Blues Matters 57

BLUES MATTERS!

MARSHALL CHESS (USA)

MARK DOYLE (USA)

LISA MILLS (USA

BARRY GOLDBERG (USA)

ARI BORGER (BR)

RICK PAYNE (UK)

ELEPHANT SHELF (UK)

BLACK COUNTRY COMMUNION (UK/USA)

IAN SIEGAL (UK)

ROBERT PLANT (UK)

ROLLING STONES (UK)

LIGHTNIN’ WILLIE (USA)

“The BLUES without the blinkers!”

ROBERT PLANT

GEOFF ACHISON (AUS)

KIM LEMBO (USA)

LISA MILLS

ROLLING STONES

FRI 28 – MON 31 JANUARY BUTLINS SKEGNESS

Come and join us this January when our Skegness Resort comes alive with the sounds of our Rock & Blues weekend.

Acts include:

• SANDI THOM

• THE PRETTY THINGS

• PETER GREEN & FRIENDS

• CLIMAX BLUES BAND

• CONNIE LUSH & BLUES SHOUTER

This great value music break includes 3 nights accommodation, big name live acts including acoustic sets and a wide range of restaurants and bars in our undercover Skyline Pavilion – great whatever the weather!

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*Price is per person per break based on 4 sharing a Silver self-catering apartment on the break shown. Price includes VAT & is for new bookings only and includes extra 30% offer. All offers are subject to promotional availability & can be withdrawn at anytime. Entertainment is subject to change. For full T&Cs please refer to the current Butlins brochure. The maximum call charge is 2p per minute from a BT landline. Calls from other networks may vary. Butlins Skyline Limited, 1 Park Lane, Hemel Hempstead, Hertfordshire HP2 4YL. Registered in England No 04011665.

CONNIE LUSH & BLUES SHOUTER

SANDI THOM

PETER GREEN & FRIENDS

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EDITORIAL team

Alan King / Geraint Morgan: editor@bluesmatters.com

Founder alan@bluesmatters.com

Contributing writers:

Liz Aiken, Roy Bainton, Andrew Baldwin, Adam Bates, Duncan Beattie, Adrian Blacklee, Bob Bonsey, Carol Borrington, Bob Chaffey, Norman Darwen, Dave Drury, Rick Finlay, Linda Fisher, Jamie Hailstone, Stuart A. Hamilton, Nat Harrap, Gareth Hayes, Steve Hoare, John Hurd, Peter Innes, Duncan Jameson, Julian Jarrett, Geoff Marston, Ben MacNiar, Vicky Martin, Martin McKeown, Martin ‘Noggin’ Norris, Merv Osborne, Mike Owens, A. Parker, Frankie Pfeiffer, Thomas Rankin, Paromita Saha, Graeme Scott, Dave Scott, Andy Snipper, Richard Thomas, Tom Walker, Kevin Wharton, Rhys Williams, Philip Woodford.

Contributing photographers:

Tony Winfield, Christine Moore, Liz Aiken, Annie Goodman, Vicky Martin, Alan White

Production-Art/Layout

Kitty Rae

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Watch out... Christmas is coming...the shops are already full of Christmas gifts and food and it is only November as we write this! Before you know it the turkey will have appeared in all its glory, stuffed – as we all might be too before the end of the Xmas period. Then we will all be working out how to lose that extra weight we seem to have mysteriously found over the holiday period. Well holiday for some, hard work for others who do the cooking. Why don’t my trousers/skirt fit me anymore? This shirt is tight! New gifts of clothes – “Does my bum look too big in this dear?” – “I don’t know dear, what was it like before?” is not good enough and can cause you a problem so don’t answer that one! They say that kissing can burn off 60 calories! Must try that. Did you get that CD you wanted? In this issue we have varied interviews and features with the likes of what is being called the new ‘supergroup’ Black Country Communion, Barry Goldberg (Barry who? some may ask); This man has been around a long time being a founder of Electirc Flag, playing with Mike Bloomfield, Hendrix, Dylan and many more and now he is putting together a new US ‘supergroup’ and working on a Blues film. Lisa Mills has recently toured with Mr. Plant himself who raves over her. Mark Doyle is a NY artist and producer who was so strongly influenced by the UK scene, another unsung hero of the Blues who has even toured with Meatloaf. Kim Lembo was in the NY scene on the same label as Mark but stepped out of the Blues and talks to us intimately. Elephant Shelf from London have a different slant and their album harps back somewhat to John Dummer and a lot more. Ari Borger is the hot talent from Brazil, Rick Payne has played the Blues for years but is better known on the folk circuit and for his tutoring. The legend that is Marshall Chess Pt.2 speaks for itself. Names better known are Ian Siegel, Willie & The Poorboys and Geoff Achison. So there’s a little count in for you, we hope you enjoy this issues’ selection for your pleasure.

Apology: on the cover of BM56 we noted Black Country Communion as being (US) when in fact half of them are UK and half US musicians so it should have read – (UK/US) but there wasn’t room for both.

Stuck for a Christmas present idea? Give someone a subscription to Blues Matters for Xmas, now there’s a thought!

If the most exercise you get is jumping to conclusions then you need to do something about it!

HAVE A VERY MERRY CHRISTMAS EVERYONE!

Alan & Gez and of course all the BM ‘team’

BLUES MATTERS is sponsored by Harcourt Colour Print www.harcourtcolourprint.co.uk

16 INTERVIEWS

Black Country Communion, Ian Siegal, Mark Doyle, Kim Lembo, Lightnin’ Willie, Barry Goldberg, Rick Payne, Geoff Achison, Ari Borger, Marshall Chess Pt2, Lisa Mills & Elephant Shelf.

64 FESTIVAL FEVER

Cambridge, Ribber, Newark, Edinburgh, Harvest, Maryport Festivals.

Little Walter

Mud Morganfield, Black Country Communion, Roadhouse, Marcus Bonfanti, Rhythm & Blues at Norton Grange, Georgie Fame, Dr Feelgood, Pete Harris & Hugh Budden, Glenn Hughes, Gregg Wright, Larry Miller, Robin Trower, Martin Harley, Sean Webster, Swampcandy & Roadhouse.

Ian’s latest album is No.1 in MOJO magazine’s annual round up of blues

This is the first time that a non-American has taken the accolade.

RickPayne

Lightnin’Willie

Elephant Shelf AriBorger

Ian Siegal

Geoff Achison

Artist and graphic designer Geoff Marston has been a Blues enthusiast longer than he cares or CAN remember ..................’Bluesheimers!’ He actually shares his birthdate (not just his birthday) and place of birth with Keef Hartley the drummer - remember him? He often jokes that they had the same midwife and shared the same foreceps in the delivery suite. Adding it was a teepee pitched in the grounds of Preston Royal Infirmary close to the Western front!

His interest in the Blues R’n’B and Soul began in the same time honoured fashion as many others in the early sixties.

Listening to the likes of Chuck Berry , Bo Diddley etc etc frequently via ‘Marble Arch’ label albums which he seems to recall sold for Fourteen shillings and six pence in ‘old money’ (a tad under Seventyfive pence in todays money). Just about affordable for an impoverished Art student.

Amongst the many highlights over the years he lists seeing ‘Live’ three of the greatest Blues harp players ever - Sonny Boy Williamson, Little Walter and Sonny Terry. Also he ranks witnessing Otis Redding and Sam & Dave on the Stax/Volt Revue as another major highlight. On one occasion he managed to jump into a hotel lift containing Booker T Jones, Steve Cropper, Aaron Neville and Irma Thomas. When Emile Jackson (Irma T’s husband and manager) enquired which floor he wanted Geoff simply replied ‘I’m not really bothered I just want to be able to say I’ve been in a lift with you guys!’ Always the fan!

1. Sonny Boy Williamson (Rice Miller).’Down and Out Blues’ Not Now Music NOT2CD 356

Back in the very early sixties Sonny Boy Williamson was the first visiting American bluesman I remember seeing ‘Live’. Half dead as it happens as he was already coughing and spitting up blood backstage with less than three to four months to remain on this planet. To this day he is unquestionably the best ‘live’ blues act I have witnessed. At that time singer songwriters were very much en vogue stringing together endless sweet nothings such as ‘Windmills Of My Mind, etc. I remember thinking this guy is a REAL singer songwriter with numbers like ‘Your Funeral My Trial’ , ‘Ain’t Fattenin’ ‘No More Frogs For Snakes’ ,’Dissatisfied’, etc. etc.

I often have an inward chuckle about an old friend from Art College confusing Sonny Boys loosely packed Chesterfield cigarettes for ‘the dope’ and another mate replying ‘you are the dope Malc!’ (Briscoe) Where did I see him? Clevelys near Blackpool. The backing band? Mike Harts Roadrunners from Liverpool

2. Lou Pride ‘Words of Caution’ Severn Records - Severn CD - 0017 Soulman Lou Prides main claim to fame is his monster Northern Soul stomper ‘I’m Cm’un Home In The Mor’un’ ‘(yes that’s the correct spelling Ed)’ which was a huge hit a few years back and still receives regular and healthy vinyl play to this day. I once asked Lou if he ever got sick of requests for just that one number. He took time to reply........smiled and then quipped - ‘I can’t really complain it’s kept me in burgers for twenty odd years!’

But the fact remains Lou Pride today is about so much more. This C.D. is one of several currently available by Lou and is as good a place as any to begin listening to him. So if you like your blues mature and served soul side up this should more than satisfy your taste buds. It starts brilliantly with Lou’s very own ‘Words of Caution’ and finishes on a high with yet another cautionary tale Wayne Randles ‘Beware’. In between these two tracks its soul blues all the way from the top table. The standout track for me though has to be the gorgeous interpretation of Delbert McClinton’s ‘You Were Never Mine’

3. Chris Smither ‘Time Stands Still’ Signature Sounds SIG 2024

Quite why Chris Smither remains what you could best describe as a ‘journeyman bluesman’ never ceases to amaze and perplex me. However the flip side of the coin is that we are always able to afford to offer him a gig when he visits these shores. He is in my opinion the equal of ANY of the current crop of blues singer songwriters that exist today - a number of whom enjoy a far bigger profile than Chris has been awarded. Hopefully that will change in the not too distant future. In addition to being a great singer and guitarist its his songwriting skills which really hit home. Plus the added bonus when he opts to sing something other than self penned material he always strikes ‘paydirt’. Remember you can’t kid a kidder!

Back to this particular album - sample the title track - quite beautiful in its stark state and just the right amount of fleshing out by the supporting musicians ....... no over gilding of the lily.

New Orleans has certainly provided us with two of the finest artists around in Mary Gauthier and Chris Smither. Chris himself must be the king of the Nuawlins treadle sewing machine beat. His left shoes must take twice as many trips to the cobblers as his right shoes do .................. feets don’t fail him now!

Geoff standing next to one of his marvelous paintings

4. Bobby Bland ‘Dreamer’ Beat Goes On Records - BGOCD63

Only someone who was ‘Certifiable’ would do other than suggest that Bobby ‘Blue’ Bland’s greatest sides were not those from his Duke/Peacock label days. When Don Robey was his long standing producer and Deadric Malone wrote most of his material. Plus his superlative band included Wayne Bennett on guitar and John Jabo Starks on drums. If you aren’t familiar listen to Bobby on ‘Ain’t Nothing You Can Do’ (Mid/ Uptempo) and ‘Stormy Monday Blues’ (Slow blues). Now having said all of that try listening to Bobby on this album - ‘Dreamer’ (post ‘Duke’ period recordings).Steve Barri did a brilliant job in the production stakes. Completely revitalising Bobby’s sound and re energising his career. In doing so he managed to introduce him to a brand new audience without sacrificing anything of Bobby’s blues integrity. At least half the output on the album is directly attributal to the songwriting duo of Michael Price and Dan Walsh ..... some collaboration. Try listening to ‘Ain’t No Love In The Heart Of The City’ ‘I Wouldn’t Treat A Dog (the way you treated me)’ ‘I Ain’t Gonna Be The First To Cry’ and ‘Twenty Four Hour Blues’ You’ve just filled up at the Premium grade one Blues pump!

