpe or Mahalia Jackson, as well as all female groups like The Angelic Gospel Singers and The Ward Singers of Philadelphia, who perform a magnificent rendition of ‘Surely God Is Able’. Don’t miss the beautiful ‘Teach Me To Be Right’ by Sister Rosetta Tharpe, accompanied by Sam Price’s Trio, or the moving ‘Gospel Hop’ sung by Ethel Davenport. The accompanying thirty-eight page booklet is exhaustive and informative. Hurricane Katrina did not only crush New Orleans, and made much of the town’s population homeless, but also destroyed many of its historical music recordings. It became vital to record what could be saved. The selection for these two CDs was made from SONO (Sound Of New Orleans)’s catalogue, showcasing New Orleans’ music from the ‘90s to nowadays. Gary J. Edwards created SONO after meeting Sherman Washington, the manager of Zion Harmonizers, and released with him the album “Never Alone”, from which two tracks are featured here. For Blues lovers, I recommend ‘Born in Mississippi’ by Rooster, Curtis Wheeler’s nickname, ‘I’ll Play The Blues For You’ by Charles Jacobs and ‘Mathilda’, a rich and sticky swamp-Blues sung by Selwyn Cooper Hurricane Blues Band. The detailed, twenty-four page booklet offers much information about the artists and the various music styles in New Orleans, which can be summed up by one single track, the superb cover of Fats Domino’s ‘I’m Walking To New Orleans’ performed by J.B. Davis - the same Fats Domino found sitting on his roof after Katrina to prove that nature could never destroy the music of New Orleans.

Frankie Pfeiffer/Nat Harrap

FUR DIXON & STEVE WERNER Travelers

Grass & Gravel

The Californian pair’s sophomore effort contains ten selfpenned songs of acoustic American roots music, more cowboy than country, that encompass all the highs and lows of travelling the open road. The duo, who got together in 2003, diplomatically take turns at the mic. Ladies first, Fur sings her song, and then Steve sings his song, each backing the other with delightful harmony vocals. Their music is as sparse as the desert landscape they sing about, and Dennis Moody does a fine job in the production chair, as every note is as clear as a (cow) bell. Fur’s singing hints at Gillian Welch and Jane Carter, and it’s so pretty it took me several listens to take in what she was singing about because I was just following the sweet fluctuations in her voice, whereas Steve’s charismatic timbre is more rooted to the earth - it carries both world weariness and a confident wisdom. Their songs possess a knowing wink and a dead pan humour, with lines like, “I get so worried, I worry about my worrying and I worry about that.” Standouts include opener ‘Journey To Another Side’, with its evocative use of trumpet that transports you to the Mexican cantina. Steve completely inhabits the character on ‘Scars’ whose wounds are a “roadmap of the life I’ve led.” Their styles and stories may differ, but they make perfect travel companions.

Duncan Jamieson

SAM LEWIS Everything You Are Rusk

This singer-songwriter album has nods to folk and Blues, and was written largely while on the road. Lewis is a long-time gui-

tarist for KT Tunstall and also Bert Jansch. Sitting in tour busses and airport lounges, digesting Neil Young and Hank Williams, while going through a relationship break up, you get the idea of where he’s coming from. There’s the Americana of ‘Another Time’ (featuring Tunstall) to very soft acoustic Blues at its most whimsical and stripped down - the guitar is layered and features touches of slide and piano. The layered vocal harmonies work, but on occasions they’ve off set them for added effect, making them sound amateur. When Lewis drifts into Blues territory, such as on ‘Everything You Are’, featuring a mix of electric and acoustic guitar, there is a distinct rhythm, melody and dark feeling that is worth checking out; sadly this is too few and far between. Too much of the album aimlessly drifts towards the horizon. And the sparse writing on the sleeve is barely readable due to a very poor choice of colour contrast.

Joe Geesin

MAMA ROSIN

Brule Lentement

Voodoo Rhythm

There is a collective sense of fun to Mama Rosin. The warm and tingly feeling is present in the sonic Technicolor, similar to that which is present in a friends-around-a-campfire situation or a ‘70s television show like “The Banana Splits”. The Blues of Mama Rosin is, in fact, not so Blue at all. The music echoes a

simpler time of innocence and happiness. Historically, the band harks back to the French-American dynamic of early New Orleans jazz-Blues. The kind of music you expect to hear from a steamboat crossing the Mississippi with Mark Twain questioning the morals of a young America. And the crossing between these two times, the late 20th century of the Technicolor (exemplified in tracks such as ‘You Stole My Motorcycle’ and ‘Je Vas Mon Chemin’), and the early 20th century (captured in practically every other song on the album) is merely possible by the electric guitar, and that is it. A fantastically sunny album, for every day of the year; and this is despite being in a language I am not fluent in. Marvellous!

Matthew Clarke

unrepentantly on the lifestyle choices he’s made from the vantage point of someone who’s reached a certain age.

Mark Harrison

MADELEINE PEYROUX Bare Bones

Since turning professional at the age of 17, and touring with Ben E King, Netto has played on a plethora of albums, as well as recording this, his seventh solo album. Along the way, when he signed to Atlantic, it was done personally by Ahmet Ertigan - no mean feat. Chaka Khan, Rick James, Joe Walsh and Kenny Rodgers have all covered Netto’s songs. This new album definitely has a Bluesy feel, with a commercial soul and MOR feel. Pretty much everything is played by Netto, but some songs could easily be a four or fivepiece band in a dark and smoky bar. Some of the deep backing vocal harmonies are reminiscent of The Drifters. Elsewhere there is some one man singer-songwriter work, the guitar remaining intricate and Bluesy. From folk to Blues to soul and even Delta Blues, the album is gentle yet varied. The only thing it lacks is a real blast, and sadly it is very lacking.

Joe Geesin

HEADSMITH Ain’t Done Yet

Blue Riff

Headsmith is a three-piece band based in Hampshire and fronted by lead guitarist and vocalist Phil Smith. They describe themselves as “masters of the fly-by-the-seat-of-your-pants, low-down rockin’, loud and grooving, good old Blues, the way it is supposed to be played.” This CD certainly lives up to this mission statement - most tracks are short and sweet, with good honest guitar parts, chord-driven more than built round riffs, and a no-nonsense rhythm section. Phil Smith’s guitar is generally at max distortion/gain, and the bass (Baz Payne) and drums (Tony McMillan) do just what’s required to deliver the music with maximum impact. There is a more than passing resemblance to some of the classic rock bands of the early70s, and the fact that these are a strong influence is borne out by ‘I’m Dreaming’, in which Phil Smith laments the fact that “I wasn’t there” for the “better days” and “better life” of the era when Led Zeppelin were in their pomp and Jimi Hendrix was alive. One of the more interesting aspects of the CD are the songs, like that one, where Phil Smith has something personal to say beyond the normal territory of male/female shenanigans, such as ‘New World’, in which he delivers a sardonic take on not fitting in, and the title track, in which he looks back

Rounder/Universal Lushly photogenic and in possession of an exotic name makes Madeleine Peyroux a marketers dream. Her music, thankfully, rises above that potential gloss and is rightly of high reputation by distinctive talent alone. Her new album adds to that class and comfortably delivers above expectation. Her exotic charm can only help, as does her feminine fragility, amongst this collection of seamless and sensual jazz-related tunes. The first track, ‘Instead’, a single release, is destined for airplay and offers mainstream musical prose to get us in the frame for the rest of the work. ‘Bare Bones’, the title track, is more mosaic in

SUSAN TEDESCHI Back To The River

Verve Forecast

Susan Tedeschi is a class act and a cut above. Inevitable comparisons to Bonnie Raitt and Tina Turner, and the divas of rock and Blues, are inevitable yet pointless now. She is in her own space - and deservedly so. Her latest album commands such respect that it could be peerless. There is not a weak track on the expertly produced and recorded dream of an album. Powerhousing into ‘Talking About’, it’s almost a relief to have the second song, ‘700 Houses’, slow the pace, albeit retaining the absolute air of catchiness that all Tedeschi’s songs segue. Alternating between funky hyperbole Blues (‘Back To The River’) and the soulful song architecture reminiscent of the likes of Robert Cray (‘Love Will’), the whole package is irresistible. Derek Trucks, aka Mr Tedeschi, plays supportive guitar on five tracks, and produces one, ‘Butterfly’, but is largely kept in the background - it is very much his wife’s piece of work. It says something about her place on the map when she makes notes of thanks to Eric Clapton, B.B. King, Buddy Guy and Barack Obama. Flawless.

Gareth Hayes

cleverly combining intimacy with anthem, is an inevitable catalyst to mood. ‘You Can’t Do Me’, delving into ska and Blues, is the hippest and funkiest track on the album, and is perhaps the cleverest entry in the pack, as it ends with reggae and rap. The Peyroux voice drips again in ‘Love And Treachery’ and heartache ensues. ‘I Must Be Saved’ has poignant lyrics that offer delicious ambiguity before the album ends in relative restraint. It’s a set of symmetrical jazz-noir tunes where Peyroux is the cat sounding and looking like she wants to be stroked, but beware, she could also be waiting to pounce.

Gareth Hayes

MENHIRS OF ER GRAH

Menhir of Er Grah is an ancient megalith, or stone to you and me. Erected around 4700 BC in Brittany, later broken and thought to be the largest stone transported by Neolithic Mangood ol’ Wikipedia! Menhir Of El Grah is also the latest moniker of London folk singer Tom Carter and “Different World” is Tom’s debut release. Inspired by the acoustic sounds of the ‘60s and ‘70s, unfortunately I found the story of the stone more exiting. His unaccompanied acoustic wanderings are pleasant enough; if minor chord strumming and gently picked melancholic melodies are your thing? I know people that say the Blues is depressing. Sure a

form of music born out of one the most horrific chapters in mankind’s history is bound to be a little downbeat, but Tom’s down tempo folk and morose voice almost brought me to tears. This was followed by an incredible urge to smash something up, especially after the miserably insipid ‘Red Roses’. I’ll stop there. On a good note, the CD is thoughtfully short!

Davide Styles

MICKEY CHAMPION

Bam-A-Lam: The R&B Recordings 1950-1962

Ace

To perform with the legendary Roy Milton’s band, you had to be good, and this lady, born Mildred Sallier in 1926, eventually to become R&B legend Mickey Champion, had what it takes and then some. Raunchy, sexy, daring, her club and concert persona was magnified yet again by the reality of her powerful voice. The title track here, ‘Bam-A-Lam’, gives an ample demonstration of her tough, down-home R&B approach, yet you listen to the more laid-back, big Blues of ‘I’ve Got It Bad’ or the smoochy ‘Two Faced Daddy’ and you’re plunged into a Blues world which no longer exists – warm California breezes, hot, smoky night clubs and sharp dressed dudes’n’dames. A long-time performer for the indestructible Johnny Otis, you can still see her in California three times a week. This is a fine testament to a great artist, with eleven pages of well-written, informative notes by Opal Louis Nations.

Roy Bainton

INDIGENOUS

Broken Lands

Vanguard

Indigenous originate from South Dakota’s Nakota Nation and

NEIL YOUNG

Fork In The Road

Reprise

Neil Young is finally coming back as the protest songwriter he was back in the ‘70s and ‘80s. When the Americans were buying the biggest 4x4s available, he was converting his 1959 Lincoln Continental into an electric car, and his belief in putting forward environmental issues was the inspiration for this new album, “Fork In The Road”. We’d all been waiting for this album, an important one since it is released exactly forty years after his first solo album. As usual, the singer takes us along on a ‘road trip’ paying tribute to his mechanic mate, ‘Johnny Magic’, and hitting back at the Bush administration and the banks which ruined the country. Musically speaking, the album is punchy, and like his electric Lincoln, Neil Young throws in some hard-hitting riffs with a rhythm as intense as the pistons of his car. Philosophical, he slips in a couple of more metaphysical tracks, ‘Light A Candle’ and ‘Sing A Song’, but doesn’t hesitate to push the boundaries when he needs to, like in the wild ‘Fork In The Road’ or the magnificent ‘Get Behind The Wheel’, during which you really feel Neil’s Blues roots. In ‘Sing A Song’, he tells us a song cannot change the world, but without songs, the world will not change - in its time, ‘Ohio’ was a cry more than a song. This is a great album.

“Broken Lands” is their second album on Vanguard. Originally the band consisted of family members, driven along by the guitar work and lead vocal of Mato Nanji. But after their debut recording, brother, sister and cousin decided to follow their own musical paths, leaving Mato to recruit a new band which now features on “Broken Lands”. A mix of Blues and Americana shine through twelve strong original compositions, all written by Mato and his wife Leah, who also adds backing vocals. The majority of the CD was recorded with the band playing live in the studio, as if they were playing on stage and this concept brings a welcome vitality. Mato’s playing, while at the heart of each track, is tasteful throughout, so the songs don’t just become a vehicle for guitar histrionics. Rather the two elements gracefully combine. Mato learnt to play from listening to his father’s Blues record collection, which included Elmore James, and the introduction of slide guitar on tracks such as the excellent ‘All Night Long’ was a conscious decision. A Stevie Ray Vaughan influence shines through, both from a guitar and vocal point of view, particular on tracks like ‘I Can’t Pretend’ and ‘Just Can’t Hide’. But to think of Mato as merely imitating heroes would be a mistake; this guy is a seriously good musician and deserves credit as such.

Davide Styles

ISAAC SCOTT

Posthumous Blues Alive

Hotel Motel

Isaac began playing in bands in the Portland area while still a teenager and was soon touring with The Five Blind Boys Of Mississippi. A move to Seattle in the mid-70s provided a major break after meeting Albert Collins. The two musicians soon became friends and regularly performed together around the Seattle and Portland area. Albert was instrumental in getting Isaac a record deal with British label Red Lightnin’ Records. All but one track on “Posthumous Blues Alive” were recorded live in Seattle in June ’99. The music is interspersed with short anecdotes from Isaac, which is a nice touch and works well. The live tracks, some extending over ten minutes, provide a glimpse of what a performance from Isaac would have been like towards the end of his career. Indeed he was in wheelchair by the time this recording was made, finally losing his battle

with diabetes in 2001. Unsurprisingly, there is a strong Albert Collins influence in Isaac’s playing, particularly on the laid-back opener ‘Rocking Chair Blues’ and the groovin’ ‘Listen To The Blues’. Backed by a tight band, Ed Vance on Hammond stands out, along with the playing of another northwest guitarist Dave Conant, who passed away two weeks after Isaac. His signature tune, ‘Goin’ Back To Wichita’, is featured here. Although the Albert Collins influence is apparent, Isaac was not a mimic and his fine licks and great tone are well worth a listen.

Davide Styles

YUSUF Roadsinger Island

It’s been a long journey through music and life-fulfilment for Yusuf. Starting in the ‘60s as Cat Stevens, on this CD, he has returned to one of man’s greatest communicators - music. In doing so, he has linked up, in true Yusuf style, humanities oldest companions from the dawn of time; religion, politics and music in a blend of Blues, folk, pop, country, but most of all the gift of music itself. The CD is self-penned, Yusuf’s vocal is superb throughout, the songwriting top class and magnetic in its simplicity - stripped-back, raw, pulled from deep in the inner-self. In the ‘60s, Yusuf knew the high life of musical celebrity, yet his dice with death through TB raised him above this and set him on a journey. “Roadsinger” is another stage on the path. Like a pit-stop of his life now and realisation, even with religious conviction, he can still make music and use it as a tool for good not sin. ‘Be What You Must’ is full of the old Cat magic. ’Roadsinger’ shows that Yusuf has the ability to see life’s beauty, yet he knows its darker side and is not afraid to confront it. A CD of musical quality, humility and wisdom! This is not Cat questioning, it is Yusuf answering!

Carol Borrington

Frankie Pfeiffer/Nat Harrap

VARIOUS 75 Pumpin’ Piano Greats JOHN LEE HOOKER Stomp Boogie

Fantastic Voyage

When an album opens with Jerry Lee Lewis ‘Pumpin’ Piano Rock’, you can bet your bippy that it won’t be a guitar freaks anthology or a ‘how to’ for balladeers. It does what it says on the cover: seventy-five tracks, all featuring piano as the core instrument, and the majority sitting either in rock‘n’roll, boogie or Blues, with some New Orleans jazz thrown in for fun. You get numbers from Ray Charles, Jerry Lee Lewis and Little Richard, as well as Pats Domino, Professor Longhair and even Chuck Berry. Get the picture? A celebration of piano without really taking any account of style or fit. Two caveats: firstly, the volume is way too low – when the sound is turned up to comfortable levels, there is a lot of background noise –and secondly, there doesn’t seem to be any order – anyone, anytime and in any order. If you are a piano fan, this will hit many spots, but it can be too much of a feast. John Lee Hooker features on more collections than just about any other Blues star, so why bother with yet another box set of Hooker ‘classics’? The answer seems to be quality of the transposition, especially of the really early material, when he recorded as Texas Slim or John Lee Booker. Disc one has Hooker in Texas Slim mode, with acoustic guitar and little of the hallmark stomp – ‘Devil’s Jump’ and ‘Nightmare Boogie’ are awesome and are the best on the disc – but disc two sees him signed to Chess and in his stride, and a lot more recognisable, as numbers like ‘Welfare Blues’ and ‘Apologize’ show. Two different versions of ‘Walkin’ The Boogie’ show very different sides of JLH. Disc three features his recordings for labels like Vee-Jay and Hi-Q, but it’s still very clearly the John Lee Hooker of legend. Seventy tracks in total and well work the effort.