5. Lightnin’ Hopkins ‘Texas Blues Giant’ 3 C.D’s Fantastic Voyage - FVTD066

If ever an essentially acoustic or semi- acoustic country blues artists was able to stand toe to toe with his solid backed , fully electrified , urbanised Chicago cousins it was this man ...........................Lightnin’ Hopkins. Frequently refered to as ‘Sam the man’ Lightnin’ never really forgot his rural ‘n’ country roots. True his playing style did become both harder and louder when he relocated to Houston and city life. However that light delft touch he acquired earlier always remained.

On the eighty two tracks available here taken across three discs we find Lightnin’ (and ‘Thunder’ also) in great form. Alright you might care to argue there is a sameness throughout but when its that brilliant who really cares. Remember all peanuts taste exactly the same as the last one you ate ..................................... but you ALWAYS end up eating the whole bag!!!!!! ‘So play with your poodle - your little poodle dog!’

6. James Hunter ‘...............believe what I say’ Ace Records CDCHD 636 Well I was determined to get at least one U.K, artists into this selection and if possible one currently on the scene. There were a number of contenders.

I finally settled on this guy. The overnight sensation who’s been around for twenty years or so!!!!!! After spending what must have seemed like an eternity in the back of a Transit van transversing up , down and across the U.K.’s chitlin’ circut ...................Howlin’ for you all !!!!!!! Wilf finally made the big time as James Hunter. Even more miraculously Simon Cowell was nowhere to be seen!

This album ‘............ believe what I say’ should have been his launch pad but in the end it proved not to be the case. As commercially it was something of a false start. So James was recalled to the starting blocks yet again to resume under Starters Orders. However ‘artistically’ this is one helluva an album! One you need to dig out if you enjoyed either ‘People Gonna Talk’ or ‘The Hardway’.

Finally catch James and the rest of the guys ‘live’ a tighter band you won’t see anywhere .You owe it to yourself - you will not be disappointed.

7. Kelly Joe Phelps ‘Lead Me On’ Burnside Records BCD - 0015-2

This particular recording is one I return to time and time again. It actually came as something of a shock to realise that it is now some sixteen years old. Sweet sixteen indeed!!!!!!! (If you wish to purchase a copy you may well find it both easier and cheaper to buy the Fifteenth anniversary reissue)

Having been fortunate enough to see and hear some of the great acoustic blues players ‘live’ - the likes of Son House, Bukka White, Skip James, etc. I can honestly say KJP has for my money at least managed to capture something of that self same sound and feel.

The album is more or less equally divided between ‘traditional’& existing material and Kelly Joe originals. The title track ‘Lead Me On’ is a brilliant KJP original and serves to make the point that his voice and guitar are essentially one sound not two separate entities. I’m tempted to say Kelly Joe has a unique sound - but you will make up your own mind on that score.

8. Solomon Burke ‘Make Do With What You’ve Got’ Shout Records SHO 519538 2

It’s hard for me to remain objective when writing about Solomon as I have been such a massive fan from the night I first witnessed him ‘Live’ at the now legendary ‘Twisted Wheel Club’ in Manchester all those years ago. His best years were those at ‘Atlantic’ records alongside Jerry Wexler - that cannot be disputed. But then his career having levelled out for several years took a dramatic upturn with the Joe Henry produced album - ‘ Don’t Give Up On Me‘. With the release of that album and three subsequent albums -’Make Do With What You’ve Got’ Produced by Don Waas , ‘Nashville’ Produced by Buddy Millar , and ‘Nothings Impossible’ Produced by Willie Mitchell - Solomon’s career has seen a Renaissance.

Joe Henry’s produced album ‘Don’t Give Up On Me’ was a great album and did an unbelievable job bringing Solomon back into the music buying publics consciousness. But for me the Don Waas produced album ‘Make Do With What You’ve Got’ really has to be the jewel in Solomon’s newly acquired new crown. Forget the first track just skip it!!!!!! Start the album with track Two ‘What Good Am I?’ The album is perfection plus from here on in! Finally a special mention for Ray Parker Jnr The - what an incredible set of guitar licks trading off Reggie Young.(That’s a million times better than somebody sounding as though they’ve got their finger stuck behind the fret) .

9. The 5 Royales ‘It’s Hard But It’s Fair ‘ Ace Records CDCHD 1038

No listing would really be complete without the inclusion of at least one group. So here we have them - The Five Royales. They are arguably the first REAL blues based supergroup pre-dating Cream by at least a decade. The groups guitarist Lowman Pauling may not be a name many people are familiar with nevertheless his influence spreads far and wide. Steve Cropper of Booker ‘T’ and the M.G.’s freely admits that Lowman was a major influence. Plus when you continued middle page 10

listen to tracks such as ‘Think’, ‘Tell the Truth’ and ‘Slummer The Slum’ it’s hard to imagine a young Jimi Hendrix back in Seattle NOT picking up on them.

Sadly the Five Royales double anthology ‘Monkey Hips & Rice’ is now deleted and costs a mortgage payment when it does surface. But this C.D. is an excellent place to start with the Five Royales and it contains what it says on the label‘King’ records ‘Hits & Rarities’ (Freeze on the day of purchase!!!!!!!!!!!!!).

10. Johnny Adams ‘Man Of My Word’ Rounder Records Rounder11661-2155-2

A few years back after Johnny’s sad death from cancer Rounder Records released a couple of albums. The first was entitled ‘The great Johnny Adams R&B album’ the second ‘The great Johnny Adams Blues album’. All these tracks were from previously released material (with one exception). This then presumably had to be a marketing ploy by the label. Not necessarily a bad thing as anything to promote Johnny Adams in my book can’t be anything but good.

However for anybody not acquainted with Johnny Adams the New Orleans Tan Nightingale a better place to start is to listen to this - his very last album - ‘Man Of My Word’ produced by Scott Billington. The material on the album is written by some of the best in the business including Dan Penn, David Egan, Carson Whitsett, Bobby Charles, etc.

As for the musicians it’s a who’s who of all the best from both Nuawlins and Memphis including Walter ‘Wolfman’ Washington & Micheal Toles on guitars, Bassist George ‘The Daddy’ Porter and Hornman Jim Spake.

The album opens brilliantly with ‘Even Now’ and never lets up finishing off with three strangely prophetic titles - ‘It Tears Me Up’, ‘Looking Back’ and finally an acapella tour de force duet with Aaron Neville ‘Never Alone’ Which sees Johnny soaring up and singing well above the cloud line.

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Geoff “The Silver Fox” Marston wondered if he would stir up a real hornet’s nest with his review of Toots And The Maytals on page 116, “Got Live”, in issue 56? Well, Toots is a reggae singer and started out as a ska singer - not a blues singer, no way. BUT... It has been generally agreed for years that of all Jamaican singers, Toots is probably the most gospel-inflected - or soulful, if you prefer. Even his record company recognised this, sending him to Memphis, Tennessee for the “Toots In Memphis” album in 1988, where he recorded a bunch of soul tunes from the likes of Otis Redding, James Carr, Al Green, Eddie Floyd and others, in the company of Andrew Love of the famed Memphis Horns, and late guitarist Eddie Hinton, among others - and it worked. He does appear too on the new CD from JJ Grey & Mofro (“Georgia Warhorse”). Toots’ 2004 album “True Love” featured a whole load of guests, among them Eric Clapton, Keith Richards, Jeff Beck, Ben Harper and Bonnie Raitt. So, Geoff, no, I have no problem with Toots in BM at all... in Toots’ case, reggae definitely got soul!

Norman Darwen

We have just found you down here in Argentina and are so pleased with your little book and are trying to make people here more knowing for you. Your reading is very good for us and my friends are going to join you on the web spaces. It is a good job that you do for the blues.

Gabriell Zarotti . Argentina.

I must say I really enjoyed the last issue, very informative. There’s a good amount of Blues within Holland which is great for myself but not for others. I travel a lot and find a lack of a Blues scene in some countries which is a shame. There too much ‘Pop’ related groups around these days, driven by shows like the X-Factor in the UK. More Blues, less Pop! Thank you for your Magazine.

Burt De Howzen, Dan Haag, Holland

Dear BluesMatters!

I just wanted to let you know BluesMatters! does Matter! As a musician, band member of BabaJack and blues lover, your publication has made a real difference for us. As a result of our album review, live review and ad published in your magazine and online, we have been offered gigs, and made contacts, sold CD’s… And we get to keep in touch with the whole blues scene. So thanks! We need you and really appreciate you. Just want to let everyone out there know, that BluesMatters not only bring you the best of the big guys, but also support the best of the up and coming acts too. Top publication, and essential resource for musicians and blues lovers alike.

Cheers! Bec – BabaJack

BATTLE OF THE BLUES COMPETITION- TOURISM NEW BRUNSWICK

HAPPENIN’

Latest news from our Blues world

Tourism New Brunswick is continues to look for acts to enter their Battle of the Blues competition for the 5 regional heats around the UK next January.

Said Lee George “We have already had great interest in the competition, and many amazing performers have applied, but you can never have too much good music so we’ll keep accepting applications until the 17th December”

Any act wanting to apply must be unsigned at the time of the heat (and the final on 29th March), and must also have original material they can play.

To enter or for more information visit the Tourism New Brunswick website at www.tourismnewbrunswick.co.uk

BLUES MATTERS RADIO SHOW IMMINENT

Long dreamed of, long awaited its looking as though the Blues Matters radio show will be commencing at some time in late November. First up as BM radio presenter will be Clive Rawlings – Clive has just returned from France where his Blues radio show ran successfully for ten years. Clive is a valued and respected voice in the field of Blues & Roots music and his hilarious blending of French and English was legendary and very popular among the French and expat Brits.

ROADHOUSE – NEW ALBUM

The Big CD Launch – The Boom Boom Club, Sutton Football Ground, Sunday 7th November Track listing: Too Tired To Pray, Rainmaker, Swamp Girl, Dark Angel, Working Class Gospel Drinking Blues, So Over You (Kelly Marie Hobbs Vocal), Stormy Monday (Suzie.D vocal), Play With Fire (Mandie.G vocal), Tornado, Tellin Lies (2010 Mix) Check the website for details www.roadhousegb.co.uk

HOKIE JOINT – NEW ALBUM

Their eagerly anticipated album will be out in the New Year, so hold back some Christmas money to buy one. You certainly won’t be disappointed. See page 77 for short feature on the band.

GLEN PATRIK – NEW ALBUM

Glenn Patrik star continues to rise. The respected LA based Bluesman (www.glennpatrik.com) recently nominated for an award as part of the revered LA Music awards and he’s finished a new album in doubled quick time. The new album is called ‘Original Blues’ and is released on Shakehouse Records on 12 October. The album represents another journey to the blues genre. It’s a classic live studio recording with eight of its eleven tracks written on the spot at the sessions. As usual, all takes are single takes with no punch ins, anywhere. Even the overdubs are single takes. The CD was recorded on between August 17 & 29It comes at a time when sales and US airplay of his previous album are rocketing since being on XM Radio he’s had five songs being played at 254 radio stations, radio play in over 28 countries, his tunes are featured on various airlines’ in-flight programming, numerous TV segments in Europe and Japan, and used in 13 movies in countries as diverse as Mexico and Greece. We’ve had an advance preview at BM and the album is a cracker! Watch out for BM Podcasts – over the next month or two Glenn will be talking about the album and giving us a preview.