Andy Snipper

BETH McKEE I’m That Way

The liner notes to Beth McKee’s devotional to Bobby Charles call the music “swampy and soulful,” and that is a perfect summation of the collection. Charles was an omnipresent contributor to the Bayou’s musical evolution, and is forever connected with the unusual genre of swamp music. Part Cajun, part soul, part Blues - and more. It’s a style that has been associated with the diverse likes of Fats Domino and Tom Jones. And, in doing so, they have usually been singing Bobby Charles tunes. Hardly lyrically profound, and that is not the point, the message is one of love, attraction and subsequent disappointment.

The stages between romance and rebellion are covered in all of McKee’s chosen numbers, some of which will be more familiar than others. Subtle and unsubtle vocals compete with flamboyant sax, intruding guitar, and around again. ‘But I Do’ crosses the generations and will nag like a frustrating pub pop quiz question. ‘Tennessee Blues’ is a cosy croon that is indicative of the Charles flavour. It’s recommended for fans who have recently tuned into the likes of Beth Rowley, and for those hungry for more from the Fats Domino menu. Of course, stalwarts of Bobby Charles and fans of Beth

McKee, it is her album after all, will find the album a real treat. Louisana laughter amongst New Orleans nobility.

Gareth Hayes

BJØRN BERGE Live In Europe

DixieFrog

Probably the most Nordic of Bluesmen to perform the darkest of Blues, Bjorn Berge really understands how to change style by searching deep into rock (and hard rock) - the inspiration he needs to make albums such as “I’m The Antipop”, an album of covers he released after six albums with his own compositions, the latest being the excellent “St Slide”.

Recorded in February 2007 in Brussels, “Live In Europe” will transport you from your sitting-room straight into one of his live gigs. This Blues artist injects an explosive energy and an incredible rhythm with his foot stomp, which manages to substitute the whole of the low bass drum section. An acoustic-electro Blues band all by himself, Bjorn Berge knows how to get his public involved, how to charm with love songs and how to make you feel weak at the knees when he covers songs like Motörhead’s ‘Ace Of Spades’. Apart from a great mix of compositions and covers, immortalised in this ‘live’ album, there are also two tracks recorded in Paris at the Nouveau Casino in 2005

and a superb DVD recorded in Oslo in 2001. The DVD ends with two tracks recorded in 2005 in Arezzo, Italy, where Bjorn Berge had the huge task of playing after it was announced Motörhead were cancelling their concert - a challenge the Scandinavian Bluesman took on bravely, and won by covering - all by himself - a Blues version of ‘Ace Of Spades’.

Frankie Pfeiffer/Nat Harrap

This is very raw Blues that owes a lot to the freedom of The White Stripes and the inspiration of Jimi Hendrix and Rory Gallagher. This is certainly music that belongs firmly in 2009 and not back in the 1900s. It is fresh, has a hell of an edge to it, and just demands your complete attention. For only two guys, they make a terrific noise and take no prisoners along the way. The aural assault is there from the start of opener 'Meltdown

MONTE MONTGOMERY

Wishing Well

Live At The Caravan Of Dreams RICK

DERRINGER

Knighted By The Blues

Provogue

At The Hoo' and never lets up until the final notes of 'One Way Ticket To The Blues' drift lazily away to nothing. Along the way, it takes you some time to realise that what is blasting at you is in fact a radical reworking of Robert Johnson's 'Cross Road Blues'. Taking the Blues by the scruff of the neck, Gwyn and manic drummer Kev Hickman are a spur under the butt, and show just what can be done in much the same way as say Dave Arcari. Radicalisation is a good term for these guys, with titles like 'Junior Got A Blade', 'False Accusations' and 'Outside Woman Blues'. There are two slightly different versions of 'Million Dollar Blues', one of which is a radio edit. It's a great pity that our radio is so narrow in track selection because this would liven things up for sure. Terrific stuff indeed!

Graeme Scott

BROWNBIRD RUDY RELIC

Anti-Stereo Acoustic Holler Blues

Reltone

This all-original release was recorded on 1949 Ampex reel to reel using vintage microphones, and therefore the sound is similar to ‘40s authentic Blues recordings. It features just one man and his acoustic guitar, and is an attempt at a throwback to the Blues of yesteryear. Rudy used to be a punk rocker before the Blues bug caught him, and this is his self-confessed attempt at “keeping the Blues alive.” From the opening track to

Monte Montgomery is what you could describe as a ‘musician’s musician’. His skills as an acoustic guitarist regularly get him name checked by his peers, particularly around his native Austin, Texas. “Wishing Well” was originally released in 2001, but has now been reissued for European audiences by Provogue. It shows Monte on fine form with a studio band, banding out earthy, fine countryrock on track after track. The instrumental, ‘Bagpipe’ highlights his skills on the fretboard, and fellow guitarists will lap it up. The rest of us will enjoy some stomping tunes, including the title track, ‘Wishing Well’. “Live At The Caravan Of Dreams” was recorded the following year, in 2002, and sees Montgomery performing to a packed house in Forth Worth. This double live set captures Monte doing what he normally does best – it’s a hot and sweaty performance, full of impossibly good guitar solos. Unlike many other live CDs, the recordings were not redone or overdubbed, so what you hear is what you get. Monte himself comes across as a real crowd pleaser. A real highpoint is the closer on the second disc, which is a truly astonishing cover of Dire Straits’ ‘Romeo And Juliet’. If Mark Knopfler ever heard it, he would probably give up! Monte is clearly too good for local audiences. It’s time the Texans learned how to share him with the rest of the world. It might be more than thirteen minutes long, but it’s almost worth the admission price alone. Rick Derringer’s music career dates back to the 1965, when his band The McCoys had a number one hit with ‘Hang On Sloopy’. Apparently, they knocked a little-known band called The Beatles off the top spot, who were enjoying some moderate success with ditty called ‘Yesterday’. Since then, he has worked with everyone from Alice Cooper to Cyndi Lauper. In recent years, he has come back to the Blues. “Knighted By The Blues” is a brand new album by Derringer, and features a few well-chosen covers, including ‘The Mess Around’, which was a hit for Ray Charles, and some originals. Rick’s skills with the guitar and his Blues pedigree are never in doubt. All the tracks rock and there are some fiery solos. While Rick is a fine guitarist, some of the vocals could have done with a bit of backing – and some better lyrics on occasions. It’s a solid effort, and not a bad record, but the highlight is definitely Rick’s guitar playing.

Jamie Hailstone

the last notes, it sounded to this listener like one long meandering song, in that there is very little variation in the pieces. He backs himself with some basic acoustic strumming to songs that I just couldn’t connect with. ‘Jump Up Brownbird’ and ‘Your Special Rider Gal’, have a little something there, but I just couldn’t bring myself to hit repeat, and it certainly won’t find its way back onto my stereo. His voice is decent enough, but is negatively affected by the employed inferior recording practices. As the title suggests, there is plenty of ‘hollering’, which after a while becomes increasingly irritating, along with his need to mention ‘Brownbird’ in just about every track. It seems like a good idea in practice, but, to be honest, I was eager for the CD to finish towards the end.

Andrew Baldwin

body to enjoy. The fourteen tracks are self-penned or collaborations, featuring Zac's vocals and lead guitar work. If you need a pointer, think in terms of Robert Cray, Luther Allison - and even Barry White! The album gets underway with 'Don't Give Me Another Reason' with Zac pleading with his lady not to make him fall in love with her. 'Hattie Mae' is a fine tune that drives along before 'Since You Been Gone' ups the pace even further. If you want a funk Blues then 'Back Bitin' Back Stabbers' is the one for you. I actually prefer the back seven that begin with 'Smile On Your Face', and closing with the tasty slow Blues

'Man Is Not Meant To Be Alone'. This particular song has nice slide guitar, harmonica and a simple Cajun drum accompaniment, and is a good way to end a fine clutch of songs. Hopefully Zac will be more productive for himself from now on.

Graeme Scott

SCOTT AINSLIE Thunder’s Mouth

It's a funny old world sometimes! Here we have a man who has played music professionally since the late-70s, he has been a producer for Alexander O'Neal, The O'Jays, Freddie Jackson Black Uhuru, and many others, and yet he is only now coming into his own as a recording artist with this his fourth CD. As you would expect, it has high production values throughout. It combines Blues and soul, touches of gospel, reggae and smooth jazz, so there is something for every-

Cattail

Ainslie’s record begins as a revelation to the ear. His acute yet powerful performance of J.B. Lenoir’s ‘Down in Mississippi’ is both faithful and original. In this song even, his voice matches that of its creator, a feat he manages once again in his cover of Son House’s ‘Grinnin’ In Your Face’, a song which is equally faithful in it’s a cappella recording - right down to the tiny and almost insignificant “woos” which appear in every vocal refrain. However, it is after his version of the traditional ‘Oil In My Vessel’ where things begin to slide downhill. His own song, ‘It’s Gonna Rain’, sidelines the excellent band performance for what can only be described as a powerhouse performance by Ainslie in full Michael MacDonald vocal prowess. The same can be said with his cover of Tom Waits’ ‘Little Trip To Heaven’, where Ainslie’s performance takes prominence over what

CLARENCE DOBBINS

The Uprising BARBARA CARR

Savvy Woman

CDS

Big, handsome, charismatic with a voice to match, Clarence Dobbins also reveals on this twelve track collection that he possesses an impressive skill as a songwriter. From the uplifting opening track, ‘Can’t Buy You’, we go into ‘Blues Uprising’ and we soon realise that this man has a big, versatile vocal style, which sits equally at home with the Blues as it does in a heartfelt soul ballad, such as the excellent ‘Call On Me’ –and these are all his own compositions, too, apart from one Don Robey track, the big, dramatically-framed ‘Eight Men And Four Women’. The musicianship on this CD is exemplary with a tight horn section and a quartet of good guitar players, including Jake Booker and Bobby Messano. Clarence Dobbins is definitely a name to watch out for. Barbara Carr has a long musical history, which starts impressively with Chicago’s Chess label as far back as 1966. She’s one of those big, talented voices in the Koko Taylor bracket who can handle the full gamut of R&B through Blues to soulful ballads. In recent years, she’s recorded for Memphis-based Ecko Records, among others, but this new CD sees her in her element with ten well-chosen songs and some really fine backing musicians. Standout tracks are ‘How Long’ and she’s wonderful on the sensitive, soulful ‘After She’s Gone’. Ms. Carr is also fortunate to have another great CDS artist in the producer’s chair here – Clarence Dobbins. It lifts your heart to know that people like Barbara Carr are still out there, still recording and performing. She may not be the household name she deserves to be, but she’s one helluva singer.

Roy Bainton

should be the same smoky atmosphere created in the original. It is, however, an atmosphere which is recreated in the album’s closer and title track; a slow-burning, brooding slab of dirty Texas Blues - a song so powerful and delicate it can be said to be a positive end to a shaky to a disappointing middle.

Matthew Clarke

WATERMELON SLIM Escape From The Chicken Coop

The loneliness of the long-distance lorry driver can be a goldmine for songwriters. It gave Lowell George one of his most famous songs - ‘Willin’’ – which is still an anthem for late night truck drivers to this day.

Watermelon Slim has one over on the late Little Feat singer in that he actually was a lorry driver, and “Escape From The Chicken Coop” features songs inspired by his time behind the wheel. While this album has a more country music vibe to it, compared to other releases, Slim still has plenty of time to demonstrate his slide guitar playing. His well-worn voice really suits the songs of regret, late nights and long roads. Various members of Delbert McClinton’s backing band, who themselves are no strangers to life on the road, crop up to add an authentic back porch feel to the proceedings. Tracks like

‘300 Miles’ are natural successors to later-day anthems like ‘Willin’’, and any man who can sing a song with a title like ‘Skinny Women And Fat Cigars’ has got to be worth listening to. It’s almost enough to make you trade in that Ford Focus for a ten-tonne truck and hit the highway.

Jamie Hailstone

BLACKBUD

Blackbud

Independiente

This the Bradford Upon Avon group’s second album and, like the first, sits in the indie rock camp. The three-piece’s lynchpin is guitarist and singer Joe Taylor, whose vocals help define their sound. There’s a touch of Thom Yorke whining, and a whole lot of Jeff Buckley crooning. His haunting vocals float over lolloping bass lines and spiky lead guitar bursts. The band were voted best unsigned band at Glastonbury back in 2006 and returned to the festival this year. If you’re part of that muddy crowd then Blackbud are likely to appeal to you. Producer Mike Crossey creates a live band feel and his past credits of Artic Monkeys and The Coral gives the record some kudos. Tracks like ‘You Can Run’ and ‘Golden Girl’, which hints at Travis, be that good or bad, have commercial potential. For those in search of the Blues it’s not until track eight, “Came Down Easy”, that the guitar stings and it’s accompanied by some welcome heavy dis-

torted riffing. Much has been made of the fact that Jimmy Page said he liked them and you assume it would be for a number like this or the acoustic ‘So It Seems’ rather than some of the other willowy material. Adam Newton, Sam Nadel and Taylor do knit well together and show an ability to come up with some fine, indie pop melodies, but for those needing a Blues fix, this proves slim pickings.

Duncan Jamieson

THE LUKE MULHOLLAND BAND Further

lukemulholland.com

This 19-year-old has already released several albums, and has opened for the likes of Jeff Healey and Dickey Betts. At a little over half an hour, this set is very short, and only features eight tracks, but the opening instrumental, ‘Go’, showcases the young man’s guitar skills. It’s a fiery and funky blast, but is over just as it starts to hit its stride. When Mulholland sings, you have to look again at the baby-faced man on the album cover and question if it can be the same person. He has a deep,

VIEUX FARKA TOURÉ Fondo

Six Degrees

The late Ali Farka Touré was the master of the ‘desertBlues’ style of western Africa, and Vieux is his son. This is the young singer/guitarist/ composer’s second album, and it finds him establishing his own identity, yet both keeping largely within the parameters of the style whilst simultaneously stretching them. Most of the musicians are from within the tradition – singer Afel Bocoum used to play with Ali, and kora player Toumani Diabaté played on his last album – though drummer Tim Keiper is one of the more free-thinking American musicians, and bassist Yossi Fine has worked with David Bowie. The music is mainly intricately played electric guitar-led and hypnotically droning, a little akin to a far gentler and deeper version of the Mississippi hill-country style, and there are some John Lee Hooker influences to be heard in the playing if you listen carefully (Vieux Farka’s father was a big fan of the Boogie Man’s music). Sometimes the music veers off into almost dub-styled improvisations, ‘Diaraby Magni’ has a reggae underpinning, and the rock-tinged ‘Sarama’ also obliquely recalls the glory days of funk and soul. Lovers of the African Blues style can buy with confidence.

Norman Darwen

the album is probably ‘The Last Verse’, which slows the pace with a song about the demise of classic rock, but it has dark undertones, with the death of a friend running parallel lyrically. I’m sure we’ll be hearing this man’s name in the future, and hopefully he can build on this release.

Andrew Baldwin

THE DUFFY BISHOP BAND Fly The Rocket Burnside DUFFY BISHOP Ooh Wee!

Trillium

These releases by Duffy Bishop date back to 1999 and 2003 respectively. “Fly The Rocket” is bedecked in a rather strange album cover, with Duffy seated astride a rocket on route to the moon. More pleasing was the music, which covers Blues, rhythm & Blues, funk, soul and jazz. It starts with the upbeat ‘Change Your Address’, which is one of several tracks written by her band members - in this case, her guitarist Chris Carlson. He also provides some tasty guitar lines on the Aretha Franklin style tune, which, like most of the album, has a rich sound due to the presence of a horn section. Duffy’s vocals are strong and she varies her voice at ease throughout the songs, which include the funky ‘Rockandaheartbreak’ and a moody version of Ida Cox’s ‘Wild Women’. ‘One More Thing’ has a slight country feel to it, whilst Hey Linda is a self-penned jazz tune, inclusive of both alto and baritome saxophone, whilst Pain is a piano based ballad. Carlson’s guitar comes to fore on Patience. The lyrics cast a little scorn on the American dream and even Kurt Cobain gets a name check. ‘3x’s’ provides a cautionary warning to women of the cheating man. This is a diverse and vibrant set of songs. Its follow-up, “Ooh Wee”, in comparison, is a more conventional affair, even the cover is more conservative, with Duffy dressed in a long dress. Duffy recorded the album live in the studio with four band members, therefore it does lack some of the sparkle of her earlier release. Aside from the sprightly Bishop/Carlson composition ‘Tamal Man’, it features some of her favourite songs by artists such as Big Maybelle, Wynona Carr and Wynonie Harris. The highlights include the Bluesy title track, a melancholy cover of Ray Charles’ ‘Peace Of Mind’ and the molten rhythm & Blues of ‘Alley Cat’. The recording of Fats Domino’s ‘Blue Monday’ was less my cup of tea, but I did enjoy the lively version of ‘Rock House’.

Duncan Beattie

BLUES DIVINE

Shine Like The Sun

bluesdivine.com

Blues Divine is the vehicle for the creative force that is Philip Franchini. His mission is termed ‘New Earth Blues’; the message speaks of spirituality with positivity. This California resident grew up in Kentucky, and graduated into the Blues when he was 14. His influences are dispirit, and though rooted in the likes of Robert Johnson, he expresses and embodies the constant evolution of the Blues form. This album evokes memories

of the hippie dream, before it was adulterated by fashion, drugs and commerce. He is joined by some excellent musicians, whose ability to play in a variety of styles is impressive. The opening track, ‘Knockin’’ is the most Bluesy, but the mood is firmly set by the brilliant gospel-styled ‘Down By The River’; the vocals by CC White are sublime. Self-help messages are there in songs like ‘Don’t Settle For Less’, and a sombre mood abounds in ‘Apocalypse Blues’, with its great horn and organ parts. The funk of ‘LA Breakdown’ is superb. The anti-war headlines in ‘Brother, Sister’ are again enhanced by the moving vocals of CC White, and, at nearly eight minutes long, it is the album’s tour de force. This is followed by an instrumental interlude, ‘Axle Grease’, before the spiritual messages are again emphasised in the final four tracks, the pick of which is the reflective, refreshing and religious ‘Sacred Ground’. This album proves beyond doubt that the Blues can be profoundly happy.