GREAT NEW LONDON VENUE – THE CASTLE NW11

Great news for North London music fans is the emergence of a really top-class venue –its THE CASTLE 452 FINCHLEY ROAD NW11 8DG at the Junction of Hermitage Lane and Cricklewood Lane. It’s got a £16,000 PA system, great acoustics, superb food, nearly 300 capacity, and is a great place to play. Having spent a few months getting established the proprietor Dennis Cook who ran the famous Horns in Watford is moving the venue up into top gear, with regular shows by top-line and up and coming Blues / R&B & Roots acts – Georgie Fame, Albert Lee, Chas Hodges, Runaway Boys, Larry Miller, Chantel McGregor, Maggie Bell & Dave Kelly to name but a few. Denis Cook aims to give punters and musicians the best venue around and entertainment seven nights a week– www.thecastlefinchleyroad.com

DEATH OF VETERAN MUSIC PROMOTER GEORGE MCFALL

We received the very sad news via Pete Feenstra that his long term musical partner George McFall passed away on 9th October. The funeral took place on 19th October and was attended by musicians and acquaintances of George from far and wide. At the time of going to press we are awaiting some details from Pete about George’s life and hope to publish an obituary in our next issue.

NEW FESTIVAL IN CROUCH END NORTH LONDON

It looks as though live music in Crouch End North London might be getting a welcome revival, over the years musicians have bemoaned the loss of some classic pub type venues – in particular the Queen’s Hotel where such BM favourites as the Spikedrivers and Elephant Shelf started out. That was sacrificed to the ‘Gastro-pub’ craze. Now Crouch End has a winter festival – ‘THE FIRST ANNUAL CROUCH END WINTER HOOLEY’ – artists booked include Dr. Feelgood, Chris Farlowe, Mike Sanchez and his Big Band, Jack Shay, Norman Beaker Band, the events organiser Jack Shay promises lots of special guests. Find out more by going to www.bluesmatters.com and you’ll see the banner.

MORE NORTH LONDON VENUES!

North London has been a bit of a wasteland for dedicated blues venues since Pete Feenstra’s Torrington gigs stopped, but things are looking up at last with two regular blues venues. Firstly there is St. Harmonica’s Blues Club, this at St. Monica’s Centre Cannon Hill Southgate N14 every Friday night. The venue started recently and has been very well

HAPPENIN’

supported; forthcoming acts include Graham Hine (ex Brett Marvin), Doc K’s Blues Band (in great form we hear), Steve Cook Band,.If you want to know more then go to www.thevintage.org.uk

Equally good news for Blues fans Pete Feenstra has started gigs at All Saints Arts Centre 122 Oakleigh Road North Whetstone N20 9EZ – He’s calling the venue Joe’s Garage and gigs will be on various Saturdays & Sundays; and artists booked have included W.T. Feenstsa & Chantel McGregor , you can find out what’s on if you go to www.feenstra.co.uk.

NEW US BLUES & ROOTS RECORD LABEL

An exciting new record company has been formed, EllerSoul Records. It’s founded by Virginian entrepreneur, H.Watkins Ellerson and renowned bluesman Ronnie Owens. Ellersoul Records will be focused on releasing traditional yet fresh Blues, Soul & Roots music by some of today’s most vital and compelling artists. First up for release is an exciting ‘live’ CD by the acoustic blues duo of Terry Garland & Li’l Ronnie. Both Terry & Ronnie have long distinguished recording careers, Terry as a successful solo blues singer/slide guitarist and Ronnie as the leader of his own jumping & swinging blues band, Li’l Ronnie & the Grand Dukes. The new CD is anticipated for a January release. For more info contact; www.ellersoulrecords.com wat@ellersoulrecords.com

HAPPY SEVENTIETH BIRTHDAY CHRIS FARLOW

WARRINGTON BLUES CLUB CLOSES

Chris was 70 years old on 13 October – how amazing is that? To put things into perspective, over the last 12 months, Chris has played more than 80 gigs, to an estimated audience of 40,000 fans, in 7 countries, and clocked up an incredible 23,000 miles, almost equivalent to circumventing the equator. Quite a work schedule for a septuagenarian! Chris has been touring the UK with Norman Beaker and the band before he crossed the channel for dates throughout October and November in Germany, Switzerland, Czech Republic and Hungary with Colosseum, followed by some late November dates with the Hamburg Blues Band. For those of us based in the UK, there are a couple of opportunities to catch up with him in November (Crouch End Winter Hooley Festival) and December.

Sad news for Northern music fans is that Warrington Blues Club has closed after 17 years of providing entertainment to dedicated music fans. Husband and wife Ray and Barbara O’Hare, aged 63 and 60, set up the club, which was the first of its kind in the borough, after going to a concert in Oldham and realising that Warrington had nothing similar to offer. The couple, who live at Cantilever Gardens, got in touch with Touchers Bowling Club, in Bewsey, and this became their home for six months in 1993.The club then moved to Warrington Town FC’s grounds and stayed there for 15 years with Ray describing the venue as a ‘spiritual home’. Ray and Barbara moved proceedings over to Burtonwood Catholic Club last year and this was where last Friday’s final gig, featuring Geoff Achison and The Souldiggers, was played. Other acts who have performed over the years include Ruddy Rotta, Lightnin’ Willie and the Poor Boys, Paul Bryd, Johnny Mastro, Larry Garner and The Cadillac Kings, Ray said: “It was a fabulous night, we went out on a high and we have great memories of all our concerts. We’d like to thank the fans for their support. “Unfortunately not enough people were coming to the concerts and we were paying for bands out of our own pockets. It was too much of a financial strain. It’s a shame as the club has been a major part of my life. It’s sad that Warrington will no longer attract big blues names from all over the world.” Ray, who met Barbara, a retired tailor, 20 years ago, discovered his love of blues music as a teenager and even formed a band called The Boys, taking on the role of rhythm guitarist. The former market trader, who was born in Stockton Heath, added: “Barbara and I bonded over a shared love for the music and we will always be fans of the blues even if the club no longer exists.” The couple plan to host one last charity show at Grappenhall Cricket Club on Saturday with Simon Hickling and The DTs.

BLUES MATTERS PODCASTS

A new feature just started on Bluesmatters.com is Podcasting, already featured are the Rev Peyton’s Big Damn band who got a plug for their UK tour and their album ‘The Wages’; a stunning interview with R&B legend Georgie Fame may be up and available by the time you read this. Negotiations are under way for a feature on Jools Holland, and fast rising UK band Hokie Joint are also in line. Gary Boner & Danny Gwylim of Roadhouse are in line for a feature on Roadhouse past and present and there are lots of exciting projects in the pipeline. How do you get to hear it? Go to www.bluesmatters.com and click the icon. It’s just starting and readers and friends of BM will be getting regular email updates on what’s happening as we develop it.

BLACK COUNTRY COMMUNION

Glenn Hughes - Killing the myth with BLACK COUNTRY COMMUNION!

Interview with Carol Borrington

Photo by Robert Knight

In the shadow of the end of the Second World War, a new interest focused the attention of British youth. This was due to an influx of Blues records from the US featuring Electric Blues musicians such as Muddy Waters, Howlin Wolf, Willie Dixon and peers. This started a gathering of young musicians mainly in London but also in other hot spots around the UK. A young Alexis Korner and John Mayall formed a core of musicians around themselves, in their now famous jam session and this spawned a new generation of music, through bands like The Animals, Cream, The Who, Free, The Rolling Stones. The music quickly diversified in the form of bands like Led Zeppelin, Deep Purple, and Black Sabbath. In the 70s and early 80s this diversity further developed into the Arena Bands and saw the growth of bands like Queen, Foreigner, Bon Jovi and co. With the onset of the manufactured bands and singers of the last two decades, many have declared the era of Blues Rock and Rock dead! Or maybe, it was just waiting its time and that myth is about to be blown apart as a new Anglo/ American ‘super group’, drawing its members from the Blues and it sister genre Rock come back together in the formation of Black Country Communion. The band comprising Glenn Hughes of Deep Purple, Black Sabbath and Trapeze, Jason Bonham of Led Zeppelin and Airrace, Derek Sherinian of Dream Theater and Joe Bonamassa, moves the Blues and particularly Blues Rock back to the quality of the past but forward into the hands of a new generation. Glenn Hughes took time out a busy schedule to tell Blues Matters about this major shot in the arm for Blues Rock.

BM: How did the band get its name?

Glenn: We were in the studio on day one and I’m looking at two of the members, right, and I says wait a minute, you guys want me to come up with a name, you’ve been asking me for six weeks and I really can’t. But have a guess what two blokes who are in this room were actually from the Black Country so why don’t we call ourselves, Black Country? So that week Jason goes on the internet or some TV show and talks about Black Country, not knowing, see I Google is there a band called Black Country- no! Nothing came back, so we called ourselves Black Country. Meanwhile there’s a band in Baltimore, Maryland called Black Country so they trademarked the name and they.ve been trying to negotiate with us for three months and wanted half a million bucks and we told them to bugger off. I just added the word Communion on the end, rather than come up with another name, I’d spoken to John Paul Jones about how long it took them to get the ‘Crooked Vultures’ name, he said about six months, so I just figured you know, Black Country Communion that’ll be great.

How did you all get together, what was the inspiration for the band? Well, Joe and I have been mates for years. We’ve been hanging out having lunches and some dinners, coming up over to my place to jam out with some of my guitars, me going over to Joe’s Hollywood studio, getting comfortable with each other as mates, starting to jam together, then started to sort of write. Then sort of late last year Joe and I did a little thing in LA where I got up and did a couple of songs with his band, and that night we knew there was gonna be more coming. So, his producer, Kevin Shirley suggested we form a band rather than do a duet album. Rather than do a Joe and Glenn album lets come up with a name of a band and I’ve been really tirelessly working on getting the right logo and everything out. Of course, you know Jason’s name and Derek Sherinan’s name came up and it was very quickly, there was no audition; it was all really, really quick. So in the six weeks after that, I hadn’t written since that night in November when Joe and I got together, and I started then to write for the band, rather than write for my own album. I started to write for a band project knowing who was going to be in the band, and that’s what we have on the first four or five songs, you hear the songs that I initially came up with, which is the foundation of this band.

What does each member of the band, including you, bring to the band’s sound? Well, funnily enough some of the stuff I’ve written, Joe changed or Jason changed. They changed the actual kind of vibe or tempo, only to make the album better. When I’m producing myself or with my own band I’m sort of like I’m lush you know. I wanna make this clear although I am the frontman and the spokesperson for this band and the one that wrote most of the songs, this is a band, I wanna hear how Jason feels about the arrangement. I wanna know can you make it a little better or Joe, what do you feel about adding your vibe onto this song called ‘Beggarman’ which is completely different to the way I wrote it. So, they remember it through their own spin on a Glenn Hughes song to make it more a Black Country Communion song, which is what we wanted. This isn’t a solo album, this is a band and I wanted it to be a band. I don’t want it to be about me, although it’s my voice you’re hearing most of the time I want it to be, Led Zeppelin where we all talk about Jimmy and Robert but John Paul Jones and John Bonham were a massive part of the band, John Paul wrote a lot of those arrangements. And this is a fact, John Bonham arranged most of Led Zeppelin’s songs, so you know the emphasis on this band is very much a Glenn and Joe thing but I wanna make sure the people know the other guys’ names and you know Jason Bonham is an insane drummer.

What has it been like working with Kevin Shirley?