Noggin

SLOWMAN

Torngren. Rather confusingly, this is his first CD and contains

after playing in several bands. The fifteen tracks on this compilation are remarkably good, and Slowman’s American singing accent is faultless. Anyone expecting a Eurovisionstyle mauling of the English language will be disappointed. He is also a truly rocking guitarist, and this CD pounds away like vintage Eric Clapton or Chris Rea. It has big drums, big guitars and thumping basslines. It’s the sort of record Jeremy Clarkson would listen to as he drives home from a busy day filming “Top Gear”. Kudos also have to go to the Swedish band who back him, as their playing is first rate throughout. Highlights include the funky ‘Take It Down’ and the stirring ‘All Tied Down’. The mix of rock, soul and Blues might be something we have all heard a thousand times before, but here it’s played straight and with total conviction. Let’s hope it doesn’t take him twenty-three years to record the follow-up, as this is a man who knows his stuff.

Jamie Hailstone

THE SMOKIN’ JACKETS Dirt

Lanta

Andy Sharrocks and his collection of likeminded musical associates are a fairly regular sight around the capital, and their particular brand of Americana/Blues/country –alt.country with menaces – has had a few years to develop. The particular collection of musicians here – The Reverent Paul Green, Husky Jack, Matt Ord, Capt. Bliss (both from Hey Negrita), Kid Caswell, Kofi Kari Kari and Phil Dobben, plus the excellent John T on acoustic bass –are all accomplished, and the relaxed format of the album seems to have brought out a very easy, unforced way of working. It also suits the music extremely well, and makes for a fine hour’s divertissement. A few of the numbers

SHE KEEPS BEES

Nests

Names

Jessica Larrabee leads this drum and guitar duo with a possession that is surely going to make a significant mark on the current heady stage of dysfunctional Blues. Taking sinister and kooky and merging it with a Deep South tradition, She Keeps Bees forge a gritty visceral Blues album that will be comfortable in mainstream indie chartland. Andy LaPlant on drums is happy to pound away in the background, either safely and softly or with off beat dimension, as Larrabee takes a commanding stance over their intoxicating melodies. ‘Release’ and ‘Gimmie’ are confoundingly catchy and summon up images of freedom and summer wind, before becoming the monster in the dark grabbing at your ankles. Every track injects venom and antidote at the same time. ‘My Last Nerve’ is new age gospel and a kind of evil Eurythmics. Comparisons with the likes of Gemma Ray and even Florence And The Machine may be used, but She Keeps Bees have a powerful originality that make them difficult to file. ‘Bones Are Tired’ breathes new life into death chant Blues, whilst the majority of the work will probably sit in indie Blues. Long-haired, curvy and tall, Jessica Larrabee holds an incendiary wand over the album and is poised ready to ignite the blue touch paper. Melissopalynologists won’t be the only people who will love this album. Impressive.

have been staples of the Smokin’ Jackets live set for a while – ‘Davey’s Blues’ and ‘Lifetime Guarantee’ – but the new numbers sit very easily alongside. Sharrocks’ voice could be described as gruff or even rough, but it isn’t without charm, and on ‘Davey’s Blues’, the lament of a traveller locked up in a static jail cell, his drawl perfectly fits the song. All through the album, the music sounds as though it is being played for the enjoyment, and this draws out a fair few excellent performances.

‘Ballad Of A Dying Man’ is pure country Blues, with some fine Paul Green guitar, and ‘Dirt’ features some gorgeous acoustic guitar from Matt Ord. This isn’t an album for musical purists, but anyone who enjoys music while enjoying a jar or two is going to feel right at home with the stories and situations in these songs – ‘Waste Some Time’ is a chat up line as a song, or ‘Ain’t Getting My Share’ - and with the music as well.

Andy Snipper

NEBULA

Former Fu Manchu guitarist Eddie Glass has brought his Californian power trio back to Tee Pee Records over ten years after releasing debut EP “Let It Burn”. In that time, the group have honed their riff heavy brand of cosmic, stoner rock on labels such as Sub Pop and Liquor Records. The album opens with arguably the band’s most intelligent four minutes to date, an effects laden track with distorted vocals helping to create an eerie atmosphere, whilst the lead guitar is mesmerising – the musicianship throughout this album is irresistible – and the melody hypnotic. The band revert to type thereafter – but for an intriguing light instrumental (‘Dream Submarine’), an acoustic ditty (‘Little Yellow Pill’

does develop a heavier groove) and the ill-advised nonentity of a closer (‘Running Of The Bulls’) – but it will more than satisfy fans of Hendrix’s psychedelic inflicted Bluesy rock, replete with clichéd lyrics (‘Woman get out of my mind/Set me free…/Woman get out of my head/Sweet lady get into my bed” – ‘Aphrodite’) and an excess of soloing.

Darren Howells

THE BLUES BAND Be My Guest

BGO

That old chestnut ‘Let The Good Times Roll’, popularised by Louis Jordon, gets an airing here, and it is as clear a mission statement as you could want for this record. The Blues Band are hosting a party and everyone’s invited, well anyone who is a top class Blues musician that is. If I were to list all the guests here, it would meet the word limit for the review, but here are a couple to whet your appetite; Ian Stewart, Charlie Watts, The Memphis Horns and Pee Wee Ellis. There’s a sense of bonhomie as guests and band revel in making the music they love. The songs span from 1979’s “The Bootleg Album” to 2002’s “Stepping Out”, and over the course of twenty tracks features a mixture of covers and originals, taking in Chicago Blues (‘Bad Boy’), harmonica Blues (‘Bad Penny Blues’), soul (‘Leaving’), funk (‘What You Wanted’), swing (‘Swing Out Dave’), spiritual (‘Resting On Jesus’) and contemporary Blues (‘Fat City’). The effect is like tuning into a radio station that plays over seventy-five minutes of top class Blues uninterrupted. This record originally surfaced in 2003, as part of their 25th anniversary celebrations, but if you haven’t got it, and you’re a fan of The Blues Band, or looking for an introduction to their criminally underrated music, this comes highly recommended.

Duncan Jamieson

Gareth Hayes

LITTLE BOB Time To Blast

DixeFrog

It was in 1975 that Bob released his first single, and over the years, and with each new album, he stays faithful to his own brand of music - music which comes from the heart and moves you to the soul. With “Time To Blast”, the raging bull on the cover is a sure sign that Bob is not at all happy with what’s going on in society. Listen to ‘Scream Inside’, a cry from deep, which takes you to the throat, with its powerful, changing rhythms and a perforating bass. As for each of Little Bob’s albums, each track stands alone - check out ‘The Phone Call’, and its devilish and aggressive boogie, followed by ‘Big Boy Walking’, with such a tempo, it nails you to the walls. Don’t miss the swinging ‘Take It As It Comes’, a truly exceptional track in which Little Bob confronts the rules of our formatted society to tell us how you must believe in life, whatever its obstacles. Throughout this album floats a special spirit, that of a man loyal to what he believes in and who also knows how to pay tribute to his peers, with a cover of Barry Reynolds’ ‘Guilt’, and for the last track of this album, he gives a breathtaking performance of Skip James’ ‘Devil Got My Woman (I’d Rather Be The Devil)’.This album is not just an excellent CD, it’s a cult object - it is the gem we were all waiting for.

Frankie Pfeiffer/Nat Harrap

NELL BRYDEN What Does It Take?

157

When I first heard the title track of this album, I thought it a slight piece of rock'n'roll, unworthy of the usually excellent Ms Bryden. Hearing it open the album proper does nothing to change my mind. Thankfully, it’s a short tune, and things start to get serious with the awesome country soul of 'Not

penned material and the musical expertise on offer that the record manages to hold together so well. GRAMMY award-winning producer David Kershenbaum has an assured way with the tracks he twiddled the knobs on, although some songs, like 'Only Life I Know', could have done with a bit more energy. Generally, the album knocks gently, rather than kicking in the door, and the standout songs, like the aforementioned 'Not Like Loving You’, 'Tonight’ and 'Late Night Call', are the ones where the paint has splashed over the edges. It is, however, a very good album, just not quite the stone cold classic I'd built myself up for.

Stuart A Hamilton

PHILIP SAYCE Peace Machine

Provogue

This is a real blast of Blues history. Philip Sayce sounds as though he has been around forever and, judging by the music, he is highly profligate in his listening matter - he plays in so many different styles. He is a quite superb guitarist, very much in the modern style of using the guitar as a voice but with a great deal of classic Blues axeman in his soul as well.

‘Alchemy’ could almost be a Roy Buchanan number, as he wrings maximum emotion out of a slow Blues with Fred Mandel’s keyboards underpinning everything, but he shows some hard chops as well - ‘One Foot In The Grave’ has overtones of Hendrix , while ‘Save Me From Myself’ has all the

JOHNNY WINTER The Johnny Winter Anthology

Shout! Factory

The Winter brothers, both renowned albinos and virtuoso musicians, have their own distinguished careers as well as working together. While Edgar took a jazzier direction, Johnny took up Blues and rock’n’roll, and started performing at the age of 15 with some big names. Between solo and his own bands, this two CD package takes in a good chunk of Johnny Winter’s career from the ‘60s onwards. From “The Progressive Blues Experiment” and to working with the likes of Edgar (equally at home on piano as guitar) and Rick Derringer, there is some top Bluesrock here, mixing rock’n’roll and slide, with Winter’s harsh vocals augmenting the guitar sound well. Of note is the track ‘Rock’n’Roll Hoochie Coo’ from the album “Johnny Winter And” - it featured Derringer, who would have a hit with his own version a couple of years later. And although a more than decent songwriter, Winter was never adverse to experimenting, both with his own work and also with other people’s songs, especially live. So live versions of ‘Jumpin’ Jack Flash’, ‘Johnny B Goode’ and ‘It’s All Over Now’ fit in well with his own material. Some of the tracks are a little raucous, but that was his style, and this set does it justice. Well annotated with a brief discography included, too. If you have no Johnny Winter, this is as good a place to start as any.

Joe Geesin

as he shows on ‘Dream Away’, and he isn’t afraid of the classics, with a powerful version of Neil Young’s ‘Cinnamon Girl’. The title track of the album is an eleven minute Bluesrock blast that owes a lot to Hendrix, but is a monster number nonetheless. He has performed with Jeff Healey as a teenager, with Uncle Kracker and Melissa Etheridge – he featured on her Oscar winning ‘I Need To Wake Up’ – but this is his first album for Provogue, and he fits well into their roster of great rock/Blues axemen.

Andy Snipper

ROBBEN FORD Soul On Ten

Decca

Robben Ford’s latest offering contains eight live tracks and two studio recordings, three new songs and improvisational covers of two classic numbers by Willie Dixon and Elmore James. Kicking off with a live version of ‘Supernatural’, from his “1999” CD, Ford next breaks into a live version of his instrumental tribute to B.B. King, ‘Indianola'. Here Fords fluid jazz riffs are equally matched by the drumming of Toss Panos. 'There’ll Never Be Another You’ sees funky wah wah guitar riffs followed by fluid Blues, before Ford moves into an impressive improvisational guitar solo mixing Blues and jazz riffs. The first new song is a live version, ‘Earthquake’. Ford confronts the price paid for life on-the-road, with guitar

solo beautifully depicting his ability to play subtle riffs, whilst crossing genres in a song. The call and response instrumental displays exceptional violin and a myriad of guitar techniques, with keyboards riffs to match. ‘Don’t Worry About Me’, the second new song and a studio version. Ford here makes a socio-political comment on modern life. It is an interesting diversion in style to the rest of the CD, full of lyrical and guitar driven passion. The third new song, again a studio version, is called ‘Thoughtless’ - a Blues, jazz and rock infused ballad of love. It is well constructed song, which is moody, pensive with highly expressive guitar work. This excellent CD offers the punter something old, something new, something borrowed - but most of all, something Blues!

Carol Borrington

FRED CHAPELLIER & BILLY PRICE

Night Work

DixieFrog

Just slip the CD in and you’re hit by something powerful and shiny, so shiny you need the dark glasses sported by Fred and Billy on their “Night Work” album cover. The duo got together when Billy Price, who used to sing with the sorely missed Roy Buchanan, came to Fred Chapellier’s recording sessions for the release of his album “Tribute To Roy Buchanan”, one of the best Blues album of 2008. In this latest effort, the sound is huge and round, without any rough edges, where the lowest, deepest notes come crashing against the highest of the highs. Among the covers, there is a magnificent rendition of ‘Love And Happiness’, but it’s the compos which are simply amazingthere’s such an understanding, a bond between the two men. It’s impossible to choose any favourite tracks, they are all phenomenal. Let’s just mention the beautifully swinging ‘Under The Influence’ and the breathtaking continues on page 134

THE ACES

Originally we were Derek And The Aces, But then I started playing music with Sky O’Banion (harp/vocals), and after a while we decided to go by only The Aces. We had a bass player for about two years, but felt we were not original or inspiring. Our drummer, Mike Gutsch, suggested using a second guitar in place of a bass player. When we got together in that configuration – BOOM! we had a sound, style and swagger.

“We write and perform 99% original songs and we don't try to sound like anyone else - we take our influences to create our own sound!

“I don't listen to many new artists these days; alot of the music sounds the same or just does not inspire me. I enjoy the artists from Mississippi. Europe has some pretty good bands to rival what's coming from the US. From Europe, I like The Juke Joint Pimps and Jim Jones Revue.

“Blues is a tough music form to spread to the masses for some reason. While it gets good press from the Blues specific sides, it's not on MTV. It's also possible that the Blues media side is not challenging itself to expand onto YouTube, online Podcasts, or maybe there are no acts which have this crossover appeal, i.e. captivating sound and/or strong image and branding.

“The US economy is going to make it tough for artists and labels. They will need to be innovative on how they market bands, how they expand into Europe,

THE WIGNUS ADAMS BAND

How would you describe your sound?

Cream, if they were from Oakland. More of a “groove band” than a “jam band”.

What stands you apart from other bands today?

Every time we play a song, it’s different. We’re contemporary Blues musicians, not a costume act.

What are your ultimate aims and ambitions?

Kevin, guitarist Kelly Back, and I are committed to this band. Kevin is a very engaging and unique frontman. I look forward to getting on the festival circuit, and taking

etc. There are alot of people in the world; it's just getting to them with the right combination of talent.

“I think the labels should be ready for a band like ours. I feel we have crossover marketing appeal. I acknowledge that our core fans base is not the Blues purists, but with an established label, which is willing to take a chance and spend some marketing capital, I'd like to have them market us to Europe - the younger hot rod culture, the rockabilly crowd, the Blues trash/punk crowd, etc. without having to kill ourselves playing one nighters to ten people in some unknown city.

“We aim to expose our music to listeners and challenge what they ‘now’ consider Blues.

Derek Irving (guitar) myspace.com/theaces

our sound all over the world. I also see us as the ultimate ‘rental band’; in this economy, an artist might do better hiring a local band rather than transporting their own for certain gigs. I think we’re perfectly setup to back anyone who needs it, and capable of expanding the line-up –adding horns or keys – as needs be.

Band for hire!

The Aces should attract a crowd.

DAVID BROAD

I'm playing the roots of what a lot of people today understand Blues to be. There are many bands playing in the vein of Clapton or B.B. King, but not so many people playing the east coast pre war style. I’m also trying to keep this style a bit exciting, not playing the same old standards people have been playing since the ‘60s.

“I guess most people see Blues as electric music, kind of guitar, bass and drums. Some people you meet at gigs have never even heard the east coast pre war style of playing. There is still a lot of romance surrounding it, and people have different ideas of what 'real' Blues

is. Sometimes people ask why I'm playing American music as if I don't have the right to as I'm English, but does it really matter? I guess you can sell more records if you were once a hobo, but being a hobo doesn't make your singing any better!

“I feel Blues encompasses a lot of variation that people don't always think of. Like the whole Blues ragtime style. I'm kind of biased towards the upbeat variety, I think Blues can get people excited and want to danceeven if it's just one guy and an acoustic guitar! I think a feel for the rhythm is what makes great players stand out, and when there are no drums, it's even more important. After all, a lot of it was played as dance music.

“Blues has definitely got a future. We live in a time where there's so much information and media on every subject, anything can flourish. Although I'm looking back to old music, the internet has definitely had a big influence on where I am now. If you hear of an artist, you can find their life story in seconds; you can find all their influences - and who they've influenced; you can find videos of guys who first recorded in the 1920s and study how they play.

What does the Blues mean to you?

Blues is not a special outfit you just go buy and put on.

Blues is about people, together. From Delta field hollers, to big city ‘rent parties’, the music drew the people in.

When The Wingnut Adams Band plays, the audience is as big a part of the gig as we are. The energy goes both ways and feeds off one another.

How do you see the Blues scene currently?

I don’t think there’s another style of music that involves the audience and makes people feel involved the way Blues does. It’s a niche, but it’s a big niche, with more people ‘growing into it’ all the time. And while a Blues performer will never win “American Idol”, there is a thriving fan base

You can get books and videos by people such as Stefan Grossman, who studied with the greats in the ‘60s. You can even buy the complete recordings of Blind Blake for about £10. How crazy is that? When you think about it, things have changed a lot since the folk and Blues revival.

“My aim is to play gigs to people who like this kind of music, and get people who haven't heard it to listen to it.