Kevin Shirley is insane, intelligent, brash, a bully, sweet, a cry baby, a horrible rugby player, a great father I must say, I say that in all love but Kevin knows how to man manage people and let’s just say his style or recording is insanely brilliant. There’s two Kevin’s, I wanna talk first about the producer Kevin Shirley. He’s insane, the best Rock producer in the world. Kevin has a way of getting people to the table and getting their gas in the tank, he’s very up front and in your face. Kevin’s not the quiet type, he’s like kicking things around, our band is really a band of rockers, that are schooled from that seventies vibe, although Joe’s young. We ain’t pretty in the studio, there’s a lot of tension there and there’s a lot vibe goin’ on, there’s a lot of pushing and pulling and a lot of confrontation, that’s what’s called a band.

Photo of Glenn Hughes by John Rahim

BLACK COUNTRY COMMUNION

Black Country Communion are being described as a new supergroup but how do you and the other band members see yourselves?

Well when you’ve got one part Led Zeppelin, one part Deep Purple and Sabbath and you’ve got one part Dream Theatre and one part the new Blues Rock Titan, it’s really difficult not to be called a supergroup. That’s what the fans will call us and that’s what the critics will call us. We come in the last line of a trilogy of supergroups; Chickens Foot, Crooked Vultures and now Black Country Communion. It’s not a bad little trilogy to be in. I’d rather you call us the new band, coz we are the new band at the moment. We can’t stop people from calling us a supergroup and it’s a good thing really.

Will the band be touring in the future?

The band has to tour; it really, really has to tour. The band was recorded live in the studio and it needs to be played live. I said to the guys, heck I’m not just making this album for fun I wanna play it live, so I’ll be dragging these bastards to the stage, trust me.

Is BCC a one off project or is it something you will all be working on along with your individual work, and does maintaining solo work cause any problems for the continuing joint project BCC?

The only reason I’m doing that tour in September is Joe’s touring with his band in September in the States and in October in the UK and Europe. I’m doing it coz I’ve gotta keep busy and you know, I’ve taken three months off this summer to promote Black Country Communion and I need to sustain my soul by playing music, so I’ll be taking my band out there. The album comes out September 20th and I’ll be starting the tour on the 22nd. Although I’m touring with my own band I’ll be talking about the Black County Communion all the time. So you can expect dates about Black Country Communion in the next couple of months.

This debut CD ‘Black Country’, is a seminal opus, are there any plans for future?

I want your readers to put our album up there with AC/DC and The Stones and Led Zeppelin and Black Sabbath. I just think our band is akin and in fellowship to these great, great bands. We’re all excited to be in a great elite group of pedigree.

The CD includes a version of ‘Medusa’, which you recorded with Trapeze, but how is this version different to the first?

Well John Bonham didn’t play on the original but he did play it a lot. John used to come and see Trapeze play in 71 and John used to sit in on that song so we decided to re-record that song simply because it was John’s favourite. Jason his son is in our band and Jason would be saying would Dad played it this way or would dad play it a little bit like that. I’d say your Dad would play it that way. It was sort of a very special moment for me so we kept Medusa on the album.

BCC’s sound is so diverse and different from much of the music today do you think it will herald a resurgence of Blues Rock into the mainstream?

I hope so. You know when I listen to our album it makes me want to go and listen to Traffic or Free or The Who or Zepp. Those are my peers, I am from the seventies, I was in Sabbath and Purple so I’m kinda in that group there. When I listen our to album, I feel it’s a Rock band, it’s their album, although I wrote and played it, it’s their album, it’s not my album anymore, it’s yours, the band album and I want them to know that this is an album that rock fans can celebrate as well.

When the band began after the inspiration of yourself, Joe and Kevin did, you have a particular musical feel in mind and did that change when Jason and Derek joined you?

Blues Matters! 18

Photo of Glen and Jason by Robert Knight

You see I’m a songwriter, that’s what I do the most. I sing as you know, but I’m in the studio writing every day. Joe wanted me to come up with the majority of the music here. This is the first album by this band and I really took it upon myself to run with the ball. I couldn’t wait around for anybody to come up with material, it had to be bloody good stuff you know. Let me tell you, it wasn’t easy coming up with all these songs, it took some long hours in the studio, re-writing lyrics, re-writing complete choruses, I’ll change that chorus, I’ll change that chord. I had some sleepless nights. Derek and Jason came in to record and they didn’t know what I had written, so it was kinda new to them. But once again this is a band and I don’t mind telling you that.

BCC have a distinctive sound, how do you think your individual fan bases will react to the musical direction you have each taken?

Oh yeah, well here’s the deal. Joe’s really happy that Derek’s in the band, he didn’t know too much about Derek at all, Joe doesn’t know what a dream theatre is; now he does. Dream Theatre were a very good group and Derek was in the band like ten years ago and he’s got his own fans. We’ve got the Zepp community behind the album, which is really fantastic coz it’s a great, great fan base, there’s no greater band than Led Zeppelin. You’ve got Joe’s Blues fans and the fact is I’m thinking that most of Joe’s Blues fans will go for this album if they can just allow themselves to realise that Joe’s a Blues guy but Joe’s gone to rock regardless of his sound, he wants to rock, he wants to do it with me. So Joe wants to make an album with me that’s different to his Blues albums, hence this band because it would be pointless doing it else. My fans are gonna love it because they wanted me to go back to rock anyway.

Is there anything you would like to say to Blues Matters readers?

I just want to say that rock and Blues are married to one another; they’re simply married to one another. Especially if it’s British rock and Blues. I want your readers and all Blues fans to have a listen to the album and realise this album is written in a very British, early seventies British Blues rock way. The way albums were made by Humble Pie and Free so if they really are akin to that they will love this album.

Joe Bonamassa on Black Country Communion

Blues Matters decided to get Joe Bonamassa’s take on Black Country Communion. In the middle of a busy recording session, Joe found time to answer our questions and in doing so not only gave his thoughts on Black Country Communion but also revealed a more confident and relaxed persona than has been seen before.

BM: Black Country Communion is being described as a new “supergroup” but how do you feel about this description?

Joe: It’s a band with four of my friends and guys I respect. Supergroups scare me! What do you think you are bringing to the band and its sound? I bring two Gibson Les Paul guitars and two Marshall amp’s.

I’d gladly record ten records with those guys!

Is Black Country Communion a one off project or is it something you will all be working on along with your individual work, and does maintaining solo work cause you any problems for the continuing joint project Black Country Communion?

Black Country Communion’s sound is so diverse and different too much of the music today, do you think it will herald a resurgence of Blues Rock into the mainstream?

I think as in my solo career the fans will hail it as it they may. It was made with good intentions by good musicians. I like it. Hopefully my fans and everybody else will, too.

Black Country Communion has a distinctive sound, how do you think your fan base will react to the musical direction you have taken?

My fan base is mainly comprised of music fans. I’m confident that 99 % of them will like it. My Dad loves it. Mom has yet to comment if she puts it on while she vacuums the house on Saturdays. If she does, we have a winner.

Is there anything else you would like to say to Blues Matters about your involvement in this project or the band’s new CD, “Black Country”? Yes, first thank you for all the support you have given me over the years. It certainly means a lot to me and my family of musicians and crew on the road nine months a year. Secondly, why is “Blues” Matters writing about a rock record?! Love you guys and gals. You all ROCK! The Blues!!!? CB

Photo by ChristieGoodwin

With a musical pedigree second to none, former teenage Jazz piano prodigy Mark Doyle scaled the heights as a guitarist with Meat Loaf as well as having a distinguished list of producer credits; recently he returned to his first love 60’s style British Blues with his band the Maniacs. We touched base with Mark in London earlier this year and concluded the interview over the telephone.

VM Hi Mark it’s good to be in touch. We’re going to discuss your album, your love of sixties British Blues and several other things along the way. Firstly, let’s open up by you telling us what you’re doing right now – what’s your current project?

MD: I’m co-producing a young artist named Maddie Georgie with my old glam-rock friend David Werner. I’ve also wrapped up the sequel to Guitar Noir, a solo instrumental album I released about 10 years back. This one’s called Guitar Noir II: In Dreams, and all of the songs either have “dream” in the title or have to do with dreams. Lastly I’ve collaborated with Rich Mendelson on a DVD-ROM for Big Fish Audio which features short vignettes and loops I recorded with a full string section, so that people who have computer-based recording systems can incorporate my string arrangements into their songs or productions.

I guess it’s your albums ‘Shake ‘em on Down’ and ‘Coming Home’, the first a tribute to British Blues and the second a development of that idea that has sparked interest in you as a blues artist. You have a long and, I have to say, pretty distinguished pedigree in music, quite eclectic – so how did you get to ‘here’, that being immersing yourself in ‘British’ Blues.

It was very much the music that turned my head around when I was a kid and had just discovered guitar. I was a jazz piano prodigy before that, playing on TV shows when I was 10 years old. My dad was a professional jazz pianist and arranger. Anyway, I saw The Beatles on Ed Sullivan and my life totally changed (along with every other musician my age I’m sure.) I said goodbye to piano for many years, and manically practiced guitar for at least 8 hours a day, to the exclusion of everything else. My first band, Jukin’ Bone, got a record deal with RCA when I was still a teenager. We got to tour with Freddie King, The Allman Brothers, Z.Z. Top, a bunch of others. We did our own brand of fiery Anglophilic blues-rock for two albums.

After we broke up, I made a few glam-rock albums with David Werner, also on RCA. David Bowie had just released Hunky Dory on RCA at the time and it turned my head around, so meeting Werner was fortuitous. I got to also do string arrangements and play keyboards on his albums. Next I met Andy Pratt, and did a few records with him under the aegis of Arif Mardin, who was such an inspiration to me in also pursuing a career as a producer. Arif used me on a bunch of other records he did, like Hall & Oates and Judy Collins. I did a Leo Sayer album in there, and we would jam on old blues tunes, Yardbirds, etc. in between takes. Leo is a great blues harp player. When I did Meat Loaf’s record, Midnight At The Lost And Found, I got to work with Tom Dowd, the producer, which was another absolute highlight. I sang and arranged backing vocals on Bryan Adams’ Cuts Like A Knife album.I served as staff producer for all of the early Blue Wave albums: The Kingsnakes, Stroke, Backbone Slip, Kim Lembo, et al.

I know this is getting long-winded. Suffice to say that I had spent 3 months slaving on the sequel to Guitar Noir working alone in my home studio, when just to let off steam I started jamming to Mystic Eyes and some other touchstone 60s tunes, like Searching For Madge. My wife Liz came in and said, “Why haven’t you ever recorded a record of you playing like that, totally jamming in an uninhibited fashion” or words to that effect. So I came up with the idea of forming a band that would just do music from that era, and promised myself that I would just grab a posse and go into the studio to bash it out over a period of no more than a few days. I cast the guys just on instinct, and Voila! You have Mark Doyle & The Maniacs. Could you describe ‘British’ blues as a genre, as, say, opposed to American Blues?

I would have to put it like this: American Blues is the root, the source. British Blues is an offshoot or permutation of the source and in the act of serving our music back up to us you guys created your own sub-genre. The Stones used to say that it was in their failed attempt to copy it exactly that they came up with their own thing, but I don’t think it’s exactly that. You listen to their revved-up version of I Just Want To Make Love To You and it’s nothing like Muddy Waters’ version, nor is it trying to be. Same with The Yardbirds’ version of I’m A Man.

I guess a whole separate discussion would be comparing the young, mostly white American guys like Paul Butterfield’s band to the English guys that were out at the same time, in which case perhaps a gross generalization would be that the Americans were more technically proficient where the Brits were more daring and imaginative.

What first impacted you about this music / when did you first hear it?

I would have to count the first Stones album as my real introduction to the blues in general – they were the messengers that lead young American kids like me to seek out Slim Harpo, Jimmy Reed, Muddy Waters and Howlin’ Wolf. But there was still something about hearing the music played by young, cool guys that were just a few years older than me – it was an image and style that I could readily assimilate and aspire to. And when I first heard the “Beano” album a few years later, Clapton’s guitar sound and the emotion and fervour of his playing were just life-changing to me.

How did it affect your view of American Blues artists?

As I’ve said, I wouldn’t have discovered the real guys when I did if not for The Rolling Stones.

I’d be interested to know about some of the albums and tracks that originally turned you on to the style. Everything on the Beano album, but especially ‘All Your Loving’ and ‘Have You Heard. Anything’ by Fleetwood Mac, but especially ‘Driftin’, ‘Stop Messin’ Round’, ‘Love That Burns’, ‘Black Magic Woman’. All the Savoy Brown stuff. I see you’ve got a Savoy Brown tune on one of your albums – did you ever get to see them or meet them?

My first band, Free Will (who changed their name to Jukin’ Bone) studied Savoy Brown like Savoy Brown studied Muddy Waters. I saw the band with Chris Youlden at the Café Au Go Go in NYC and a few other times closer to home. Then after Chris left, my band opened for the fourpiece version at a theatre in Wilkes Barre, PA. Years later when I was with Kim Lembo we did a Florida tour with Savoy Brown, in the 90’s when Kim Simmonds had taken up permanent residence in America (actually he lives about 45 minutes away from me.) He called me up on stage to do Louisiana Blues with him, which was a real thrill for me after all those years of following his playing. And we became friends and just last year I did associate production, keyboards, bass, and percussion and string arrangements on his acoustic album called Out Of The Blue. I understand from him that Blues Matters actually started as a Savoy Brown fanzine, so it’s a small world isn’t it?

What I find interesting is the background to this, you were obviously active in music, but the period late sixties through the seventies was a time of political turmoil in the USA, how did you stand in relation to what was going down?

I was anti-war and anti-establishment but in a very non-demonstrative way. I just wanted to take drugs, find spiritual enlightenment, and make music for people. Most of the musicians that I knew at the time were exactly the same, a real feeling of “what can a poor boy do but to sing in a rock ‘n roll band.” I’ve known very few activist musicians in my life –most of us think that our music is our most important contribution to society and stay well out of politics.

Also at that time, or just before it, Barry Goldberg & Mike Bloomfield had gone into Chicago to meet and play with the originals, and great bands like Electric Flag came out of that. Were you aware of that, and did you get into that music at the time.

I loved Mike Bloomfield and followed everything he did, from Butterfield to Dylan to the Flag to the Al Kooper stuff. He burned very brightly for a short period of time.

Dylan was also involved in the cross-fertilization of rock / blues, etc. were you much into him?

I loved Dylan as well, he was a musical revolutionary. And you’re right – he did a lot of talking blues on the very early records and to this day a lot of his music uses the 12-bar blues form.

Were you affected by the draft? I had a cousin who just escaped it?

All of the hippies in my generation were tremendously affected by the draft. We lived in fear of flunking out of college and losing our deferments. None of us believed in the war and we all saw friends of ours get drafted and either get killed or come back destroyed psychologically.

And Civil rights and all of that stuff

Yes, of course. The country seemed to be on such a hopeful uphill course until Bobby Kennedy and Martin Luther King got assassinated. I don’t think people felt anywhere near that sense of hope again until Obama’s campaign.

I notice that on your latest album you’ve written several tunes – if we go back to your first albums Jukin’ Bone –the musical structures are quite similar, did you save anything or bring any tunes back from there for your latest stuff?

The band just learned Goin’ Down and See See Rider off of the Jukin’ Bone albums. People think Jukin’ Bone copied Jeff Beck’s version of Goin’ Down but we were doing it well beforehand – I know we toured with both Freddie King and Leon Russell so between the two we must’ve picked it up.

We could talk all day about your musical background, there is such a wide variety of stuff that you’ve played on and in, one of the biggest names that you were involved with was Meatloaf. Tell us what are your greatest memories of playing with them?

Probably doing Saturday Night Live in the States, with Tim Curry as host and Eddie Murphy as one of the cast. They only had one stage in those days so you had the two minutes between commercials to set up the 13-piece band, and when you were done with the first number they struck the stage and you had to do it all again for the last number. It was like skydiving – you were in freefall for the whole performance and your chute opened when the song was over and they’d cut to a commercial!

And the biggest audience you played to?

We did Castle Donnington in Britain – that was probably 150,000 people. And we also did five consecutive nights at Wembley Stadium, so that adds up!

I was fascinated to note that you could have had a career as a jazz pianist and also that you were also the string arranger for several big name acts as The Stylistics and New Kids on the Block; that indicates deep theoretical knowledge and a very high degree of skill in. How do you see that relating to this Blues / R&B that you’re writing and playing at the moment?

I guess I try to be authentic in whatever genre I’m in. The blues is a feeling, besides being a song-form. I have a deep feeling for blues music and the expressiveness of playing it on guitar. I try to get in the zone and forget about technical or analytical issues. But yes, I’m a schooled musician, jazz pianist, and string arranger as well as producer. So I love it all and derive tremendous pleasure from it all. I look at myself as a sort of Renaissance man and would like to think that I could theoretically play the roles of a modern day Peter Green, Nicky Hopkins, Mike Vernon and Mike Leander all on the same record. It’s certainly a lofty goal to aspire to!

Tell us about some of your influences on the guitar? What I called the Big Four on the Shake ‘Em On Down liner notes: Eric Clapton, Jeff Beck, Peter Green and Kim Simmonds. I would have to throw in early Keith Richards, Pete Townshend, Dave Davies, Mick Ronson, and Bill Frisell.

With your wide background I’m sure that you are influenced and listen to a whole range of stuff. Who are your favourite musicians outside of the guitar?

Bill Evans gave me such solace when I was an awkward teenager, especially the deep sense of angst and melancholy on the early Riverside records. I love Miles Davis, the lyricism of Paul Desmond and Stan Getz. Gerry Mulligan was a superb melodic improviser. Clifford Brown and Booker Little were both beautiful horn players. I used to love to learn Jean Luc Ponty violin licks on guitar.

Can you tell us about the Maniacs, names and a little background? Jack Lipton, singer, was/is the singer in The Penetrators. They’re a very cool garage-rock band and I guested on their album Bad Woman. I knew that he was the best at that punk snarl that Van Morrison used to have in them. Our other singer is bassist Michael P. Ryan, whom I met when he sent me his first solo disc for me to evaluate from a producer’s perspective. The whole British Blues thing is completely new to him; he was basically a Southern Rock guy, so he’s coming at it from a very fresh and enthusiastic place. Terry Quill plays harmonica and second guitar, and when I called him I told him I wasn’t looking for a virtuoso harp player but was way into the type of harp that was on all of the early British stuff: The Stones, Kinks, Yardbirds, etc. There was innocence about it before it became very virtuosic that I was looking for, and Terry does that great and he’s a great guitarist. All four of us write in various combinations or alone. And the engine behind it all is our drummer, Frank DeFonda. His shuffle gives early Mick Fleetwood a run for his money, in my opinion. I’ve know Frank for years, since we toured together in Andy Pratt’s band, and Frank turned down an offer from The Cars to play with Andy.

Well the band’s sounding pretty good where do you intend to take it to / future plans, etc.

We just want to expand our performing horizons in ever-widening concentric circles until we’ve conquered the Northeast and then branch out farther. And we want to continue to champion the style of music we’re doing without getting too sophisticated about it. Keep it real with lots of improvisation night to night.

You have that Union Jack behind you on-stage – do you get any aggro in the States about that?

No, we never have, but we haven’t played the South yet, where they give you aggro for an American (Stars and Stripes) flag!

You gonna come and play in the UK? Are you gonna have that Union Jack on the stage We’re really hoping to be able to come over, and with good people like you spreading the word hopefully it will happen soon. As to the Union Jack, what would you recommend?

So, in closing are you involved in any other blues related projects at the moment?

Kim (Simmonds) and I have talked about working together again, so that may be coming up.

OK, well thanks for your time, we wish you continued success and I and We look forward to meeting up at some future time.

My pleasure, Vicky. Take care.

LIVE MUSIC

FRIDAY 26TH NOVEMBER

MARCUS MALONE (Advanced Tickets £6 : Door £8)

FRIDAY 3RD DECEMBER RIOT

(£1 b4 10pm : £2 After)

FRIDAY 28TH JANUARY 2011

ELEVEN11 LAUNCH PARTY

ft CARL PEMBERTON (JOURNEY SOUTH)

FRIDAY 25TH FEBRUARY 2011

THE HAMSTERS

FRIDAY 25TH MARCH 2011 MIKE SANCHEZ

FRIDAY 29TH APRIL 2011 SODS LAW / JOHN P TAYLOR

FRIDAY 27TH MAY 2011 HAMILTON LOOMIS

FRIDAY 24TH JUNE 2011 THE FORCE

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Interviewer: A. Parker

I have long been an admirer and fan of the USA bred Kim Lembo. She recorded 4 albums for the local NY label Blue Wave run by Greg Spencer each of which show her tremendous voice to good effect. Sadly Kim disappeared from the recording scene after her ‘Paris Live’ album and I only recently found out why having caught up with her via a conversation with Mark Doyle (who was also with Blue Wave) who had been stuck in London when the Icelandic volcano went off and grounded all flights when he was due to go home to the USA. He had our number stored on his mobile and decided to phone BM to kill some time and catch up on our review of his latest album. Through this call Mark helped me to get in touch with Kim again. This is an intimate connection between fan and artist and quite a story between conversation and interview questions!

Hello again Alan,

Well, you are catching me at a good vulnerable time. I’m home with the flu so my emotional filters are probably off :)

I got your e-mail on my phone and was laying in bed thinking about how to answer the question of “why 8 years” (since any recording). The last thing I ever want to become or be is a cliche, with a “behind the music” answer for you. But, there is some truth I’d like to share that I could not share back in the days of professional music.

In 2000, I went to Paris and played at the Chesterfield Cafe. This gig was the accumulation of several years of hard work on the part of the band, Greg and myself. Greg (Head of Blue Wave Records) tried tirelessly to get us over to Europe, and it seemed nothing short of miraculous that it finally happened.

While over there, I realized how little I had done in the world outside of music. I have been playing music out in pubs and bars since I was 16 years old. My first gig was on the now defunct Air Force base in Syracuse NY. My first song on the first night I played with the band was “Bobby McGee”. I forgot the second verse and had to turn around to the drummer for help. As he mouthed the words, the audience caught on and started singing them to me. When it came to the “na-na-na’s”, I belted them out like my life depended on it, channeling Janis from my depths and the audience went crazy. It was my first “hit” of that kind of adrenaline. From then on there was no looking back. Of course, I had been singing since I could produce sound. My family bought me a little Stella guitar when I was 7 (which my parents have just recently mailed to me from Syracuse NY!). They would put me on a chair in my Aunt’s living room and I would belt it out for my whole family, strumming god knows what on that guitar….I guess you could say I was born singing.

Fast forward now to the trip to Paris. At this point (and here is where I reveal my big secret), I had been living with my female partner for about a year and a half. We were looking into buying a house in Syracuse. My two weeks in Paris made me realize I didn’t want to do that. I wanted to move to the West Coast which I had been saying since my first trip out there when I was 20. San Francisco made me feel home unlike any other place I’d been. I had been telling my management for 7 years that I wanted to move, and every time I was talked into staying in Syracuse. This time, I couldn’t be talked out of it. At this point, hiding my sexuality was becoming very burdensome to me. I have been out to my family as a lesbian since 1987. Everyone in my personal life knew. But when it came to music, which was most of my breathing, I had to keep it quiet. In addition to many other things going on in my life, my health, my heart, holding this secret was beginning to drown me. I was 34 years old. Everything about my being is geared toward being outspoken about who I am. To hold such an important piece at that time, well, I just couldn’t anymore.

So, I packed my bags and took off with very little money, a recent financial disaster, the band breaking up, the loss of my partner, my dogs, my home and headed west. Now, THAT is a blues song.