David Broad

myspace.com/davidbroad

that is invested in their favourite performers. Blues magazines used to be slanted towards the musicians they covered. Now the focus is on the fans and the musicians, because we’re all in this together.

www.myspace.com/wingnutadamsband

David Broad wants better appreciation of pre-war style Blues.

photo: Barnaby Aldrick

BOND + BROWN Two Heads Are Better Than One JACK BRUCE Automatic Esoteric

There is more than just a label mates connection between the artists featured in these two re-releases. Pete Brown collaborated with Jack Bruce in writing some classic Cream songs and, of course, Graham Bond played in the Jack Bruce Band. Bond + Brown’s album was originally released in 1972 and is entitled “Two Head Are Better Than One”. It is a moot point whether that truism applies in this case, for this album exemplifies all the silliness and self-obsession of the post-hippie drug-fuelled excesses of the times. Bond’s background as the leader of a tight Blues and R&B band, the Graham Bond Organisation, had long run its course. Instead, the combination of Pete Brown’s eccentric lyrics and some oddball rhythms and time signatures, combine to ill-effect. This is not a good example of underground progressive rock. Titles such as ‘Scunthorpe Crabmeat Train Sideways Boogie Shuffle Stomp’ sum up the direction of the work. Bond suffered mental health problems and died in tragic circumstances only two years after the release of this album. Jack Bruce needs little introduction as one of the finest bass players and vocalists of his generation, who is rightly lauded for his work with Cream. “Automatic” is an atypical example of his body of work, a left-field departure stylistically, and came after his separation from the artistic control of the Robert Stigwood Organisation. It was borne out his fascination with early computer generated music and specifically a devise called the Fairlight. The album was recorded in Pink Floyd’s Britannia Row studios. Unsurprisingly, an album of such radical departure had little appeal to those familiar with his earlier work and was originally released only in Germany, something of a hotbed for this genre, in 1983. Even Bruce muses that he is “not sure of the merits of the project twenty-five years on.” One has glimpses of what might have been, had it not been for the electronic beats and strange nature of the songs, but the album in retrospect seems unconnected and themeless. This is for Jack Bruce completists only.

‘When The Light Came On’, with Fred’s guitar playing sending shivers down the spine. And, of course, ‘All The Love In The World’, with Billy Price’s inimitable and magic voice - a sure remedy to these special nights you want more blue…more Bluesy blue. With ‘Champagne Blues And Pittsburgh Soul’, you feel all those bubbles going right through you - relax and enjoy one of the most extraordinary Bluesy moments of your life. “Night Work” is one of those rare albums you’ll never want to put away. It’s probably the best album of the year, if not of the decade!

Frankie Pfeiffer/Nat Harrap

GEORGE THOROGOOD AND THE DESTROYERS The Dirty Dozen

Capitol/EMI

If George Thorogood owned a restaurant, it would have sturdy tables and a fairly limited menu, featuring big portions of wholesome homemade food - nothing too surprising, but tasty and good value. This is 32oz steak territory, with no lace tablecloths or quail’s eggs in sight. Unworried that some may think his latest album sounds like his last, “The Dirty Dozen” self explains: here are twelve raunchily unrelenting, driving R&B tracks – six brand new studio recordings and six “fan favourites” - all of which bear the clear George Thorogood And The Destroyers quality assurance mark. From the moment Willie Dixon’s ‘Tail Dragger’ strikes up, you know you’re not leaving until your belt is bursting around your belly. Another Dixon track made famous by Howlin’ Wolf – ‘Howlin’

For My Baby’ is perhaps the highlight among highlights, grabbing you by the throat and squeezing. The Destroyers know exactly how to drape a perfect backcloth for Thorogood’s wailing slide, with Buddy Leach’s powerful sax featuring throughout with distinction. The gloriously unremitting ‘Let Me Pass’ has something of Love

Sculpture’s ‘Sabre Dance’ and Canned Heat about it, but then just as you think the that the unswerving beat is subsiding during the first few bars of ‘Blue Highway’ and a gentle cruise is ahead, he drops her down a cog or two, hits the loud pedal and you are back in the overtaking lane. Rare, grilled monster rib eye with big, rough cut fries washed down - and no serviettes allowed. Earthy, raw, menacing and magnificent. Turn up volume, open beer, enjoy.

Richard Thomas

GLEN PATRIK

Nuthin’ But A Thang!

Shakehouse

Oh, yes! This’ll sway your hips, and offers proof that the Blues still swings like hell in California. With a line-up which features keyboards and the funky sax of Pat Rizzo on ‘Thang Thang’, this album has a fat, urban club land feel,

with the aptly-named Thomas ‘Freight Train’ Walker’s drums thumping away at the front of the mix. What makes it more interesting is the range of styles Patrik tackles. For example, ‘One More Day’, but for a thump on a drum and a cowbell, is an acapella work song, straight out of “Cool Hand Luke” or “O Brother, Where Art Thou?”, where he’s joined by Nancy Franklin and Joseph Planett who share the harmonies. Put this on if you’ve got some rocks to break and you’ll soon get the job done. The contrast after this, when he plunges into ‘4pm Blues’, is ample proof of the man’s Blues versatility, and his guitar stings and soars with distinct echoes of Albert Collins

BLACK JACK MORGAN Write My Name On Water Nigemenz

From the highly individual cardboard sleeve with its psychedelic artwork, through to the music on the CD, this is a weirdly powerful project, just Jack with a mic and a tape recorder. He’s one of those Blues troubadours who has played everywhere - North Africa, Spain, the UK… - and he appears to be based in Columbia. All the tracks, threequarters of which are self-penned, are bulldozer, in your face heavy acoustic slide, and no doubt if he turns up at a folk club somewhere you’ll not forget tracks like ‘One Eye Open’ or ‘All The Devil’s Empty Promises’. Will it sell by the truckload? Doubtful, but Jack looks like a tough hombre, so I reckon as long as he’s playing, he’s happy. There’s a little bonus, too, a black & white mini-poster featuring a drawing of Jack and the kind of pre-Raphaelite woman. Strong stuff; a whole, self-made creative product, but better in small doses – take it one track at a time.

Roy Bainton

ERIC NODEN

The Original Eric Noden

Diving Duck

BLUES POWER BAND

Zee

myspace.com/bluespowerbandcs

This second album from the Blues Power Band, “Zee”, is not what you call a ‘traditional’ album. The quintet from France haven’t released yet another album but a ‘concept’, and it’s up there with those produced by the likes of David Bowie or The Who. Looking for Zee means twenty-one simply beautiful tracks, peppered with a musical common thread, ‘What’s Up Buddy?’, played from the beginning and here and there throughout the album. In this quest to find Zee, there are several hard-hitting tracks, which would make excellent singles. Just like in “Tommy”, you had ‘Pinball Wizard’ or ‘See Me, Feel Me’. Here there’s no pinball machine but great big lorries with ‘Got A New Truck’ and there’s no blind, mute and deaf hero but some guys looking for Zee all over the world, and really struggling to find her. It’s a powerful Blues, which sticks to your fingers and your ears - it’s a bright and shiny Blues, so colourful, it gives the BPB’s music many other shades than blue. I know a Ziggy Stardust who would be green with envy! Just as Ziggy would kick himself for not having written the fabulous ‘The End ’, one of the greatest tracks in electric Blues for quite some time, and the guitar solo is out of this world! Original, “Zee” is proof that the French can really produce top quality and innovative albums.

Frankie Pfeiffer/Nat Harrap

Recorded in Chicago, Illinois, here’s a fine set of acoustic Blues. Eric Noden plays a crisp, cool guitar in that fine old Delta tradition, and on ‘Turtle Creek’ and ‘34th Street Shuffle’, he demonstrates just how good a harp player he is, too. Perhaps the weaker point is his vocal style, but taken as a whole, this is an uplifting collection of self-penned material from a man who has, above all, an impeccable sense of rhythm. His solos, for example, on ‘Crooked Road Blues Home’ are a sheer delight, leaving you gasping for more - and more is what you get! The following track, the instrumental ‘Big Dog, Little Dog’ is a bouncy, uplifting slice of acoustic rhythm, meticulously played. There seems to be a plethora of solo Blues artists around right now, but when you come across one of this quality then the experience is exhilarating. He’s joined on songs by harp player (and, apparently, harmonica maker) Joe Filisko, who blows electrified harp with real guts and passion.

Roy Bainton

FOGHAT Live At The Blues Warehouse

Varese Sarabande

The legendary Foghat have one of those names like an old ‘70s outfit called Toefat which one used to see in the browsers in record shops and ponder over, musing, “I wonder what they sound like?’’ Well, big, wide and loud. In fact, they sound the way they look on the album cover – a kind of aging heavy rock Mount Rushmore. They may be playing at a venue called The Blues Warehouse, but this isn’t entirely the Blues. What immediately comes to mind with all the giant, strident power chords are bands such as AC/DC or Nazareth – there’s even a touch of Bad Company and Thin Lizzy lurking in there, too. With one foot in the Blues door, but built around monumental heavy guitar riffing over a struggling harp, they do have a riotous stab at Willie Dixon’s ‘I Just Want To Make Love To You’, but all told, it’s all much too heavy metal, ‘70s style. Still, if you’re into denim jackets, black t-shirts and tossing your long dandruffed barnet about, this is ideal idiot-dancing material. Good band, bloody loud, but too breathlessly busy for this listener.

Roy Bainton

JULIAN SAS Wandering Between Worlds

A DVD and CD set of the Julian Sas Band, one of Holland’s best. The set is a live performance recorded in 2008 at the Boererii in Zoetermeer in the Netherlands, featuring Sas with bass man Tenny Tahamata and drummer Rob Heijne. As soon as the set kicks off you know what you are going to get. Two of the three in bandanas, the mean grimaces and blistering guitar say it all. There are fourteen tracks on the DVD, and they all feature some impressive guitar work from Sas, backed by what is a very fine rhythm section indeed. The sound on the DVD is crystal clear and the production first rate. However, for my mone,y the music is all a bit predictable and some of it seems a bit pedestrian, in that there is very little contrast between the tracks, all following the same formula centred around the inevitable guitar solo. Having said that, there is some good slide work on one or two of the tracks. Best one of the lot is ‘This Time My Time’, whilst the rocking encore ‘Boogie All Around’ does what is says on the tin. The CD is another kettle of fish, as it is an acoustic set, featuring five tracks, four of Sas’ classics and new song. This is a good vehicle for Sas’ talents, and certainly shows that he has a lot more breadth to his playing than shown on the DVD.

Kevin Wharton

WILLY DeVILLE

Live At Montreux 1994

Eagle

This DVD captures one of the most electrifying and individual of performers in a completely unique setting, and absolutely at his best. With his band cooking up a Latin jam, and building the Montreux audience up, he saunters on to the stage in a long black frock coat, hair in a ponytail and pompadour and with a pencil thin moustache, before roaring “Ca Va?” to the crowd and ripping out a stunning version of ‘Slow Drain’. There really is no-one like Willy Deville at his best. The hits kept coming, with ‘Steady Driving Man’ allowing DeVille to show off his harmonica skills, and the utterly magnificent ‘Cadillac Walk’ featuring the band really burning it all up - they even feature a washboard! DeVille is the epitome of the Spanish gangster/gigolo, and his vocal style is sort of Latin-meets-the-Blues, but

there are snatches of classic Blues throughout. ‘Mixed Up Shook Up Girl’ goes to a ‘poppier’ place, with a superb Spanish guitar solo from Freddie ‘The Frenchman’ Cuellar, and another superb vocal by DeVille. ‘Key To My Heart, ‘Angel Eyes’, ‘Even While I Sleep’, with some superb accordion, and ‘Demasadio Corazon’ all build the audience up and show the different sides of Willy DeVille. The number that made Mink DeVille famous was ‘Spanish Stroll’, and the version here, with DeVille snarling over a cigarette hanging out of his mouth, is great fun - and then we get the shocks: a Latin version of ‘Hey Joe’ followed by ‘New Orleans’ ‘Stand By Me’ and a final, terrific ‘Dust My Broom’. This DVD gives you a great performance of a really special night – I just wish I had been there!

Andy Snipper

ROBERT CRAY

The Robert Cray Collection

Cherry Red

If the idea of a great Blues band miming and lip-synching their way through some classic songs is your idea of a great time, then boy, is this the DVD for you! This collection of videos was first released by Polygram in 1991, when Robert Cray and his cohorts were on a serious roll. They were touring off the back of their 1990 album “Midnight Stroll”, which was their best to date. The band had built on the success of their two previous albums - “Strong Persuader” and “Don’t Be Afraid Of The Dark” - and were taking the Blues to a whole new audience. The nine videos on this DVD chart their progress, and improve greatly as the band became more successful and the record companies agreed to stump up more cash to promote them. Very few of the videos have aged well, and several of the early ones can now justly be filed under the banner ‘guilty pleasures’. None of them are exactly classics, let’s put it like that! There are two live performances – ‘I Guess I Showed Her’ and ‘Night Patrol’ - which show Cray at his sweaty and soulful best, and all the videos are linked by sound bites from the man himself. The whole thing feels like a promo put together by the record company at the time to get people interested in “Midnight Stroll”. According to the back of the DVD, the running time is approximately sixty minutes - it lasted just forty-two. Maybe there was a very well hidden Easter egg!

Jamie Hailstone

FEATURE FILM

Full Moon Lightnin’

Willow Tree

This isn’t just a documentary about the Blues. It’s a DVD about two very different musicians and their own personal journeys. Producer John C. Gardiner has done a remarkable job of making this film which follows 70-something Bluesman Floyd Lee as he journeys back to Mississippi from New York to find his long-lost family. At the same time, Floyd’s musical partner Joel Poluck is facing a different personal crisis and struggling to hold on to someone he loves. Without wishing to spoil the ending, these are changed men by the end of the ninety minutes. What makes this DVD so powerful to watch is the heartfelt honesty and integrity of both musicians. You really feel for both of them. From a musical point of view, this film has some great Blues, played by Poluck and his band, and sung by Lee. There is also a lot of footage around Clarksdale and other parts of the Deep South. If you ever wanted to know what Mississippi really looks like, and the challenges of growing up in that environment, then this is the DVD for you. There is also some footage of a truly wonderful looking juke joint, which apparently is one of the few left in existence. This is a moving DVD of two remarkable men, who were brought together by their love of the Blues. The limited edition of the DVD also comes with a soundtrack audio CD, featuring the songs in the film. It’s a remarkable record and would stand-up as a release in its own right. Floyd Lee is one of a dying breed of Bluesmen. His voice can tell a thousand stories, each one he has lived personally. He is truly one of the greats.

Jamie Hailstone

TUTORIAL Learn To Play… Lynyrd Skynrd

This is a note-by-note tutorial of five famous rock tracks presented by Danny Gill. The five tracks are ‘Freebird’, ‘Sweet Home Alabama’, ‘Simple Man,’ ‘Tuesday’s Gone’ and ‘Gimme Three Steps’ - a good collection for any budding lead rock guitarist. The set is on two CDs and is very easy to navigate, with each track consisting of an independent segment. It is very well presented with a split screen of Danny Gill, with close ups of the right hand fingering and a corner screen of his left hand holding chords and whizzing up and down the fretboard. Gill introduces the music and lessons in a very clear and patient manner, and there is plenty of time to sit in front of the screen and copy what he’s doing. Each tune is painstakingly dissected with chords and solos, which are presented note by note. The set assumes some knowledge of the guitar, as it does not, for example, give instruction of what each chord is – you are expected to know, so it is not a package for a novice. There is no attempt to superimpose the vocals on top of the music, so you will need some familiarity with the songs if this set is to be useful to you. It is all very good and clear, but what would really improve it is to include the guitars tabs, so you can practice without watching the screen in that odd spare moment - this would be especially useful for the solos.

Kevin Wharton

SLAWEK WIERZCHOLSKI & NOCNA ZMIANA BLUES Live In Concert SatyrBlues

Slawek Wierzcholski is a Polish harmonica player of some repute in his home nation, with a score of albums, and a reputation for teaching as well as exuberant live performances. This twelve track DVD captures the mood of a full band set from 2006, and is a competent affair while not breaking any boundaries. Singing in English and, one assumes, Polish, and adding fiddle and washboard to some songs, gives a global feel to the music, yet with that comes a certain lack of identity. Tracks like ‘Kansas City’ and ‘John Lee Hooker’ send the concert in the direction of tribute rather than originality. Wierzcholski has been leading the band Nocna Zmiana Bluesa (The Blues Nightshift) for twenty-five years and they have the distinction of opening for the Blues Brothers way back in 1989. This is an adequate performance, yet somehow more pleasure was probably gained by being at the gig itself rather than in the living room watching it all on television. One for fans and tourists.

Gareth Hayes

JOHN LENNON & THE PLASTIC ONO BAND Live In Toronto ‘69

Shout! Factory

There are three fine rock’n’roll performances to open this fifty minute film of the 1969 event, with Bo Diddley sounding powerful and heavy, Jerry Lee Lewis roaring through ‘Hound Dog’ and Little Richard coming over all regal on ‘Lucille’. After this, of course, we get a young upstart performing some of his old favourite rock’n’roll and rhythm & Blues numbers, backed by his wife (most often in a bag), a

guitarist called Eric Clapton, and a rhythm section. Well, okay, this is John Lennon, and this is the show that persuaded him that there could be life outside The Beatles. Musically, it is okay, as he romps through three standards, before launching into the Lennon/McCartney composition ‘Yer Blues’, followed by ‘Cold Turkey’ and ‘Give Peace A Chance’. Old Slowhand looks a little uncomfortable in places –the band had only really come together on the plane over to the festival – and he could have used a little more volume. Lennon had been throwing up through stagefright beforehand, but does come across well, and he obviously enjoyed himself. Yoko finished off proceedings in an experimental fashion that most listeners will probably want to see once, though the interview with her that is included as a bonus is quite pleasant. This is entertaining enough, with the added value that it is “one of the defining moments in rock music history,” to quote the blurb – and for once it is spot-on.