Once I got out here it was like I was coming out all over again only this time without fear or secrecy. I started catering in the Bay Area and quickly moved up to management. I started hiking, biking, yoga, meditation. I sat and watched the stars. I started going camping all the time and realized how much I love and need to be outdoors. I met crazy people from all walks of life doing all sorts of creative work in the world. I met folks in non-profit, saving the trees, the whales, the ozone, caring for children in Africa, permaculture farmers, Nurse’s Aids caring for folks living and dying from HIV/AIDS.

I felt as though I met myself for the first time and since nobody knew me, I finally had the space to explore who I was out in the world not on a stage. My spiritual life was aching for me to learn this. So, I did.

Now, I am working for AIDS/LifeCycle as the (oddly enough) Roadie/Logistics Coordinator. I am responsible for 600 roadies that do all the volunteer work on this cycling event that goes from San Francisco to Los Angeles. There are over 3000 participants and it is the largest HIV/AIDS fundraiser in the United States. Finding this work 4 years ago was so magical and fulfilling. I thought, wow, maybe I am done with music.

And then, last year……….I think the moment it really began was being stuck home one day for a medical test I had to do. I couldn’t really leave my house so I sat watching this amazing storm brew outside. I sat for 5 hours with my guitar and actually finished a song.

And, it was pretty damn good. Suddenly, it really felt as though something entered me again that day. I’ve spent this past

year with my guitar in hand as much as possible. More recently, a friend who is a violinist and I have been doing these small scale acoustic gigs with me on guitar, her on violin and guitar. It is giving me a confidence I absolutely need to continue on. Saturday was literally the first moment in all these years that I thought to myself “I can do this. Even if it means I am playing the guitar, I can play music”. And then I got Mark’s e-mail about you. The Universe is a funny little trickster as far as I can see. Now, I’ll answer your questions below and thank you for listening thus far. When you speak from your heart and say the words your soul has only dared to whisper, that’s when miracles happen.

BM: Tell us about your early inspirations Kim and how you chose to go into music…

KL: In the beginning, it was pop radio all the way. As a little kid, I had only my mom’s music to go by and that’s what inspired me. I have memories of Three Dog Night, Bread, Melissa Manchester, Barbara Streisand etc. My first cassette recorder came with “Jim Croce’s Greatest hits”. Then my aunt gave me a Bette Midler record (without my parent’s knowing) and I discovered these old vaudeville songs....right around this time the movie “The Rose” came out, and somehow my aunt was able to bring me to see it. There is a scene in the pub when she is MIA from her concert, and they beg her to get up on stage...she does “love me with a feeling” and I was completely hooked. A few years later, while I was playing on the air force base, my father warned me not to do that song. Of course, just as I began singing it one night, my parents walked into the bar. Oh well...always the rebel I was! Then it became Aretha, Ray Charles, Gladys Night, The Staple Singers, Denice Williams, anything Gospel.

Now, I’m listening to a lot of Taj Mahal, Etta Baker, John Cotraine, Ella Fitzgerald, Billie Holiday, Buddy Guy, Bob Dylan, The Staple Singers etc.

BM: How hard was the NY music scene to break into and how do you think you fared there?

The NY scene was very, very good to me. I’m not sure I was deserving of what I received back then and I realize it now. I was able to play regularly once that’s what we doing. Meaning, in the beginning the goal was never to play out much. The goal was to create a buzz and sell records. I really just wanted to play. Once we finally got into a groove, we were able to play Canada to the Keys and as far west as Indiana.

BM: You released 4 terrific albums on the respected NY label Blue Wave playing with a pretty regular group of musicians, who obviously inspired you, do you miss that ‘family’ feeling?

I still stay in touch with some of them. Whenever I go home I try and connect with Mark Nanni and Steve Winston. Frank Grace and I just had an exchange and he sent a DVD of Paris. I saw Garnett Grimm recently in San Francisco playing with Kim Simmonds (yes, new Savoy Brown line-up!). That was so lovely. Pat DeSalvo was playing bass and Joe Whiting is fronting the band. They were off the hook!

BM: Do you have a favourite of those four albums and why? Hmm, that’s a hard one. Each album holds a piece of my life at that time. They’re like a picture book for music. I can’t say one more than the other. For years I couldn’t listen to them and enjoy it. I hated listening to them actually. Now, when I do there is a fondness. There are so many things I would do differently and there are so many songs in the can I wish we had released. I think my favorite song is “In the Dark”. I love the way it swings and the jazz in it. I really want to integrate Jazz into what’s next. I’ve started doing “Summertime” recently with just violin and it is bringing out sides of my voice I’ve never explored. These deep soulful chest sounds. I think years of chanting have really developed this other voice.

BM: So what made you take off to California and what have you been up to since?

See above for full story.

BM: What’s next for Miss Kim Lembo and that magnificent voice and when can we expect a new album from you?

Well, I think what’s next for me is music, music and more music. Yes, there will be an album. When, where, how? I can’t answer, yet I’m sure that I will be resuming a career in music. This time around, it won’t’ be micro miniskirts and tons of makeup though. This time around, it will be the honest truth, take me or leave me. Blues and Jazz are universal to all of us. This music is about living life and I want very much to express it musically.

Thank you so much for talking to me, we wish you the very best in all that you do.

Footnote: BLUE WAVE IS AN ARTIST ORIENTED, NON-COMMERCIAL, INDEPENDENT MUSIC LABEL WITH A COMMON THREAD OF BLUES RELATED MUSIC WHILE NOT EVERY BLUE WAVE RELEASE IS A 100 PERCENT BLUES RELEASE, WE FEEL THERE IS “THE SOUL OF THE BLUES” RUNNING THROUGH ALL THAT WE DO. The label had a number of talented acts including Backyard Jam, Ronnie D, Doyle and Whiting, and even released Kim Simmonds (yes Savoy Brown) early solo acoustic blues.

More proper Blues

Joanne Shaw Taylor

Diamonds In The Dirt - Ruf Records

Winner of the ‘Female Vocalist Of The Year’ and ‘Best New Artist Debut’ at the 2010 Blues Music Awards.

Diamonds In The Dirt is the exciting new album by British artist Joanne Shaw Taylor and reunites her with the same team that made White Sugar such an infectious pleasure.

BB & The Blues Shacks

London Town - Crosscut Records

These new songs, all but one written collectively by the Arlt brothers, combine their powerful blues foundation with elegant soul harmonies. Also available on vinyl.

JW-Jones

Midnight Memphis Sun - Crosscut Records

On his 6th release for the CrossCut Records label, Jones teams up with two legendary bluesmen, Hubert Sumlin and Charlie Musselwhite for 8 originals and 4 covers.

BEST OF proper BlueS 2010

Eric Bibb

Bookers Guitar - Telarc Jazz & Blues

“A very special album, a classic in concept and execution … takes us right back to the roots of the Blues” - Blues Matters

Otis Taylor

Clovis People Vol 3 - Telarc Jazz & Blues

“The stark blues truth, deftly and simply delivered … a return to basics with the emphasis on hypnotic rhythms and textures”

★★★★★ Mojo Instant Classic

Dr John and the Lower 911

Tribal - Proper Records

Follow-up to the 2008 Grammy-Winner The City That Care Forgot. Includes contributions from Derek Trucks, Allen Toussaint and the late Bobby Charles.

Little Axe

Bought For A Dollar Sold For A Dime

Real World Records

Blues, soulful vocals, dub, reggae, gospel –in a space where the dirt roads of the Deep South meet the shiny lanes of the Information Superhighway.

For more information, news, competitions and much more visit www.propergandaonline.co.uk

Ian’s secret future!

Interviewed by Carol Borrington

What do you say about Ian Siegal, that hasn’t been said or written before? You could start with he’s a charismatic character. Move on to discuss what a talented singer, songwriter and guitarist he is. Let’s face it, he’s one the few modern day Blues musicians to crack both Blues and general music magazines in the popularity sakes. This is especially so with his last three CDs. Both “Swagger” and his solo CD, “The Dust” earned him No.2 in the Mojo Annual Blues Charts but Ian’s personal mindset and talent has never seen him look like a second place runner in life! In 2009, he finally claimed his place at the top with a No.1 spot in the Mojo Blues Charts. His rugged devotion to the Blues has often made him a controversial figure, ready to speak his mind and more ready than most to stand as an example, helping to keep the genre alive. Don’t though ask about what’s in the future because the answer you get, might just alarm you or more likely make you smile and just say, “That’s our Ian!”

BM: Your 2009 release “Broadside” is Blues rooted but has a more eclectic dimension, mixing & matching genres. How important is improvisation to you?

Ian: Vital. I like to work quickly and instinctively. It’s simply what brings out my best though everyone is different. I didn’t plan to be more or less eclectic; it just is what it is.

Give us a brief insight into the process that went into the production of “Broadside”. Truth is there was not a great deal of pre-planning. Some of the songs we had a rough idea of, some I was writing lyrics en route to or even ‘In’ the studio, occasionally coming up with a groove or riff to something and then calling everyone in and laying it down on the spot. The only thing Matt (producer Matt Schofield) and I really planned was to say, ok-we’re not trying to capture the band’s live sound here, let’s make a “studio” album-use the facilities we have. A great deal of it was recorded live, but we were never attempting to capture a truly live vibe. That said the song “Big Foot Chester”, is the three of us sitting round one microphone in one take!

Do you have plans in the future to expand your Blues further in the direction of the music contained on”Broadside”?

Frankly, I don’t think it’s any more mixed than my previous albums and I also don’t see a specific direction in Broadside. I tend to treat each song as an individual entity, rather than an album as a whole. I don’t have any specific plans!

Like many Blues musicians you cut your musical teeth out on the UK pub circuit. With the current rapid demise of the UK pub, where do the future Blues musicians come from?

Good question. The scene is much healthier in Europe and in pockets of the U.S. than it is here, so there are places that will keep the genre alive. However, there is a valid contribution to be made from Britain so all we can do is hope that it turns around. I think there is a healthier UK Blues scene now than there has been in the last ten years. Ultimately the music is far bigger than shifts in drinking culture.

Do you feel we are doing enough in the UK to nourish the next generation of Blues musicians?

Absolutely not! Although it’s not thriving all over the States, where it’s always been big it still is. Having just returned from Memphis I’ve seen first hand the operation over there and it’s taken very seriously. You’ll see publicists, promoters, managers, venue owners, musicians, instrument companies etc. all collaborating, helping each other, keeping the scene going. It’s a serious business, although still fun! Here it’s become almost like a hobby for a handful of enthusiasts (and thank God for them!)- There just isn’t then network of support that exists over there it seems. That doesn’t mean there couldn’t be.

With the previous question in mind, do you as a leading UK Blues musician see a role for yourself in mentoring the next generation?

I don’t really see myself as part of the Blues scene and rarely get to see other Blues acts. However, for what it’s worth, I’m always happy to pass on advice or encouragement where appropriate. I’m not sure I’m a good example though!

You play gigs with both your band and solo. Which do you prefer and why?

Gotta sit on the fence there-I like both equally and for different reasons. The solo stuff allows me to indulge my Country/ Gospel side a little more, although the band dips into that sometimes too. Obviously the band is a noisier, more Rock’n’Roll animal which is always cool-but sometimes a guy alone with an acoustic guitar can be equally powerful. I love it all.

You have played many festivals worldwide in your time, which one gave you the most pleasure and why?

Wow, tough one! I have done a lot of very enjoyable festivals in Europe. Peer Festival in Belgium springs to mind

Photo by Christine Moore

immediately. The feeling and emotion there from the crowd is very strong, plus it’s incredibly well organised which really helps us to perform at our best. I’d say the last Maryport festival we did (I think two years back) was similar. Blues on the Farm in Chichester is cool too, as is Carlisle. Unfortunately the same cannot be said for many other UK festivals-I and many others have been treated pretty poorly on occasion-extremely poorly in fact. That obviously gets reflected on the performance so then the audience and, ultimately, the reputation of the festival suffer too, so nobody wins! We’re all in this together folks-let’s make it great for everybody...

How do you feel about the new age of internet music, promotion and download?

If I thought about it at length I’d maybe have some issues. However, in my game there isn’t a HUGE deal to be made/lost from record sales. If you’re talking about illegal downloads, it’s just that – illegal; but I remember taping everything onto cassette from the Top 40-or even buying CDs, recording them and returning them to the shop! It doesn’t cause me to lose sleep-as long as people are still listening to/talking about the music I think it’s healthy. The internet has no doubt helped me reach people I otherwise would’ve got nowhere near, so it’s give and take.

Since we last spoke in interview two years ago, do you feel that the overall Blues scene has improved or is it still in a slow decline?

I think there is a slow improvement actually-certainly in London there seems to be a little more of a buzz on the scene. Plenty of young guys (and girls) getting attention too. What there needs to be is a rising in standards. Maybe my tastes conflict with the majority of Blues fans but I often feel a little let down. As we speak I’m listening to a well known European female singer/guitarist doing a live session on Radio 2 and it’s truly dreadful-can’t sing a damn note! There’s a very well known festival who have decided to put on their first Blues stage this year. Unfortunately they don’t want to PAY for the artists! Myself and several other more notable “names” pulled out. The result, what you’ll end up with is a third-rate line-up. My worry is that, particularly the younger crowd will maybe take a look at the Blues tent, hear a load of, at best, average Blues and go away with a bad impression. What a shame-a crime in fact.

You record with the independent label Nugene. What are the advantages of working in this set-up?

Someone like me would be mostly ignored by a major. Being on a small independent like Nugene means I get plenty of attention and promotion. And who else had THREE artists in Mojo magazine’s top ten Blues albums of 2009?! The relationship with Nugene goes way beyond just a label. It’s a management package as well.

If the right offer came along, would you ever consider moving to a major label?

If the right offer included a time machine to take me back to when big labels meant artist development, multi-album deals and big advances then maybe. Otherwise-nope.

Photo by Christine Moore

Who do you consider are the Blues musicians to watch on the current scene, the ones moving it forward and keeping it alive for the future?

I’ll probably forget some people so apologies in advance. There are a bunch in Holland-Dusty Ciggaar and his band The Rhythm Chiefs, T-99 and M.O.C.T. (fronted by my friend Big Pete) are all amazing-if only the UK was producing ROOTSY music of that quality.

Matt Schofield is of course head and shoulders above any guitarist over here and one of the few who would be able to hold his own in the States. A lot of the so-called guitar heroes we have would be eaten alive over there. Your average local jam band in most towns will have a guitarist who could smoke most of the Brits. There’s a whole slew of Burnsides-sons and grandsons of R.L. who are off the scale talent-wise. I hope the Hoax continue to play-they’re one of the few who can be populist yet still retain integrity and cool-great original songs too. The American Nick Curran deserves a mention for totally nailing the retro sound-absolute astounding and only 32! On that score we of course have the likes of Big Joe Louis, Little George Sueref, James Hunter and Mike Sanchez-all of who are keeping that flame burning and we’re lucky to have them.

I just saw Jason Ricci and New Blood in Memphis and in Holland-truly progressive and different yet dirty and funky as hell. I’d like to credit Joanne Shaw Taylor for being one of the few UK artists to be making waves in the US-she’s worked damned hard for it and deserves to do well. There’s a young guy playing keyboards over here that rarely gets mentioned, Henri Herbert. When it comes to pure Blues he’s way ahead of the rest. I’m a big fan of Tab Benoit-what an amazing entertainer-shame we don’t see him over here-another indictment of the UK scene. Also, we have one of the best guitar players in Andy Fairweather-Low who rarely gets a mention-not often enough anyway. Derek Trucks of course-and watch out for a new young band from Canada called Monkey Junk-sorry to run the UK down again but we’re simply not producing YOUNG bands at that level.

What are your plans for the future?

If I told you I’d have to kill you. To quote Jay-Z “On to the next one...”

The Call Of The Wolf!

Each human being is the sum of all that has come before but their individuality is formed by those who had the most impact on them in various aspects of their lives. With Ian Siegal, although there are many musical influences that help to shape his individual one or two are immediately recognisable above the others. Muddy Waters and Howlin Wolf have impacted deeply into Siegal’s psyche and help to direct his musical path. It was no surprise then on the anniversary of Howlin’ Wolf’s hundredth birthday to turn on BBC Radio 4 and find the voice of Ian Siegal echoing across the airwaves, giving his tribute to the great man. There are few who deny Howlin Wolf’s influence on the development of the Blues from it formative days A six foot, three hundred pound giant of a man no one could have missed the presence of Wolf as he stepped on the stage. Like Ian Siegal, Howlin Wolf was an individualist in his personality and a musical force to be reckoned with! It is said of Wolf in his heyday that when he entered the stage, he had the power to scare an audience to death and rock a building to its foundation with his vocal and unforgettable howl! Even as a child Wolf, whose real name was Chester Burnett, did nicknamed, “Big Chest and Bull Cow” owing to his size. Wolf took his name it is claimed from the stories his grandfather would relate to him. Stories tinted with a moral lesson that if the young wolf did behave, the wolves would not come for him. Wolf’s childhood was not a happy one and he was the product of broken home. Wolf found his own passion for the Blues after listening to Charley Patton play and was fortunate enough to acquire Patton as a mentor who taught him guitar but also the skill of stage craft. Like all budding young musicians he also developed his musical skills by take inspiration from others around him. He got the famous; ‘Howl’ it is said from trying to imitate Jimmie Rodgers’, “Blue Yodel”. A sound Wolf luckily enough couldn’t master and it came out like a growl or howl, but was to cement his name in history as his trademark. He was taught guitar by one Sonny Boy Williams. Wolf was an idealistic and wild character so much so even the army discharged him because they couldn’t get his spirit to conform to the military life-style. Howlin’ Wolf may have been non-conformist but he certainly set an example in his music that has come down the passage of time to help create modern day musicians like Ian Siegal!

Carol Borrington

Siegal with Eric Gales and Hubert Sumlin at the St.Blues Guitar shop in Memphis. The three jammed for a documentary about the blues

Photo by Brian Halley

Barry Goldberg looks back with Vicky Martin to Chicago in the 60s Pt.1

Barry Goldberg has played keyboards with Bob Dylan, Muddy Waters, Jimi Hendrix and many other top musicians. His productions include the W.C. Handy Award winning Percy Sledge album ‘Blue Night’ and he’s presently completing production of the feature film ‘White, Black and Blues’. Our amazing evening together included a rocking two hour jam session with Elephant Shelf, a great curry then some fascinating anecdotes.

We’ve viewed the trailer for ‘White Black and Blues’; tell us more about that…

Well the film is a definitive and unique documentary on Chicago Blues and the blues/ rock explosion, directed by John Anderson who got a Grammy and an Emmy for the film ‘Smile’ about Brian Wilson. It’s got some amazing footage including some never seen before of Bob Dylan talking about Michael Bloomfield. There’s a galaxy of amazing archive footage and the guest appearances include Buddy Guy, Bob Dylan, B. B. King, Marshall Chess, Steve Miller, Charlie Musselwhite, Sam Lay, Dave Mason, Jack White, The White Stripes and Muddy Waters, Howling Wolf, Mike Bloomfield, Paul Butterfield.

Well, from the trailer this is going to be real cracker –it’s got great music and great footage. When you were all young kids in Chicago you really kick started this whole scene, I guess?

Sure! In the late 1950’s and early 60’s there was a huge Blues movement in Chicago, the sort of thing that’ll probably never happen again; it was a magical time.

We were young teenagers living in different homes in the area lucky enough to be from Chicago. As 13 and 14 year olds we’d be listening to rock and roll radio stations but two or three of us ventured further on the dial and discovered a whole other kind of music that was mystical and magical – which was ‘The Blues’.

On WCS there was a DJ Sam Evans with a show called ‘Jam with Sam’. We’d wait up till like midnight to listen … our parents would eventually hear the music coming out of our rooms. They were concerned at the beginning when they heard Little Richard and Chuck Berry and Jerry Lee, not music they were used to, but now they were hearing Howling Wolf - they thought it was really weird!

We wanted to learn exactly where this music was coming from, just a few miles from where we lived. At high school gigs we’d meet and say: ‘Man, wouldn’t it be great to go and learn it first hand from the masters?’ - it was in our own backyard.

My friend Michael Bloomfield had a rival band so he’d borrow his mother ’s car and we’d go down to the West and South sides of Chicago and we soon got to know people like Muddy Waters. At first we’d do anything we could to have them teach us a little of the culture, not just the music, but what was behind it, where they came from. The roots traced back to Robert Johnson and the Delta…it was amazing, they became our folk heroes and eventually they were kind enough, because of our reverence and passion for the music – because it was real and we really wanted to learn – they invited us to sit in with them. They were happy we wanted to know and love their music – it never happened to them before! Eventually it all came together. We invited them to the North side and later, when we left for places like Frisco and New York, there was a venue The Fillmore in Frisco run by Bill Graham and we got Bill to book all those people on the West Coast which opened up their world financially and sort of re-paid the favour. But we never could repay what they taught us, we carry it with us to this day.

What did you all think when white boys came over from England playing the blues?

To me it was really funky and soulful, Mick Jagger with ‘Little Red Rooster’ – their image as well, they were all really cool, good looking guys.

What was really bad was they stole our girls from us (laughter) we didn’t really get that kind of recognition because we weren’t ‘packaged’ like the Stones were, or any of the other great English bands – it was like something very special was happening –every time another British invasion started we thought ‘There goes another girl!’ Y’know – that’s basically how I felt.

Tell us about Mike Bloomfield, he’s quite a hero and a legend to us, not least because he died fairly young Yeah, that was very unfortunate. Mike was very, very intense, had very intense style of playing; burning and on fire. The problem was he couldn’t shut it off when wanted, he had insomnia and be up sometimes for a week or two: fantasy and reality sort of blended together.

Towards the end he was very troubled and couldn’t distinguish whether he was sleeping or awake, he’d come to gig in his bathrobe and slippers!

That was the end- but at the beginning he was my soul brother – he introduced me to my wife and to Bob Dylan. If it wasn’t for Michael I wouldn’t have had that experience with Dylan; playing with him at Newport. We had a band together; The Electric Flag that was very innovative with a great horn section.

I had that album, the one with Killing Floor on it ‘Long Time Comin’, yes, and Michael was responsible for some of my greatest moments onstage as well as off- just listening to him and playing with him sort of spoiled me, having the honour of playing with Michael and other great guitar players. – It’s hard when I’m looking for someone new to come along- you know I played with Jimi Hendrix?

IT WAS IN OUR OWN BACKYARD!

Before he became Jimi Hendrix?

Yes when he was Jimmy James

Did you think he had real star quality when you first played with him?

Yeah, immediately, I was playing in the Village with John Hammond Junior, our gig was at the Café Au Go Go.

Jimi was at the Café Wah as Jimmy James & the Blue Flames. The very first note that he played, the way he held his guitar, the way he sounded. When he played ‘Hey Joe’ it was like ‘Oh boy! This is something really special’, you only hear that a few times in your life.

Having been lucky enough to see him and he made more impact than anyone I’ve seen, there was a real sense of danger

Oh yeah man, absolutely, it was like his whole presence, his whole being – he was a superstar, but also he burned, man. I know people who were at Monterey and watched him and during one of his soloswell, like they never came back from that experience!