Norman Darwen

JEFF BECK Performing This Week… Live At Ronnie Scott’s Eagle

Jeff Beck live in a tiny club with ‘his’ band, captured on DVD

TUTORIAL

Learn To Play… AC/DC: Volume 1

Learn To Play… AC/DC: Volume 2

Learn To Play… AC/DC: Volume 3

Jam With AC/DC

Lick Library

and absolutely superbly recorded and filmed. Definitive! In 2008, Jeff Beck played an entire week at London’s Ronnie Scott’s Club and, to no-one’s surprise, played technically faultlessly. From the opening

‘Beck’s Bolero’, he plays a style of jazz-fusion tinged rock, and his speed and sheer fluid dexterity, coupled with enormous musicality, is a joy. The camerawork captures his technique and skill, but for once the filming is sympathetic and they don’t try to overpower you with flashy filmwork – the story is the music and the interplay between the band and the camera is there to capture and not as a part of the experience. That interplay between the musicians is quite remarkable in itself; there is absolutely no question who the boss is, but each of the musicians is highly accomplished - and Beck allows them a great deal of freedom to play.

Vinnie Colaiuta has been drumming for Beck for years and Jason Rebella on keys was ‘borrowed’ from Sting, but the inclusion of Tal Wilkenfeld, previously with Chick Corea, is initially surprising – when you hear her, though, you can understand why she is in the band. Guest artists include Joss Stone – so so – and Imogen Heap, but the two numbers with Eric Clapton are great stuff - makes you wonder what might have been! In many ways, Jeff Beck has defined just what can be achieved with a guitar. This DVD is an essential document.

Andy Snipper

Watching AC/DC back in April at the O2, I was transported back to the ‘70s when, as a testosterone fuelled head banger, I tried to replicate the antics and fury of Angus’ playing. Watching the crowd around me that night, I obviously had not been alone back then, as the legions of air guitarists outnumbered the hairs on the collective audience heads. Then this set of DVDs turns up! Well, I’m still not too old to give it a go, and what fun I’ve had. The “Learn To Play ” volumes are the business end of the series, where the student is taken through the notation by following the tutor, who breaks down the song into manageable chunks, practicing as needed. The two tutors are Stuart Bull, on volume 1 and Danny Gill, a former pupil of Joe Satriani and founder of the Musicians Institute Rock Guitar series, on volumes 2 and 3. Personally, I found no problem with this, and the speed of progress is purely in your own fingertips and ability. There is no progression as such, pick your favorite AC/DC song and let the work begin. The fun begins with “Jam With AC/DC”, as this set comprises two tutorial DVDs, with seven songs spread over them - same format as before. There is,

the backing tracks to those songs. The rest, as they say, is

however, an additional CD, which contains purely

up to you. Sadly, my only problem was the shorts didn’t fit.

Merv Osborne

Live 1984/1986 With Johnny Woods

This should be mandatory viewing for all Blues lovers. As an expression of the evolution of Afro-American culture, Burnside provides a very special vocal and visual time capsule of awe and wonder. It’s pure and unadulterated Mississippi-rooted Blues, and conducted in the most absolute and simplest form by just putting the man and his guitar in front of the camera. The live material consists of two ‘gigs’, both filmed in Swingmaster’s record shop in Groningen, Holland. Robert Lee Burnside (1926-2005) was born in Oxford, Mississippi. Taught the Blues by nextdoor neighbour Mississippi Fred McDowell, Burnside’s playing is a step away from the usual Delta Blues and instead comes from the local hills. Symbolised by a mantra-like hypnotic beat, it is this style that dominates the performances.

‘Skinny Woman’, ‘Poor Black Mattie’ and ‘Jumper On The Line’ are standout tracks, although all are a pure joy. Essentially a solo album, Burnside is accompanied on a few numbers by Lefthand Freddy, and then on the whole 1984 set by harmonica player Johnny Woods (1917-1990). Swingmaster’s Bruin and Gelder deserve special mention for inspiring the concept.

Interviews and biographies are amongst the excellent extras that make this an essential purchase.

Gareth Hayes

VARIOUS

Deep Sea Blues Mug Shot

Okay, let me be very clear from the start. If you want to buy a bit of a travelogue, part interview, part cooking programme, a wedding and bits of some very fine Blues music DVD then this will float your boat (pun very much intended). If on the other hand you want a DVD with complete tracks of great Blues music from an excellent range of artists then do not go within a nautical (not again) mile of this. Now before I get myself keelhauled (stop it) for that, let me qualify my disappointment. I really looked forward to watching this DVD, as it seemed to promise much. The main reason that it should sink (last one) without a trace is that the majority of the live tracks here are broken up with chat from the organisers, artists, crew and tourists of this wonderful cruise through the Caribbean. Being on a ship, in beautiful surroundings hearing our type of music for a week in January very much appeals to me. The lineup, some seventy acts, included The Fabulous Thunderbirds, Tab Benoit, Bobby Rush, Ruthie Foster, Joey Gilmore, the late Johnnie Taylor's daughter Tasha and Otis Clay. The sound quality is excellent, as are the visuals. The weather looks very tempting, the ship and stop-off destinations are fantastic and it looks like folks have a terrific time. Of the complete tracks, L’il Ed & The Blues Imperials live on the beach at Jimmy Buffett's Margaritaville on Grand Turk was the best for me.

Graeme Scott

Really The Blues

Souvenir (Author: Mezz Mezzrow/Bernard Wolfe)

Any book so overtly endorsed by Tom Waits is worth a read, since you would do as well to accept any recommendation from him - except those for throat lozenges and a barber. He describes “Really The Blues” as “the scatological soup bone of New Orleans,” and in doing so gives you the evocative feel of Mezz Mezzrow’s autobiography, written with Bernard Wolfe. In a vernacular style now known as “hipster”, it is one man’s travelogue through the worlds of jazz and Blues, and the story of “bringing marijuana to the masses” - a sort of “Catcher In The Rye” meets Howard Marks. Mezzrow was essentially a white man in what was then a black man’s world, and this is a recurring theme - he clearly felt more empathy with the attitude and outlook of his black friends, and took this to the ultimate degree when he asked to be housed in the black wing during one of his frequent prison sentences. ”'I'm coloured,” he insisted, “even if I don't look it, and I don't think I'd get along in the white blocks.” Consequently, accepted with warmth and open-mindedness, rightly, he has since been lauded as an early pioneer for inter-racial relations. He was essentially a rascal - inches away from escaping the law for joyriding for the first time when he refused to give his name to police, he was recognised by a local patrol officer on his way out of the station and slung in jail. Thereafter a regular cycle ensued – thrown into jail; formed a band and prison life became a breeze. Heavy on detail, this is a blitz of places and names, and just when you feel a lull; it bursts into life with a vivid description of a first trip to an opium den, encounters with Al Capone, and how to fake TB for an easier stretch. He clearly had great compassion to those many unfortunates he encountered, and although, by all accounts, nothing more than an average sax and clarinet player, his collaborations with, amongst others, Louis Armstrong and Sidney Bechet, and his acquired popularity within the musical fraternity because of his lucrative sideline, ensure his place in the social history of Blues and jazz. Not always an easy read because of the slang, there is nevertheless pathos and humour in equal measures – recollections of Bix Beiderbecke and Bessie Smith are especially poignant, but the way that he fell out with his sister for correcting the grammar in one of Bessie’s songs is the comedic ranting of a young man determined at an early stage what his passion would be. Prohibition provides an interesting backdrop for many of his early tales. Almost forget the Blues content and see it as an added bonus - when you lose yourself in this book, you can hear that clarinet, taste the moonshine and just make out a white man in a black man’s world through the smoke.

Richard Thomas

The Ballad Of Blind Tom, Slave Pianist: America’s Lost Musical Genius

Duckworth (Author:

Diedre O’Connell)

This is a fascinating story of one of the greatest musical stars in civil war America. As an African-American born into slavery, he suffered the poisonous gambit of prejudices suffered by most Bluesmen, but being born into slavery gave opportunity to his talent, as his masters saw Blind Tom as a moneymaker. Born blind to a slave owned by a Georgia family, Blind Tom Wiggins died a celebrity in New York in 1908. Being the blind son of a slave, he would never be able to work in the traditional manner, and was left to his own devices. Often, a child in this situation would have been ‘allowed’ to die, but he became mesmerised by the music of one of the daughters of the grand house, and, by the time he was 4 years old, he was able to play tunes on her piano, and seen as a novelty. He was thus let into the owner’s house and allowed to hone his skills on the instrument, eventually able to play 7,000 songs from memory. It is very likely that Tom was autistic, a term unknown at the time. He would twist his body into knots, whoop and splutter, stand on one foot and hop around the room in uncontrollable fits of vigour. He was judged to be a genius by many, with his freakish listening skills coupled with an ability to reproduce exactly what he had heard. Thus, he played a very wide range of music, and was even able to transcribe everyday sounds, such as trains and storms, into piano notes. His grandest piece was the ‘Battle Of Manassass’, which he

Courtesy Duckworth Publishers, we have 3 copies of “The Ballad Of Blind Tom, Slave Pianist: America’s Lost Musical Genius” to giveaway. The life of Tom Wiggins is described as “one of the most bizarre and moving episodes in American history.” Being blind and presumably autistic, Tom was unable to work with other slaves, but left to his own devices, he was able to play tunes on the piano by the age of 4. This talent saw him later travelling the world, playing to celebrities and royalty. “For your chance to gain insight into the culture of celebrity and racism at the turn of the twentieth century, tell us: What was Tom Wiggins birth name?

heard first hand and translated to piano music. Tom went on the road from his late childhood years, with his master as roadie, wowing audiences all over the States and becoming the leading Black musical act. This fundamentally amounted to indentured servitude, and throughout his life he passed into various hands. The book describes how his owners kept him in place by emotional blackmail and isolation. Diedre O’Connell’s book is a fascinating taste of slavery and autism, at a time when a slave’s life was virtually valueless and the condition was not recognised. His story is bizarre and amazing, totally absorbing and exposes a series of moral issues surrounding the culture of racism and celebrity.

Kevin Wharton

Amplified

Melville House (Author: Julie Schaper)

The basic premise of this book is to ask if performers would be good at writing short stories. And the short answer is, yes, most of the time. The editors listened to music, went to gigs and asked artistes to contribute a story to their project. The result is sixteen original short stories from sixteen artistes. As you would expect in any collection, the stories vary in quality. The collection kicks off with a tale called ‘Leroy Purcell’ by Chris Smither from Boston. It is essential for a collection to start off with a good story, and this is surprisingly good. It relates the tale of a chance meeting between a gigging guitarist and a highway patrolman, who subsequently turns out to be something sinisterly different. It is readable, believable, with a wicked twist in the tail. Unfortunately, it is followed by an introverted tale featuring Johnny Cash’s pants and some ‘way out’ writing, which doesn’t work for me. The third one, by C&W writer and performer David Olney, is excellent. An unpredictable and absorbing tale about isolation in youth. The best two are ‘Roadkill’ by Texan Cam King and ‘Tender ‘Til The Day I Die’ by New Yorker Rhett Miller. ‘Roadkill’ is a tale in the horror genre, written so well that you feel are getting soaked in the storm that is featured at the end of the story. Rhett Miller writes a love story in a bookshop with a cruel twist to it - a bit bizarre, but absorbing. There is even a graphic called ‘Feed The Wife’ by Zak Sally, who plays bass, as well as creates comics. This is a well drawn and impressive few pages of art, with a sinister story line. On the whole, highly enjoyable!

Kevin Wharton

Lowside Of The Road: A Life Of Tom Waits

Faber and Faber

(Author: Barney Hoskyns)

The Making Of Led Zeppelin Four Collector’s Guide (Author: Robert Goodwin)

Led Zeppelin were the subject of much media scepticism, particularly here in the UK where criticisms included: “Blues copyists” (Led Zeppelin I), “too heavy” (Led Zeppelin II), “what, no ‘Whole Lotta Love’?” (Led Zeppelin III)… So the band vowed to ensure their next release was uncluttered by titles and would speak only to the only listeners they claimed to care about - music lovers. So they challenged the marketing and media by insisting that the cover for their fourth album neither mention the band, nor indeed have a conventional title. They each designed or selected symbols to represent the four individuals in the band, and thus created just the state of confusion they had hoped for, and the press said: “Led Zeppelin...which?”. The author of this book spends the early part of this 100+ page booklet relating these shenanigans. He tries to interpret the symbols and cover, and candidly was only of limited interest to this reader. The majority of the book is much better, with its descriptions of the recording sessions, mixing venues, firsthand accounts by those present and contemporaneous quotes, mostly from Page and Plant. Goodwin’s research and appreciation for the music contained in this masterpiece album make the read worthwhile. His commentary explores the myriad of song versions, bootlegs, and exposes a near album mixing fiasco and, later, the marketing ploys. Interestingly, he references each of the eight tracks on the basis of its recording, live performances, and highlights audio/visual versions. He also chronicles the relevant tour dates around this period, and this provoked me to dig out my own review of their brilliant gig shortly after the album’s release at Sheffield University on 18th November 1971. More importantly, it will prompt the reader to revisit this marvellous album, and, in particular, the blistering opening track ‘Black Dog’.

Noggin

Despite a career stretching more than forty years, and numerous albums, tours and film appearances, the record-buying public still knows very little about who Tom Waits really is. For all his raspy-voiced tales of booze, broads and lowlifes, Waits himself is fiercely private and not prone to open up his soul in interviews. Journalist Barney Hoskyns is lucky enough to have interviewed the man himself, and this tome is essential reading for anyone hoping to find out more about the artist. Sadly, as Hoskyns recounts in the prologue, getting those in Waits’ inner circle to open up is virtually impossible and neither the singer, nor his wife Kathleen Brennan, co-operated with him in the writing of this book. It’s shame that Waits could not be coaxed into talking, as the quotes from previous interviews prove he is a master of the one-liner. Over the years, he has got his slightly unhinged, whiskey-soaked troubadour act down to a tea, and you can understand why he might not want to shatter all our illusions with tales of school runs, gardening and domestic bliss. The research that has gone into this book is staggering. Hoskyns has done his homework. At over five-hundred pages long, it’s a music fan’s dream, with sidemen and former colleagues talking about every aspect of Waits’ career. From “Frank’s Wild Years” to acting roles in “Dracula”, it’s all here in this book. The detail is certainly exhaustive, but if you are looking for the answer to that age-old question – “What is Tom Waits really like?” – you won’t find it here. The man and his myth remain intact. The second appendix, listing emails Hoskyns sent to various people, asking for interviews about Waits and their replies – makes for an entertaining, if somewhat uncomfortable read. Even Keith Richards proved to be unavailable!

Jamie Hailstone

A “powerhouse” performance from Eddie Martin.

photos: Tony Winfield (bluespics.co.uk)

BUSHY’S BIG WHEEL BLUES FESTIVAL Isle Of Man

Saturday, 2nd – Sunday, 3rd May 2009

The main event was held at the Laxey Pavilion Ballroom, and fringe venues hosted bands around Laxey throughout the weekend.

After a rainy morning, Saturday afternoon brightened up. The daytime showcased local bands from the island on two stages, acoustic in the Laxey Glen Gardens and electric in the Ballroom.

The festival started in the Ballroom with The Heights, a five-piece up-and-coming band, with amazing vocals from Sarah Puzzar. They were one of the highlights of the festival. Currently working on their first album, this band is one to watch.

Next came Jerceris, a four-piece Blues-rock outfit. Great vocals and guitar from Barry Nelson, backed by an almost tribal rhythm section, with some interesting heavy drumming. Mostly original numbers, we especially liked 'Hurricane Pauline', and a great cover version of Led Zeppelin's 'Since I've Been Loving You'.

Another young band to watch out for, I Am President followed. These three guys usually play rock, but they had rehearsed a Blues set for the festival. We were most impressed with virtuoso guitar/vocalist Matthew Collister and, with stronger and more confident vocals; he could give the likes of Oli Brown and Krissy Matthews a run for their money.

Walter Ego are an established and popular local band, who we enjoyed very much last year, and, true to form, they played an excellent set of numbers, including Tom Waits' 'Raindogs' and covers from the likes of T-Bone Walker, Neil Young and Taj Mahal.

The staggered starting times allowed us to catch snippets of the bands on the acoustic stage, in the garden, where families enjoyed the sunshine and the music. Tim Davies on harp and Kate Bass on vocals played a laid-back rootsy set. Family outfit Al Katie And Mark Lawrence, with a fiddle and guitar, continued the Delta theme. Redgap and The Manx Jazz Cats were two more bands we saw last year, with a more up-tempo ending to the afternoon.

Saturday night started with Texan Rodney Branigan. A first for us, as we witnessed him play two acoustic guitars simultaneously - and a tambourine with his foot! His set comprised of originals and covers, interspersed with humour during the many tuning up breaks. A novel and innovative performance!

Next came The Rogue Dolls, a four-piece girl band - all excellent musicians. With a tight, funky sound, they played original numbers and some diverse covers, including 'Way Down In The Hole' (Tom Waits), 'Weary Blues' (Hank Williams), 'Just A Little Bit' (Etta James) and 'Fire' (Jimi Hendrix). We will definitely see this band again!

The evening drew to a close with a party atmosphere and the great Jeremiah Marques And The Blue Aces. A superb mix of Chicago Blues, reggae, ska and rock'n’roll – one of the best bands we've seen in a while. Familiar faces in the band included Steve Weston on harp, Pete Nash on keyboard, Mike Thorne on drums, Orlando Shearer on bass and Lewis Fielding on guitar - a truly awesome line-up! By the end of the set, everyone was up dancing or tapping their feet until the encore, 'No Woman No Cry'.

Sunday afternoon began with The PNM Band, a four-piece with keyboard/vocals, guitar, sax and drums. A mix of boogie woogie, rock and Blues covers, memorably 'Messin' With The Kid', 'Roadhouse Blues' and a couple of Doors tracks.

The Bartoads followed, another well-established Manchester band hailing from various parts of the island, giving an uptempo country Blues flavour to many classics, including 'Before You Accuse Me' and 'Need Your Love So Bad'.

Horn led soul band Soul Suspects came next with an anthology of Stax, Atlantic and Motown favourites. A nostalgic highlight for us, and the rest of the crowd, they powered through numbers such as 'Knock On Wood', 'Mr Pitiful', 'Higher And Higher' and ‘Green Onions'.

The Big Wheel Blues Band were as strong as ever, with a new addition, Dickie Best, on guitar, enhancing the talented and fun sound of the Blues club reverie. They played with obvious enjoyment and camaraderie, sharing vocals and trading licks. They closed the afternoon proceedings with what is becoming the Bushy's anthem 'Let The Good Times Roll'.

The snippets we caught on the garden’s acoustic stage were Beastie Dovey on autoharp, singing Maybelle Carter songs; Walter Collective, which was Walter Ego and a couple of additional members; Blue John & Papa Cass, a guitar and harp duo playing Delta Blues; and Dan Buttimore playing country/folk Blues on acoustic guitar. Each and every one a talented and entertaining performance.

Miller Anderson started Sunday night's finale. We particularly enjoyed his humour and warmth, as he shared stories with the audience. As can be expected from Miller, some great guitar and harp playing, with some soulful vocals and a varied set list. Our particular favourites were his arrangement of Tim Hardin's 'If I Were A Carpenter', Robert Johnson's 'Ramblin' On My Mind' and Nina Simone's '(Don't Let Me Be) Misunderstood'.

A stark change in volume and tempo followed with the Eddie Martin Trio, an undisputed talent with high octane slide guitar, backed by a powerhouse rhythm section.

The festival was brought to a close by a heavily pregnant Kyla Brox, with her excellent band, and a guest appear-

ance by her father, the legendary Victor Brox. Relaxed, glowing and totally mesmerising, she wrung every emotion from her original numbers, and a couple of covers, with some exquisite guitar and sax from the band. Kyla also sang a few numbers with Victor, and most memorably a superb version of Etta James’ 'I'd Rather Go Blind'. Breathtaking!

This was another island festival we really enjoyed visiting, which has more than its fair share of local musical talent, and, notably, a new generation of very promising young Blues players. Also, a brilliant choice of visiting acts by the Blues club.

Tony Winfield & Sue Hickling

CHICAGO BLUES FESTIVAL

Friday, 12th – Sunday, 14th June 2009

This year’s bill was far more low key than previously, showcasing twenty-four new acts to the festival, and more so when comparing to last year’s star studded 25th anniversary event. However, this year’s festival aimed to promote the links between Mississippi and Chicago, the city having just been awarded an historical marker by the Mississippi Blues Commission.

Friday was adjudged a celebration of the life and work of Robert Nighthawk, with Saturday and Sunday belonging to the women of the Blues. Sadly, Koko Taylor had died only days earlier, so there was poignancy throughout the event.

Friday lunchtime, the sun shone on the festival goers as the park filled from the outset. An impromptu jam session was happening on one arm of the site, where the Maxwell Street Foundation was set up. Some of those taking part were original Maxwell street musicians and the Authentic Blues Bus, with owner J.W., was in attendance. I spent some time talking to him and his stories of the old days and how he got his business and the bus running were truly awe inspiring. Original photos of Maxwell Street were on show.

The three stages were up and running, and set the tone for all three days. The Mississippi Juke Joint stage featured artists such as Big Jack Johnson, Terry “Harmonica” Bean, Grady Champion, Eden Brent, Ben Payton and David “Honeyboy” Edwards, all with Mississippi connections. A great variety of Blues from acoustic to electric, piano to

harmonica, solo to large ensembles was offered here. Jam sessions ended each day, offering anyone the opportunity to get up and make music.

Honeyboy Edwards drew the largest crowd as they packed the road, sidewalks and park around the stage, all hoping to see and hear the 93-year-old living legend. His set was restrained and quiet, but both his agility and ability beggared belief.

A much younger Southern artist who enthralled me was L’il Dave Thompson. Influenced by his father and other legends, his electric style blends the classic style with a more contemporary feel.

The Gibson stage, sponsored by the guitar makers, tends to promote the rockier end of the Blues. Here, the guitarists let fly with a vengeance and the Divas shouted and pranced with style, all lapped up by the crowd. Chicago Blues Experience, featuring Vince Agwada on guitar and Russ Green, got the stage off to a flying start. Colour and class was provided by Sherman Moody Thomas and the Lee’s Unleaded Revue. Arriving in a monarch’s cape and crown, he proceeded to own and dictate the stage, but it was Grana Louise who raised the bar. Backed by Tom Holland on guitar, this lady laid claim to Koko’s crown with a superb set of music that touched every part of you.

The Gibson stage continuously offers new acts, and amongst those that took the eye were Tre & The Blue Knights with Lady Kat. Lady Kat is by day a Chicago Transit Authority bus driver, but on stage a powerhouse singer who blew the crowd away. Tre dresses very snappy, but his guitar prowess is beyond reproach.

The best acts here were Travis Moonchild Haddix, originally a child of Mississippi but latterly from Milwaukee. His band started the set in somewhat shaky fashion and, to be honest, the trumpeter/bandleader left me cold, but this soon changed as the star hit the stage, strapped on his guitar and took over. His stage craft, vocals and playing were superb and the set, at nearly two hours, was a week too short for me. Loved the finale ‘Two Heads Are Better Than One’, with its innuendo and double entendres.

photos: Geoff Osborne

The find of the weekend for me was here on this stage also. The Lee Boys from Florida just ripped it up with a three guitar frontline, which included a pedal steel guitar. Describing their music as sacred steel music, they just raised the roof playing their southern style music which had everyone up dancing. It was impossible to sit still as the pedal steel reached peaks that seemed impossible. They started the day on the gospel stage where their music, described as an inspired, unique form of gospel music with a hard-driving, Blues-based beat suited. The musical genre is rooted in gospel, but infused with rhythm & Blues, jazz, rock, funk, hip-hop, country and ideas from other nations. Together, they made my weekend.

Over on the Front Porch Stage, Big Bill and Mud Morganfield held court, amply assisted by Pinetop Perkins and Willie “Big Eyes” Smith. Big Bill was clearly enjoying things and Pinetop was the master we’ve all come to expect. I loved his socks, piano man through to the end. Charlie Musselwhite enthralled and L’il Ed & The Imperials set the park alight. Walking on tip toe, this guy was a bundle of energy, and with his troupe of loyal “EdHeads” in the crowd, everyone had a good time.

Saturday started with a tribute to Sunnyland Slim and featured pianists Aaron Moore, Dennis Binder and keyboardist Allen Batts - Blues music at its finest. Sunday produced some fine gospel with the Christlanders, before Lou Pride hit the stage - a truly excellent Blues and soul singer. Whilst all this was going on throughout the three days, the Zone Perfect Route 66 Roadhouse provided intimate sessions, lectures, debate and more. Saturday drew a large number for the “Art Of The Slide Guitar Workshop” with Elmore James Jnr, Jeremy Spencer, L’il Ed and John Primer. Sadly, the tent wasn’t big enough to accommodate all, and from the back it was difficult to see what was being described and shown.

Evenings were spent in the more formalised setting of the Petrillo Shell, a large concert stage with seating for several thousand - all outdoors. Here the music tended to be more mainstream, with soul featuring largely.

Friday night hosted a great event with Eddie C Campbell playing and celebrating his 70th birthday. However, it was the ladies that benefited from this stage. Artists like Betty Lavette, Shirley Johnson, an extremely fit looking Trudy Lynn, whose backing band included the infamous Daddy G on saxophone, and Sharon Jones & The Dap Kings. For me, however, the lady that rocked me was Miss Jesi’ & The Pearls. Appearing as part of a revue hosting the Southside Angels, all arranged and led by Sir Walter Scott, acknowledged by many as one of Chicago’s most inspiring musicians. Miss Jesi’ is known as “the sweetheart of soul,” and her beautiful voice certainly leaves a lasting impression. A classic looking soul set-up with the Pearls, Miss Jesi’ rocked and aroused the appreciative crowd. However, on this stage, it was the Bluesmen who ruled for me. Mississippi born John Drummer And The Starliters, with their honed sound, or Big Jack Johnson And The Oilers - Jack sat centre stage hacking at his axe, very much a larger than life character, whilst his band maintained that solid beat allowing their leader the freedom to roam musically. The highlight here for me was the re-emergence of Jeremy Spencer for an hour’s set. I was unsure what to expect as he took the stage, backed by the Dave Herrera Band. Not having seen this guy since the early-70s with the Mac, I wondered if he could still cut it. The answer was a very definite yes! Laid-back and gentle slide playing littered his set. No frenetic antics, just a mood that begged you to get enmeshed in his playing and enjoy the vibe. I really would like to see him again.

On top of the stages, there are tents that provide music. The free chocolate tent had Fernando Jones, Eddie Taylor Jnr, Samuel Johnson and others playing. The Jazz tent featured both jazz and Blues artists, and the Gibson guitar tent featured anyone who fancied picking up an axe. Add to that the food stalls, merchandising and sponsor outlets, as well as the Best Buy CD tent, where you could go to pick up the CDs of your latest find, as well as talk to the artist and get autographs and photos at their signing booth - the experience is always a good one.

Catching all the stages is hard work and requires a strict timetable, but many people just go and sit in front of one particular stage, set out their chairs and picnics and enjoy whatever comes their way. But be warned, Chicago is notorious for its changing weather. This year, temperatures were really down and Saturday saw some horrendous rainfall before the sun punched through. Go prepared for all weathers and you’ll enjoy yourself.

Merv Osborne

W.C. HANDY BLUES AND BBQ FESTIVAL

Wednesday, 17th – Saturday, 20th June 2009 Henderson, KY is not exactly known as the Blues capital of the world. You won’t see it ranked up there with Memphis or Clarkston or Greenwood or Naw Lens, but it was the place where the father of the Blues, W.C. Handy, spent time learning how to put the Blues to life.

“I didn’t write any songs while in Henderson, but it was there I realised the experiences I had had, the things I had seen and heard, could be set down in a kind of music characteristic of my race”, Handy states in his autobiography entitled “The Father Of The Blues”.

The W.C. Handy Blues And BBQ Festival is a celebration of a man’s life, his musical influence, and the heritage that Henderson helped to grow in the world of music.

The festival is a seven day event, much likened to a Mardi Gras type atmosphere, kicking off with the annual Street Strut parade, which crowns the annual Grande Ooh-PeeDoo, who presides over all the events, to the Taste of Henderson BBQ cook off all on Saturday, which was topped off by live music from 11:30am culminating with James Armstrong’s own voice of the Blues Saturday night.

When Eric Bibb took stage on Wednesday evening to open the festival, until the last sounds of Lil’ Ed’s slide guitar against the thunder of a good ole Midwestern thunderstorm, fans were treated to an outstanding array of musical talent and a varied, diverse cast of entertainers.

Eric Bibb’s ‘Stagger Lee’ opened up a hot acoustic set by this seasoned veteran. Perhaps the most impressive of the acts that were to perform throughout the weekend, Bibb’s songwriting skills and easy storytelling style of Blues had the crowd primed for the talent filled Handy fest. From ‘Going Down Slow’ to ‘Connected’, from ‘Pockets’ to

‘Kokomo’, Bibb had the crowd with him on every word and every note. Winding down with ‘Don’t Ever Let Nobody Drag Your Spirit Down’, Bibb had the crowd crying for more after a magnificent performance.

Bibb was followed by Lil’ Dave Thompson and some virtuoso guitar and driving Blues from this stout three-piece band. Thompson, who has twenty-plus years of music performing in his thirty-plus years of life, played a deep routed Blues/soul/gospel set, twinged with just a hint of light jazz, depicting of his life growing up in the Mississippi Delta.

Lil’ Dave’s steady style gave way to the soulful rocking sound of the Tommy Castro Band. Weaving his old hits like ‘Nasty Habits’ with songs from “Soul Shaker” and “I’m Not Broken”, plus ‘Big Sister’s Radio’ and ‘A Good Fool Is Hard To Find’ from “Painkiller”.

Day two, Thursday, has traditionally been zydeco night at the Handy. This year a one two punch of the Crawdaddies followed by Chubby Carrier were on tap as the Handy fest organisers were dishing out red beans and rice, andouille sausage, and other Cajun delicacies to the steady flow of Blues fans.

The Crawdaddies and their mix of Cajun/zydeco/Blues/roots/rock/reggae opened up the night with washboard, accordion and striking guitar blasting. On a day that saw temperatures in the mid-nineties (Fahrenheit), the Crawdaddies cooked it up just a bit hotter with their ‘Drink That Bottle Down’ and ‘Shake And Bake’. But the night got hotter once Chubby Carrier And The Zydeco Swamp Band lit up the night.

Chubby’s swamp sound, fuelled by the masterful washboard of Earl Sally and the romping guitar work of Randy Ellis, took a flame of its own and blazed throughout the night. Chubby had the squeeze box smoking, and Earl had sparks from the spoons as they

photos: Randy Jones

made their way through ‘Chubby’s Got A Squeeze Box’, ‘Cisco Kid’ and ‘Who Stole the Hot Sauce’. It was pure all out Zydecomania. You have to remember one thing when it comes to Chubby Carrier, and that is it “ain’t no party like a Chubby party, ‘cos a Chubby party don’t stop!” He had the thousands of fans strutting down the streets of Henderson after his amazing performance.

Friday’s show had an early start and featured two local/regional bands, Small Train Blues Band at noon followed by the Amazing Soul Crackers. Both played good sets with local guitar hero Tommy Stillwell showcasing his journeyman guitar skills with the Soul Crackers, highlighted by some smoking slide on a steel resonator.

By the time Killborn Alley took the stage, the temperatures were back in the mid-nineties, and the crowd had begun to file in. Opening with ‘Christmas In County’, and working their way through a boogieing set, Killborn Alley quickly became one of my favourites. This incarnation of the band had journeyman harmonica player Deak Harp filling in for Joe Asselin, and they never missed beat. Lead singer Andrew Duncanson can growl a lyric with a sound all his own, and these guys are tight.

Nick Moss and the Flip Tops features a quartet of very talented musicians and deliver a driving Chicago sound. Featuring Nick on guitar, harmonica and vocals, Gerry Hundt on bass, guitar, vocals and mandolin, Willie Oshawney on keyboards and bass along with the steady back beat provided by Bob Carter, they worked their way through a passionate set of the Blues that made Chicago famous.

The 2008 version of the Handy Fest was to feature Tad Robinson followed by Zac Harmon closing out the Friday night party, but rain came and washed them out. For 2009, both were back in hopes of getting in a Friday night set without interruption. Tad Robinson took off on a soulful, Bluesy journey that brought the crowd to a mellow place. His ‘Tear Your Playhouse Down’ closed out his set and opened up the stage for Zac Harmon.

Mississippi guitar, a little bit of funk, a dash of gospel and a whole lotta soul define Harmon’s sound, and the Handy fest crowd soaked up every second. Displaying from his “Blues According To Zacaria” CD, ‘Who’s Knockin’’, ‘It Hurts Me Too’, and grabbing ‘Storming in Mississippi’ from his Blues debut “Live At Babe And Ricky’s Inn”, Harmon’s passion for the Blues rang throughout the streets of downtown Henderson.

Saturday opened up with a trio out of the heartland of Kansas, Moreland & Arbuckle. Featuring the blazing guitar works of Aaron Moreland, the gritty and heartfelt vocals and searing harmonica work of Dustin Arbuckle, these guys kicked off the day with a tremendous set. Paying homage to Jr. Kimbrough and Little Walter, as well as serving up a hearty helping of their roots/Blues, they got the early day crowd up and moving.

Eric Bibb was up next for a repeat performance. Again, he put on a great set with his one-manshow - thoughtful lyrics and a unique style.

The Nighthawks fed us R&B laced with rockabilly and injected with some funky Blues. The Nighthawks showcased many tunes from their latest release “American Landscape”. Halfway through their set, they were joined on stage by the legendary Hubert Sumlin. With The Nighthawks backing, they ripped through a set featuring songs from his days with Howlin’ Wolf, including ‘Sittin’ On Top Of The World’, which had the crowd up on their feet in appreciation. Albert Cummings Opened up with ‘Why Me’, and reeled off songs from “Working Man” and “From The Heart”, before being coaxed into a solid medley from Stevie Ray Vaughan. The only bad thing was, just as he was ripping through his SRV deal, a severe thunderstorm had rolled in to close proximity to the park and the music had to be shut down for safety reasons.

The rains poured down for a solid twenty minutes, which ended Albert’s set. He returned to the stage, as the crew were getting it ready again, to a rousing applause from the thousands of fans that had reassembled.

The stage crew did a magnificent job of getting everything ready as Shemekia Copeland took the stage about ten minutes off her scheduled start time. Working through her latest release, “Never Going Back”, she had the complete attention of all those gathered. Her remarkable vocals drove through ‘Sounds Like The Devil’, ‘Never Going Back’ and ‘I Was Born A Penny’. She no sooner finished up when the sounds of thunder and the streaks of lightning again filled the sky, forcing another break in the action.

As the clock got closer to the start time for L’il Ed & The Blues Imperials, more and more fans departed. Music Chairman for the event, Dorin Luck, asked Ed what he thought, and of course Ed said, “Let’s go!”

Even though the crowd had now dwindled to a few hundred, Ed and the band put on another high-energy performance, showing why they were the 2009 Blues Music Award winning Band Of The Year.

What were the highlights? All of it - every smoking hot minute! This one is definitely a non-miss event for as long as it is held.

Randy Jones

ERIC CLAPTON

@The Royal Albert Hall, London. 29/05/09

Eric Clapton has described playing the Royal Albert Hall as like playing in his front room, and as he casually strolled on stage for the tenth night of an eleven night residency at London’s most prestigious venue, he seemed as relaxed and as cool as if he were simply at home. These days, Eric has nothing to prove, but along with a slick and well rehearsed band, he powered through an evening of some of his best loved songs, as well as a few nice surprises - laying aside any doubt that he is still one of the greatest guitarists in the world today! Kicking off with ‘Going Down Slow’, Eric soon delivered the first of the evening’s masterful solos. ‘Key To The Highway’ followed, and Eric set the place alight with more spine-tingling fret work. Over the past few years, he has stepped back to revisit certain parts of his career and this tour saw 1989’s “Journeyman” album back in favourwe were treated to reworkings of ‘Old Love’, ‘Anything For Your Love’ and ‘Before You Accuse Me’. Between guitar solos, various band members had their own moment in the spotlight - Eric seemed more than happy to take a back seat and watch the magic unfold around him. I must admit to being a little sceptical about the acoustic slot, as it’s never really filled me with the same vibe as when he has his trusty Strat around his neck, but this night was different, maybe it was the song selection of ‘Driftin’, ‘Three Little Girls’ (from his collaboration with JJ Cale), ‘Nobody Knows When You’re Down And Out’, ‘Lay Down Sally’ and a superb version of ‘Somewhere Over The Rainbow’this really was terrific stuff. Like with so many other Clapton fans, it’s when he plays the Blues that we really feel it brings out the best in him, and ‘Little Queen Of Spades’ didn’t disappoint, from the guitar fills between lyrics to the full on mind blowing solo that followed - I couldn’t help but think that this was as good as it gets (pianist Chris Stainton also put in a first class solo that earned a well deserved roar of approval from the crowd). ’Wonderful Tonight’ took the intensity down a notch, before former band member Doyle Bramhall joined the proceedings for a truly magical full version of ‘Layla’ that saw Eric playing with the same sense of purpose he did when he first wrote it. ‘Cocaine’ followed and featured a masterful solo by Andy Fairweather Lowe that gave the main man himself a run for his money, before the band left the stage to a standing ovation. Moments later, they returned to round out a spectacular evening with ‘Crossroads’.

Steve Hoare

THE LIPSTICK AND GUITAR TOUR

@The Maze, Nottingham. 27/05/09

This gig of individual sets by four highly talented female musicians crossed a series of genres, but put together they formed a beautifully balanced show. Gabby Young commenced the evening’s proceedings. Gabby usually plays with her band, The Other Animals, but this was an electro-acoustic set with support from guitarist Stephen. Gabby’s vocal was exquisite and, like her persona, dynamic throughout, revealing a vocal of perfect-pitch falsetto. Her music is genre non-specific - she pens her music from folk, jazz, soul, alternative rock and Blues in an exclusively Gabby style. Her song ‘Lake Of Lake’, an eclectic folk based number, with her excellent microphone technique, was stunning. Kat Flint came next with her folk based set of deeply philosophical music. Kat accompanied herself on electro-acoustic guitar, kazoo and penny whistle, with a shy but attractive personality, good vocal and strong lyrics. She

photos: Paul Webster

ably proved that British folk is alive and well. From Kat to the very contrasting up-tempo set of Lana, with her ‘50s retro look, mirthful stage persona and mixing her Blues rooted, selfpenned music with jazz, pop, Latino and reggae. Lana, with her powerful songwriting and expressive vocal, proved to be quite a character, as she had the audience singing along to lyrics in competitive style, while encouraging them to dance! The show was headlined by Nell Bryden, with her set of Blues, rock and country rooted music. Nell’s proved to be, yet again, another powerful and impressive vocalist with strong stage personality that had the audience rooted to her music. She kicked off with an electro-acoustic guitar version of Elvis Presley’s ‘It’s Alright Mama’ in true Blues mama style - belting out the lyrics with the power of the ‘King’ himself in those formative Sun Records days. ‘Helen’s Requiem’, dedicated to a woman she met in New Orleans just before Katrina, was a heart-wrenching Blues-jazz ballad. Nell’s set was superb throughout and ended with the other three musicians joining in great version of ‘Ring Of Fire’. The show was Blues that made your soul smile.

Carol Borrington

B.B. KING

@Wembley Arena, London. 28/07/09

Support act for the unexpected reappearance of B.B. King in the UK was John Mayall fronting his new band. John opened the show with a harp solo, before bringing on the new four-piece band. This was quite definitely John’s show, although he gave each one the chance to show off their skills, sometimes for too long. After an hour on stage, they got a standing ovation from most of the crowd! After the switch over, B.B. King’s band took the stage and, as ever, they stormed through two or three numbers, showing what a tight outfit they are. B.B. King came on after the opening numbers to a huge round of applause

and a standing ovation from the centre sections, before he had even picked up Lucille. Any doubts as to whether or not he was able to cut it were blown away by the attacking onslaught from Lucille - and then the voice left nobody in any doubt that this man is a force to be reckoned with, and a mighty powerful one at that! As expected, King was there to sit, chat, tell tales and generally enjoy himself, and he made it obvious to all and sundry that he was enjoying it. At 83 years old, he has just received a GRAMMY for his latest album, and he played the title song ‘One Kind Favour’. He was his usual generous self in highlighting the various members of the band as they played their parts, and he performed for over ninety minutes, remarking that he had over run his allotted time by some way. He asked that we allow him to return in the future if fate allows, and the response left him in no doubt that he is welcome here at any time. Before the closing notes of ‘The Thrill Is Gone’ had died away, the entire audience were on their feet, clapping and cheering B.B. King until the very building shook. A tour de force by an absolute master who was, if anything, playing and singing even better than his so-called farewell performance a couple of years ago. I am not ashamed to say that I love that man

Dave Stone

KINGS OF LEON

@02 Arena, London. 16/06/09

Not everyone is enamoured with the change of sound and ethos that has brought Kings Of Leon the kind of success that sells out the 02 Arena two nights in a row (and a third date two weeks later), but you can’t fault this outfit’s focus and ambition – both clearly on display in London. Fans punched the air, moshed and embraced each other to sing-along to recent hits ‘Sex On Fire’ and ‘Use Somebody’ – and dispelled the myth that the band’s success can solely be attributed to recent album “Only By The Night”, as the crowd responded enthusiastically to feverish rockers ‘Molly Chambers’ and ‘Four Kicks’. Few bands reach this level of adulation without a charismatic frontman – but somehow Kings Of Leon have managed it. No between-song crowd interaction, no presence, no working the crowd - this was entirely about delivering the songs, and in quick succession, with little deviation from the studio versions. There are so many criticisms you could level at this band – especially after only weeks earlier witnessing a band like The Black Crowes create an almost communal atmosphere as they open out songs, feed off each other and connect with the audience – but as fans bounced zealously to songs like album track ‘The Bucket’, and given how the likes of Arctic Monkeys (probably the only comparable contemporary band in terms of popularity) have struggled in this kind of setting, you have to respect Kings Of Leon’s muscle and professionalism –even if you’d expect, four albums in, they’d have more personality and soul.

Darren Howells

HOKIE JOINT

@Millers Snooker Club, Kirby-in-Ashfield. 28/05/09

Hokie Joint may have only come together in late 2007 but this performance revealed they have, in that time, formed into a tight unit of talent turning out some raw-edged Blues. They took off into their first two numbers like a steam train gathering speed down an open track, with its destination mission making a mark on that assembled Miller’s crowd. Stopping to catch a breath and say, “Hello,” they moved into a song entitled ‘Chocolate Cake’, with its percussion driven intro in the capable hands of drummer Stephen Cutmore and bassman Fergie Fulton. Enter guitarist Joel Fisk to add some Blues funky feeling riffs and the JoJo Burgess taking on the vocal with his organic voice and also devilish facial expression and stage persona, then top it all off with Giles King - one of the

photos: Tony Winfield (bluespics.co.uk)

JoJo Burgess hogs the limelight.

UK’s top harmonica players - and you had a real tempting confectionary of a band and song. ’Lost In City’, with its lively Blues rock percussion section, lighter gritty vocal by JoJo, three-part harmonies and some estimable guitar riffs, with expressive harmonica, made this a highly likable number. This contrasted with a change of tempo for ‘Mrs Jones’ - a Blues number with a hint of country gave the feeling of crossing decades, while retaining a feeling of the present. Some impressive drumming on this one especially caught the ear. They followed this with ‘Crying Song’, taking the tempo down even further to a smoky ballad. JoJo’s pleading vocal underpinned by Giles wonderful expressive harp work, this led into an exquisite harp solo, gentle drum brushes - giving it a laid-back feel - and then a heartfelt guitar solo, as equally gut-wrenching as JoJo and Giles portrayal of the pain in the lyrics. The Millers’ crowd demanded its usual encore from any band that they have taken a shine to, and Hokie Joint complied with a Blues-rocker, which showed we have another band on the UK Blues circuit to be reckoned with.

Carol Borrington

THE MATT SCHOFIELD BAND

@The Running Horse, Nottingham. 20/06/09

This was Matt’s first appearance in Nottingham with his new band, Jonny Henderson on Wurlitzer and Hammond, Jeff “The Funk” Walker on bass and drummer Alain Baudry. The gig was also a first live exposure to Matt’s latest CD “Heads, Tails & Aces”. From minute one, you could see this was a man and a band on a mission to prove they were holding all the musical aces, which they liberally played throughout the gig with winning skill. The first taste of the new CD came in the form of ‘Betting Man’, a solid Blues-rock ballad with an integral hint of jazz. Matt’s guitar work on this number alone, not mention the rest of the gig, was enough to convince not just this critic but a gig full of punters that Matt Schofield has now rightly taken his place as the new generation’s top guitarist in the UK. With his own individual style and guitar fingerprint, ready to step-up alongside Joe Bonamassa in leading the Blues forward to a new generation. Matt’s playing throughout the evening was fluid, emotive and another master class lesson in what you really can do with a Strat and Tele - skill, creativity and innovation. No band is truly one musician, and throughout the gig it was obvious that Matt has found a trio of equally talented musicians to weave his musical magic with. The assembled were treated to a highly creative version of Freddie King’s ballad ‘Woman Across The River’. ‘Lay It Down’, from the new CD, was dramatic in delivery. Matt holding and bending notes to perfection, with spot-on vocal, sympathetic underpinned keys, bass and drum driving the whole thing home with all those the musical ‘aces high’! The whole gig was an astounding feast of Blues at its best.

Carol Borrington

Matt Schofield: the British equivalent of Joe Bonamassa?

photo: Marco van Rooijen

Jeff Beck/The Imelda May Band: London indigO2 (21st September). jeffbeckmusic.com The Mark Butcher Band: Southend The Riga Bar (22nd October), Eastleigh The Concorde Club (23rd), Selby Arts Centre (13th November) and Liverpool Baby Blue Club (16th). www.myspace.com/markbutcher1

Big Boy Bloater: Bourne Corn Exchange (3rd October), London Wing Village Hall (10th), London Ain’t Nothin’ But... (16th), Oxford Dance (24th), London Swamp Rock Club (31st) and London Ain’t Nothin’ But... (6th November). myspace.com/bigboybloater The Mustangs: West Sussex The Square Brewery (17th October), London Cavendish Arms (30th), Portsmouth RMA Tavern (31st) and Horndean Spotted Cow (6th November). myspace.com/themustangsblues The Steve French Band: Leeds The Fenton (20th September), Leeds The Fenton (15th October), Chesterfield The County (17th), Mansfield The Junction (23rd) and Sheffield The Broadfield (30th). thestevefrenchband.com Kill It Kid: Bath Moles (2nd October), Manchester Night 'N Day (4th), Carlisle Brickyard (5th), York Fibbers (6th), Aberdeen Tunnels (7th), Glasgow King Tuts (8th), Derby Rockhouse (9th), Oxford Jericho Tavern (10th), Birmingham Hare & Hounds (11th), Guildford Boilerrom (12th) and London Lexington (13th). myspace.com/killitkid

Ramblin’ Jack Elliot: London Union Chapel (23rd September) and Manchester Academy (24th). ramblinjack.com Richie

Kotzen: London Camden Underworld (8th October), Bristol The Fiddlers (9th), Poole Mr. Kyps (11th), Wolverhampton Robin 2 (12th), Swindon 12 Bar (13th), Bradford The Gasworks (15th), Manchester Club Academy (16th), Newcastle Trillians (18th), Glasgow The Classic Grand (19th) and Edinburgh The Caves (20th). richiekotzen.com Marcus Bonfanti: Wolverhampton

The Robin 2 (14th October). marcusbonfanti.com Jon Allen: Exeter The Phoenix (20th September), Bath Chapel Arts Centre (22nd), Warwickshire Cox’s Yard (23rd), Eastney The Cellars (30th), Belfast Auntie Annies Porterhouse (1st October), Swindon

The 12 Bar (4th), London Union Chappel (14th), Poole Mr Kyps (18th), York Pocklington Arts Centre (20th), Glasgow King Tuts Wah Wah Hut (21st), Birmingham The Glee Club (26th) and Derbyshire The Flowerpot (29th). myspace.com/jonallenmusic

Gwyn Ashton: Kidderminster O’Dowds (24th October) and Kidderminster O’Dowds (26th December). gwynashton.com

Vulnerable Things: Swindon Riffs Bar (27th September) and London Round Midnight (3rd October). myspace.com/vulnerablethings Bob Log III: Glasgow King Tut’s Wah Wah Hut (22nd September) and Brighton Hectors House (30th). boblog111.com Mick Abrahams: Cardiff The Earl Haig Club (9th October), Botley Chelsea Road (20th) and High Wycombe The Nags Head (23rd). mickaby.freeola.com

Kelly Joe Phelps: Sheffield Boardwalk (20th September), Leicester The Musician (21st), Cardiff Globe (22nd), Coventry

Taylor John’s House (23rd), Kendal The Brewery Arts Centre (24th), Birkenhead Pacific Road Arts Centre (25th), Gateshead

The Sage (26th), Birmingham The Glee Club (27th), Brighton

The Komedia (29th), London Union Chapel (30th) and Aldershot

West End Centre (1st October). kellyjoephelps.net Walter

Trout: Exeter Phoenix Arts Centre (9th October), Frome

Cheese & Grain (10th), Swindon 12 Bar (11th), Cardiff The Globe (12th), Swansea Sin City (13th), Peterborough Cresset Theatre (14th), Cleethorpes Beachcomber (15th), Newcastle 02 Academy (16th), Glasgow The Ferry (17th), Morecambe

The Dome Station Bldgs (19th), Crewe The M Club (20th), Nottingham Rescue Rooms (21st), Sheffield The Boardwalk (22nd), Holmfirth Picturedrome (23rd), Manchester Academy (24th), York Opera House (25th), Milton Keynes The Stables (26th), Leamington Spa Assembly Halls (27th), Wolverhampton Robin 2 (28th), Southampton The Brook (29th) and London

Shepherds Bush Empire (30th). waltertrout.com

HEY NEGRITA

@The Borderline, London. 05/06/09

When a band is cooking, the temperature in The Borderline can get up to ‘steamy’ levels - and Hey Negrita were definitely raising the heat in their only London appearance of the summer. From the moment they hit the stage, their playing was terrific, and their obvious enjoyment had the packed crowd bouncing around with glee. They played songs from all of their canon, but concentrated on the latest material with stunning versions of ‘Room Service’ and ‘Cold’, and a jaunty version of ‘Fishin’’ - of the latest material, a really chilling ‘Rope’ was the standout. ‘One Mississippi’ was the best of the earliest material, but all the songs fit into the Negrita family sound, and they all sounded fresh and lively. Felix Bechtolsheimer is a superb frontman, and while no-one would say his voice is ‘smooth’, his vocals lead from the front and his banter helped create that essential bond between the band and the audience. Captain Bliss’ harmonica gives a real Blues edge to the music, and his backing vocals filled out the sound, while he also gives a real focal point with his gestures and dancing. Matt Ord’s guitar was joyful - his slide playing especially - and he did it all with a diffident air that suggested he couldn’t believe he was there –Bechtolsheimer described him as “Belfast’s finest,” and I would say the whole audience agreed. The engine room of Paul Sandy and Neil Findlay kept the music under control and ‘Professor T’ on piano and accordion allowed the music to take on a jazzier and occasionally ‘N’Orleans tone. The Borderline crowd was looking for something special – Friday night is party night after all – and Hey Negrita didn’t disappoint.

Andy Snipper

NEIL YOUNG

@Trent FM Arena, Nottingham.

23/06/09

Neil Young arrived on the stage to a near capacity Nottingham crowd, and screams, cries and claps of sheer admiration that rocked the joint! He powered into ‘Hey Hey My My (Into The Black)’. Swiftly followed by ‘Mansion On The Hill’, and a demonstration to all that he had lost none of his guitar skills, if at times somewhat idiosyncratic in style, but with the desired result of explosive riffs in quality and passion. Neil’s rendition of ‘Mother Earth’ brought a breathless silence to the venue. Seated at the rear of the stage at a pipe organ, bathed in a single beam of light, his vocal, harmonica and organ playing was tender, poignant and compelling. He let the lyrics confer the deep environmental concerns of the song to send home his message. There were excellent performances of the classics ‘Heart Of Gold’ and ‘Old Man’. Neil finished the gig with his 1989 anthem

‘Rockin’ In A Free’ World’ to a sea of waving arms, peace gestures and a chorus of voices emitting an emotional explosion of sound that prickled like static electricity. The scene was reminiscent of those heady ‘60s protest days, when Neil and a lot of his audience were in their youth, setting out in idealistic hope to change the world. The applause, chants and foot stamping for an encore ensued like tidal wave energy. Neil returned to the stage and set-off with a ‘Day In The Life’, thrilling the crowd with firstly a great display of guitar skill and then, in true ‘60s rebellion fashion, trashing his guitar, which was the only really negative comment on the gig - you don’t do that to a Gibson, Neil! There were no elaborate stage sets with Neil, just the man, his band and his music, but with this quality of musician that is all that is required. Young has lost nothing over the years in vocal, instrumental and expression of his lyrics, and his passion for socio-political reform through the medium of the protest song remains.

Carol Borrington

MOULES AND WIGGINS

@The Tilt, Nottingham. 30/06/09

This gig was a launch party for the opening night of new concept venue in Nottingham, the first in the city. It is one that also bucks the trend of venues closing in a recession. The Tilt is a Blues and cocktail bar - a concept that was envisaged by partners Neil and Vanessa, bringing together their twin passions. In the heart of Nottingham City centre, not far from the university, it is an ideal setting, bringing in a new and younger cliental to the Blues, as well as its already established fans. The venue is three levels in one of the older historic buildings, and features dark oak leaded window frames and beams. The building stood unused for three years and has been restored with whitewashed walls contrasting the dark beams and pictures of Blues musicians on the walls in the second level, which also contains the bar. It serves, as well as beer, wine and soft drinks, an impressive array of well made cocktails sporting names like ’Blues Blazer’, which you can sip listening to background music of B.B., Muddy and co. The upper floor incorporates a small stage, and on launch night they engaged local Blues duo Moules And Wiggins to play to what turned out to be a throng of under thirties punters, and, with a class performance, they drew them into the Blues - as well as the cocktails! The pair played traditional Delta/Chicago Blues numbers, with wailing harp and slide guitar, conjuring an incredible image of Deep South America decades earlier – even if we were sitting in the middle of a 21st century Nottingham club on a balmy summers night. So much of a success was their set; they have been booked to be the regular Thursday night house band!

Carol Borrington

THE IAN SIEGAL BAND

@Millers Snooker Club, Kirby-in-Ashfield. 11/06/09

Ian and his band opened the gig with a taster from their next CD, with a theme of keeping the legend of Bo Diddley alive, working with the old to continue to produce the new. It was a solid Bluesrocker, with power drumming from Nik, driving bass riffs from Andy and Ian’s vocal punching out the lyrics with grit and vigour, accompanying himself with strong Delta sounding guitar riffs. Quite a start to the evening, with the crowd buzzing to hear more! Straight into 'Dirty Groundhog' and, like Eric Clapton, Ian never seems to perform his songs the same way twice. The punter has to be on his toes, and it was the same with this rendition at Millers, Ian changing the lyrics halfway through to bemoan, in true Blues fashion, the trials and tribulation of his journey to the gig that night. Starting with problems on the London tube and closure of the M1 to produce the seven-and-three quarter hours Blues journey! The Millers crowd were treated to little bit of Americana with, as Ian called it, ‘Just A Cowboy Song’. It showed just what a talent Ian and his band are, as they moved in a beautiful Latino guitar based song - a gentle lament that formed images of Tequila sunsets and swaying senoritas, as Ian, in more polished vocal, weaved his musical tale, accompanied by heartfelt guitar, bass mirroring the rhythm and beautiful drum accompaniment. It proved to be a great success with the crowd, who cheered and clapped with admiration at the end. Ian didn’t disappoint the faithful, though, and throughout gave songs from across his repertoire. The end of this gig saw a call for two encores - and deservedly so! There was something different about Ian at this gig, a feeling of a new direction and step forward in this ongoing progression - Ian gave the impression of a younger, more Blues orientated Bruce Springsteen throughout. The second encore was a familiar Ian jam, with the Millers chorus at full throttle!

Carol Borrington

HOLLY GOLIGHTLY AND THE BROKEOFFS

@The Rescue Rooms, Nottingham. 31/05/09

Holly Golightly and Lawyer Dave, that musical equivalent of Bonnie and Clyde, stole their way into the audience’s hearts and ears, as they kicked off their set with opening number ‘Crow Jane’. This set the scene for a night of the couple’s hilarious and often dark satirical banter, but most of all good music, solidly Blues rooted, with wonderful interwoven hues of soul and country that marks out their music as something different. Moving into the poignant but jocose ‘My 45’, a song that tells of domestic violence, with emphasised deep ridden contempt and hatred that can ensue in a broken relationship, they showed off their musical prowess. Dave and Holly’s sarcastic and threatening vocal renditions saw them crossing musical insults with malicious aforethought! All this matched equally by instrumental, which saw Dave handling percussion on his foot pedal controlled drums whilst playing frenzied and mean slide riff on guitar – done with skill and ease. ‘Escalator’ was a song whose lyrics reflect a phobia of the those infernal fear

machines, with its child-like musical nature, but an underlying morbid fear of being swallowed deep into its internal working, as the rider travels to the final step.

This number was a remarkable vocal and instrumental contrast of light and dark, which conjured images of doom. Holly and Dave finished their set with the number ‘I’m Getting High For Jesus (Because He’s Getting Low For Me)’ - the pair exchanging some impressive individual vocal renditions and then coming together to cement and harmonise the lyrics into an almost choral like format, with Dave adding a fine display of underpin and solo guitar work to top the whole off. The Rescue Room crowd were not going to get them off that stage without an encore, and they obliged with what they called a “traditional Blues song” - but in their own particular style, again underlining the uniqueness of this pair to create and innovative with their music. As always with this pair, the show was well worth the money.

Carol Borrington

CROSS ROAD BLUES

@Hackney Empire, London. 16/07/09

Very much a theatre experience rather than a gig, this was originally performed in Edinburgh, as part of the fringe, as a simple twohander portraying a fictional account of the night that Robert Johnson supposedly sold his soul to the devil at a crossroads outside Clarksdale Mississippi. The performance at the Empire was bolstered by the addition of a fine choir/chorus and some excellent musicians – especially Sophie Solomon on violin and Chris Allard on guitar – but it was still a two-hander, and all the more powerful for the simplicity of the setting and very fine performances by Christopher Clyde Green as Robert Johnson and Mario Vernazza (quite superb as ‘The Stranger’). The dialogue held Robert Johnson up as a very lost and confused itinerant, travelling between towns and still reeling from the bloody death of his wife in childbirth against the confident and manipulative white stranger, and made great play of the natural fear of a black man talking to a white man in the depths of ‘30s Mississsippi. Green’s portrayal of Johnson showed a very different side to the arrogant and cocksure individual we see staring out from the pictures of the time, but all the best lines go to ‘The Stranger’ and, at the end, the loudest applause seemed to be reserved for Vernazza for his powerful and creepy performance. The standing ovation was well deserved! If that had been the end of the evening then all would have been

photos: Magnus Arrevad

well but, probably because the play only runs one hour, Green and some of the musicians played a short set of Blues standards and promptly demonstrated why the Blues is music for the heart and soul and not just for the intellect by completely ruining ‘Me And The Devil Blues’ and ‘Crossroad Blues’, as well as Muddy Waters ‘I Can’t Be Satisfied’. Christopher Clyde Green has a terrific voice but, for crissake!, he was reading the lyrics as he sung them – the bass player played a solo riff while reading the dots!

Andy Snipper

THE DEREK TRUCKS BAND

@ABC2

Glasgow. 15/07/09

The first headlining date by the Derek Trucks Band in Glasgow saw them play before a near capacity audience, who gave an appreciative roar as the band started with the opening track ‘Down In The Flood’. It sounded fuller than on record, with little additional nuances from each band member. The balance was great, and we knew we were in for a treat. Post gig drummer Yonrico Scott commented he had never seen Derek roll up his sleeves on stage before, but that’s what he did, as if to say, “Let’s get down to business!” The band’s pre “Already Free” live favourite, ‘Don’t Don’t Bother Me‘ was next, with great vocals by Mike Mattison, before an older treat in ‘Soul Serenade‘, the first to showcase some of the band’s more worldly influences. Derek was the main focus point, and his playing was exceptional throughout, yet each of the band were given their space to shine, in particular Kofi Burbridge on keyboards and flute. Most of the crowd joined in to sing ‘I’ll Find My Way’, boogied to the up-tempo slide guitar tune ‘Get What You Deserve’, before watching in admiration on the mellow ‘Mahjoun.’ During ‘Sweet Inspiration’, you could spot a slight smile to Derek’s face, and it was clear to see the band were equally enjoying the show. What is notable about the Trucks band is the range of different styles they can play, from the Bluesy ‘Crow Jane’ to the funky extended groove of ‘Get Out Of My Life Woman’, and then a jazz excursion through ‘Greensleeves/Afro Blue’. Derek Trucks was named after Derek & The Dominoes, and they played a song synonymous with that band in ‘Key To The Highway’. The crowd wanted more and the band returned for a smooth interpretation of Curtis Mayfield's ‘We're A Winner’, with another sublime solo from Derek. As a bonus, we got a final encore with a ragged and climatic version of Howlin’ Wolf’s ‘Down In The Bottom’. All in all, it was a superb night in an intimate setting, from a band at the top of their game.

Duncan Beattie

photo: Paul Webster

BRUCE SPRINGSTEEN & THE E STREET BAND

@Hershey’s Park Stadium, PA, USA. 15/05/09

Bruce Springsteen & The E Street Band rocked the sweetest place in America, treating concertgoers to a three-hour set of heroes and legends, thudding requests, and New Jersey fairytales. Promoting latest release “Working On A Dream”, and spreading the message of the common man through grassroots Blues, rock, and folk, they set out to build a house of music and truth in Hershey Park’s Stadium – and they succeeded! Demonstrating their musical versatility and jam band roots with such classics as the eerie Blues jazz ‘Spirits In The Night’ and that carnival ride ‘Rosalita’, Bruce and the band also satisfied a few hand-selected audience requests. ‘Twist And Shout’ and ‘Give The Girl A Kiss’ were among some of the decorated poster requests to receive the E Street makeover. Notable addition to the band that night, sitting in dad Max Weinberg’s seat behind the kit, was prodigious Jay Weinberg. Though only 18, Jay has proven his abilities as a drummer with a style influenced by the energy of the E Street Band, but still uniquely his own. To accompany the pounding bass drum and tight cymbals of Jay’s drumming was the smoldering guitar work of Nils Lofgren on ‘Ghost Of Tom Joad’ and Clarence Clemon’s honey sweet sax on ‘My Lucky Day’. Highlights of the evening included the new ‘Outlaw Pete’, a song whose dark lyric and haunting melody were as transporting as the visions of the lonesome and windswept prairie displayed on the screen behind the band. ‘Backstreets’ and ‘The Promised Land’ were rock’n’roll at its most organic, vignettes of self-reflection and celebrations of freedom and of being alive; the sounds of thudding bass and jangling keyboards were as part of the night sky as the stars. There was nothing earth shattering, nothing time stopping about the show, but there didn't need to be. What Bruce and the E Street Band gave his audience that night was music, the way it was intended to be given - live, true, and to the point.

Jennifer Moncuse

The sweetest thing: Bruce Springsteen with The E Street Band.

A GOOD BUDDY

Courtesy Shout! Factory, we have 3 copies of “The Definitive Buddy Guy” to giveaway. The seventeen track collection features songs from 1958 (‘Sit And Cry (The Blues)’) to 2001 (‘Baby Please Don’t Leave Me’), with guests including Junior Wells, Bill Wyman, and Pinetop Perkins. Guy is considered to be the King of Chicago Blues, straddling both traditional and modern forms, and has released three GRAMMY-winning albums. To be in with a chance of winning, tell us: Which legendary songwriter penned 1958’s ‘Sit And Cry (The Blues)’?

FAULTLESS

Courtesy Birdman Records, we have 3 copies of Bob Log III’s “My Shit Is Perfect” to giveaway. The one-manband’s fourth solo album showcases Log’s “truly mystifying slide guitar virtuosity and butt-shaking poly-rhythmic beatitude.” To be in with a chance of winning, tell us: Which influential garage rock outfit was Bob once a member of?

TWELVE GOODIES

Courtesy EMI/Capitol, we have 3 copies of George Thorogood & The Destroyers’ new album, “The Dirty Dozen”, to giveaway. The album’s new recordings and fan favourites are grouped as LP-inspired ‘sides’ (six tracks featuring on each side). For your chance to win, tell us: Who wrote the song ‘Tail Dragger’, which opens side one of “The Dirty Dozen”?

TO ENTER...

For your chance to win any of these great prizes, send your answer(s) to: comps@bluesmatters.com* Closing date: 25th September 2009

*Alternatively, post to the usual PO Box address.

lind Lemon Jefferson left a musical legacy that had a significant influence on succeeding generations of Blues artists; Lightnin’ Hopkins, B.B. King and TBone Walker are among the giants who acknowledge Jefferson's impact on their own work. Many of Jefferson’s songs, such as ‘Black Snake Moan’, ‘See That My Grave Is Kept Clean’ and ‘Easy Rider Blues’, are recognised as classics of the Blues genre, whilst Jefferson took a place in rock’n’roll history when his ‘Match Box Blues’ served as the foundation for Carl Perkins' 1957 rewrite ‘Match Box’, which was later covered by The Beatles. He was a truly unique talent!

Country Blues guitarist, vocalist and songwriter, Blind Lemon Jefferson was one of the earliest black folk-Blues singers to achieve popular success. He was one of the founders of Texas Blues (along with Texas Alexander) and the first truly commercially successful male Blues performer. Until Jefferson came along, the only really successful Blues recordings were by female performers, and in particular Bessie Smith and Ida Cox, who usually sang songs written by others, and backed by a band. Blind Lemon Jefferson, however, achieved success as a solo, self-accompanied artist, performing mostly original material in addition to his repertoire of mainly folk material and Blues shouts. His originals include the famous ‘Black Snake Moan’, ‘See That My Grave Is Kept Clean’, and ‘Matchbox Blues’. These are genre classics.

Blind Lemon Jefferson was born on a farm as the youngest of seven children in September 1893, in Couchman, Texas. He was blind from birth, meaning he had possibly the worst start imaginable. Although much of Jefferson’s story is lost to us, it is generally believed he started playing guitar at around 12 years of age, playing in the streets, at picnics and parties, and, indeed, wherever he could find an audience around his home area. From this, we can understand that his influences were the cotton pickers and local guitarists, but also the Mexican workers who came to the area to work. They often incorporated Flamenco patterns into their playing, and it seems it is from this that Jefferson’s unique style of complex phrasings and intricate quick fingerpicking developed. As a result, his guitar style is marked by unpredictable riffs and irregular rhythms.

Within a couple of years, Jefferson had extended his geographical reach to Buffalo, Waco and other surrounding towns, and by 1915 he was playing in Dallas, where he became resident in 1917. It was in Deep Ellum, Dallas that he met another key player who was to achieve future fame. At the time, Leadbelly was accepted as the senior Bluesman of the two, but Jefferson was generally thought to be the better guitarist. The two men played together before Leadbelly ended up in jail, and it is telling that he would later record songs in tribute to Jefferson’s playing, including ‘Blind Lemon’s Blues’.

Into his early twenties, Jefferson travelled the life of a Bluesman, and it is known that he played in the Mississippi Delta and Memphis, although it is more than likely that he in fact travelled further afield.

In 1923, he married Roberta, and had children with her, including a son. Nothing is known of the children.

In 1925, at the age of 32, came Jefferson’s recording break. A talent scout from Texas finally made a demo and sent it to Mayo Williams at Paramount in Chicago. As a result, Jefferson was asked to Chicago to make his first recordings, ‘I Want To Be Like Jesus In My Heart’ and ’All I Want Is That Pure Religion’. Both gospel songs, they we released under the pseudonym Deacon L.J.Bates. A couple of months later, Jefferson recorded under his own name, but he was to release material under his original pseudonym as well as Elder J.C. Brown.

Jefferson went on to record around ninety sides in the next four years, almost all for Paramount, although he did do a two day session for Okeh Records in March 1927. This session resulted in a second version of ‘Black Snake Moan’, as well as ‘Matchbox Blues’ - they went on to become Jefferson’s best known songs. Despite Jefferson’s recordings having a distinctly non commercial feel to them, they nevertheless sold well immediately. His songs were particularly harsh Blues, featuring complex guitar, and his vocals were described as eerie and lonesome.

Throughout the late-20s, Jefferson continued to record in Chicago, and travelled around playing in brothels, saloons, and parties in Texas, Louisiana, Mississippi, Alabama, and Virginia. He recorded ‘Bed Spring Blues’ and ‘Yo Yo Blues’ at a session for Paramount in Richmond in 1929, then came back to Chicago in December 1929, where he was found dead after a particularly bad snowstorm. There are competing tales about his death. Some say he got lost on the way home from a friend’s party, some say he had a heart attack and froze in the freezing snow, others say that he was abandoned by his chauffeur and perished or was involved in a car accident. The truth is not recorded, as there was no death certificate issued, but we do know that we lost one of the most influential Bluesmen of the time whilst still in his thirties.

Jefferson was buried in an unmarked grave on New Year’s Day 1930. This was remedied some

thirty-seven years later when the authorities placed a Texas Historical Marker on the approximate spot of burial. By the ‘90s the grave was in disrepair, but thanks to the efforts of Blues fans around the world, funding was raised for a granite headstone with an engraved epitaph of his own lyrics, “Lord, it’s one kind favour I’ll ask of you. See that my grave is kept clean.”

Jefferson left a body of work which was highly influential. The compilation released in 2000 on Yazoo is a fine package with his most loved recordings and good liner notes charting Blind Lemon Jefferson’s career. You should also listen to the 1985 Yazoo recording ‘King Of The Country Blues’, which compiles twenty-eight of Jefferson’s songs, presented as ‘20s original versions. This is about the best introduction to the music of Blind Lemon Jefferson available. KW

photo: courtesy Smithsonian Folkways

photo: John Ewing