Hendrix and Mike Bloomfield, in contrast to what we see today, were very economical in their solos, both could say it all in one chorus of twelve bars. It’s like the original recording of Red House – the solo is one chorus and said it all.

The great players just know it doesn’t have to be a thousand notes; like Albert King you could do it with just four notes but it’s the way you play those notes

Miles Davis or Jimmy Smith – they’d just stretch one note over a few bars Jimmy Smith was really simple in his playing, just the right notes – they were just super tasty and it was a natural thing –they didn’t think, it just came out.

You don’t have to play a long barrage of notes to get people where you want them to be.

You’ve talked about playing with Muddy & Wolf, but of all those black guys, for you, who was the greatest?

Well it was a great thrill obviously playing with Muddy, and listening to Otis Spann -when I wasn’t playing with Muddy Otis was my mentor; but the guy who really turned me on was Otis Rush, it’s hard to explain but his singing and the way he shook the string; that really drove me crazy

Yes on Cobra, ‘All Your Love’, the original version of that, and the one Led Zeppelin covered ‘I Can’t Quit You Baby’, they were all magical tunes…

Magical man, I loved that, and Otis was a great guy too, a wonderful man

Did he finish up a bit disillusioned because he didn’t make it as big as some of the others?

I imagine he did but how could he not, being that great and not getting the recognition? A lot of the great masters don’t get the recognition.

But I think he broke through in the end and did quite well?

Exactly, when you’re on that level of greatness, then sometimes you just don’t get the recognition in your own time, you just have to enjoy what you do – it’s hard and frustrating, like Van Gogh

You played at Newport with Dylan, when he was booed…and you were at Monterey? What stood out for you about the event?

Yes, the Monterey Pop Festival. It was the great artists that appeared there, and all the people who came – but the most exciting moment, for me, was Otis Redding’s performance and ‘Try a Little Tenderness’. Just before we were backstage talking to Steve Cropper and Booker T and they were really nervous because they’d never played for a crowd like that – there were a bunch of hippies out there, you know; love children! It was: ‘Hey, we’re from Memphis, they’re not going to ‘get’ us, man…Otis Redding? C’mon man, how they gonna get this?”

They didn’t know how they were gonna go over, but my God, the magic of Otis Redding; the crowd was transfixed… mesmerized by his performance!

That is the Blues, that’s as Blues as anything you’re ever gonna get

So who would you say turns you on now?

When he got to ‘Try a Little Tenderness’ and he went “Got ta, got ta, got ta!”…everybody rose to their feet and it was a chilling moment and a thrilling moment for me

That’s right, it’s all there. It pretty much came together for me, it was an integrated band and it was a beautiful thing to experience, being out there and watching all of these kids - who really did get soul music.

It’s polarized now, it used to be more dimensional…and the feeling, there used to be more feeling…more individual virtuosos, soloists, you’d listen and say like ‘hey, he’s a great singer’. Now it’s kinda hard to distinguish that in all the music…but there is some really good rock and roll that is still happening, that occasionally turns me on…

What strikes me, when we talk about all the great players of that time is they are all very individual; that individuality seems to have gone – out of popular music, everything at the moment…it’s like everything seems homogenised…

Well, I’m still part of the underground movement in Los Angeles, the younger musicians who really respect the old music and revere the history.

That’s sad, I recall the first time I went to the States and I loved looking round the record stores…the first discs I bought were Albert Collins: The Complete Speciality Tracks and Etta James Rocks the House. That was a great record man, Rough sound, wouldn’t get on FM now would it?

I’ve done a lot of jam sessions in LA with these young musicians and they all have great vinyl collections and they can talk about music to you. They really know their stuff –– unfortunately the radio stations are all geared to play FM friendly stuff…and most kids are all programmed to that if only they had a chance to listen to some of the underground music… Unfortunately radio play lists are getting shorter and shorter and record stores are closing, there’s only one great record store left in LA! –it’s really hard to have any concept now of what’s good and what’s bad…

No, but that was a great record that was what was so unique; you could go into a record store and get lost, get some great vinyl, it’s all gone now.

Some of the maNY CD’s of Barry Goldberg

Let’s return to when you played with Bob Dylan at Newport, the one where he got booed off… Actually, I wasn’t supposed to play with Bob that night, I’d come to play with the Paul Butterfield Band. When we arrived at Newport from Chicago Paul’s producer whose name was Paul Rothschild said ‘Well I don’t want a keyboard player with the band, I don’t hear a keyboard’, so I was very down, I’d come all that way and had no one to play with. Then Dylan shows up one night at this house with Michael and people; and he said “Man, I wish I had a couple of keyboard players with me!” Michael said “Well here’s my friend Barry, man, he’d love to play with you. Al Koopers’ coming as well; you can have two keyboards”

Bob said “Great”, and he asked me “Would you like to play?”, so I said “Man, are you kidding? That’d be wonderful!” This is another interesting story: we all lived in these big mansions at Newport and they set up cots for us to sleep in. The person who was sleeping next to me was this older black guy – and he never left his cot, like he had everything he needed, he had his cigarettes, radio, pocket knife, all his belongings right next to him.

We said: ‘Man, why don’t you go out? This is like Newport, Rhode Island, hanging out with the young chicks and groovin’… and he just said ‘No need to, no need’ He just wanted to stay where he was safe! I later found out his name was Son House.

(That anecdote took us to the very heart of where the music came from. In the second part of the interview Barry talks more about Dylan, also some of the great players in his own band: Chicago Blues Reunion – Charlie Musselwhite, Harvey Mandel and more…plus Barry Goldberg’s long lost album produced by Bob Dylan)

Keith Richards

BOOK REVIEWS

Published by Weidenfield & Nicholson 2010 564pp

BLUES READING MATTERS!

Long awaited and well worth the wait – the memoirs of the quintessential rock & roll man ‘Keef’. Until this came along Bob Dylan’s ‘Chronicles Part 1’ was probably the best musician’s autobiography. This book is certainly the equal and may even surpass that. Comparing the two, Dylan’s talent as a story teller is obvious; witness his enormous contribution to the ballad tradition he gave free reign to his imagination and inner thoughts-imparting an almost dreamlike quality. Keith’s story is much more of the roguish raconteur. He comes vividly to life on the pages of this book, he could be right there with you. It’s obvious that James Fox who assisted with the book has pulled together everything into a very readable narrative. There are numerous stand-out moments, and the humour is wickedly funny ‘London’ – for instance Keith speaks of his time in the boy-scouts – got loads of badges, decorations, chains, etc… “Looked like I was into bondage” he says. His descriptions of Brian Jones are perceptive of someone who gradually put himself beyond the pale, and also contain a couple of hilarious put-downs. Keith has immense descriptive powers, his descriptions of Robert Fraser and the ‘avantgarde’ artistic circle in the 60’s, his tales of characters and events in Morocco, are really quite superb word paintings. But there are two aspects of the book that really stand out from the rest. Firstly his telling about life in Dartford and South London in the post-war period, the pre-fabs, the shops, the streets with few cars, the liberation that music gradually brought with it are truly evocative.

It brought that period back to life for me and reminded me of so much that I’d forgotten. The second thing is the accumulated wisdom, running throughout, of what it takes to really be a ‘band’. That doesn’t mean what we have today; an overabundance of ‘a flash guitarist with three or four other blokes backing’, but a band – four or five guys/gals working as an ensemble, as an organic whole.

This tells you all you’ll need to know and I’d recommend it to musicians in general, but especially to some in the business who seem to think that ‘serious’ guitarists are where its at. It’s not; bands and songs are where it’s at, or should be at – we probably need a mini-revolution like the Stones brought, to change things. The other thread running through the whole book is Richards’s relationship with Mick Jagger. Personally I’m not totally convinced by some of the put downs, I think he might be winding Mick (and us) up a little. It leaves several questions to be asked – but that’s why it’s a fascinating life and a great read. So thanks Keith for sharing it with us. Now please get those other four guys back on stage with you and give us the magic again.

Vicky Martin

Interviewed by Nick Dent-Robinson - June 2010

Lightnin’ Willie and the Poorboys are one of the most authentic yet accessible blues-influenced bands to regularly tour the UK. Originally from Texas but now living in Southern California, Willie is a highly accomplished, versatile guitarist, vocalist and songwriter. He’s appeared with some of the legends of American music – like Willie Nelson and Bob Dylan - and has encountered many more musicians along the way - from Muddy Waters to Jimi Hendrix to B B King as well as the UK’s Eric Burdon, Robert Plant, Mick Taylor and Keith Richards. Plus Willie has written music for major Hollywood movies and TV. They’ve released six albums and tour the States almost non-stop for most of the year, playing mainly original material to full houses.

During a rare afternoon of relaxation in the Chiltern Hills, Lightnin’ Willie talks to Nick Dent-Robinson about his passion for blues music, his decades on the road and some of the things he’s learned along the way.

Willie and I meet amidst the lush green tranquillity of the Oxfordshire countryside. It is such an English scene that it seems incongruous to meet an archetypal American blues man here. Yet Willie is clearly very much at home, even if he is wearing his trademark black Texan cowboy hat. “I know it is a very American thing to say, but I do love England,” Willie assures me with a broad grin. “You see, my Step-Dad worked with the US forces and a lot of my young days were spent travelling overseas with my Mom and him. I’ve been visiting England since the 1970s. It’s like a second home to me.”

Did those early years of living in foreign countries, experiencing different cultures, make an impression on Willie? Did this influence his taste in music?

“It sure did. But my love of the guitar began way before that. I was born in Dallas and initially raised in Texas in a small town called Arlington. There was a lot of Mexican influence there and Mexican music. After my Dad had left us when I was still very young, my mom and I used to visit Mexico where she would teach farmers English whilst improving her Spanish. And in one of the little Mexican towns we’d stay, there was a plaza where a lot of little old men would just sit in the shade, drinking tequila and playing guitar. They’d have no teeth, wizened faces and cheap old guitars but they played so beautifully. I found it mesmerizing. It inspired me.

“Then my Mom and I moved to California, then back to Texas and on to Florida. All the time I am learning guitar. After my mom remarried, we went with my stepdad’s job to live in Ankara, Turkey and then to Berlin in Germany. By the time we’d reached Ankara I was playing electric. A Sears Roebuck ‘Silver Tone’ with the amplifier in the guitar case. I still have it. In Ankara there wasn’t much Western music back then. But the very different sounds of Turkish music were fascinating to me. I put together a little band at the base, my first ever band, just to keep some of us kids amused.

There would be more western music in Berlin?

“Berlin was much better. A lot of big music names would visit and we’d get to see them just for a few dollars. I saw more people there than I ever could have back in the USA. I remember the Beach Boys, Manfred Mann, Spencer Davis, Ray Charles, the Kinks and the Small Faces with Steve Marriott. But one of my best moments there, was on May 27th 1967 at the Neue Welt club when I met Jimi Hendrix. I still have a photo I took of Jimi performing that day; we were just a yard or so away, right in front of the stage and he was amazing. He was putting on a show for us kids at the front, I think. You know, doing things to shock us, skidding across the floor on his knees and so on. After the show we met two of his band and they took us to see him. He was good with us, a nice man. And that performance, that night, it made me determined to delve in deeper to music. To learn to play guitar as cool and confident as Jimi did.”

Was Blues music Willie’s biggest influence?

“It sure was. I’d already been exposed to Blues. My Mom introduced me to all kinds of music including many blues players. And my stepdad worked with the US forces and he and my Mom were friends with an African American army sergeant who’d given me reel-to-reel tapes of people like Muddy Waters, Chuck Berry, Howlin’ Wolf, which I thought was so cool. Still do. Then one day I met Muddy Waters. A man called Zaven Zambazian (known as ‘Big John’) who was a great harmonica player took me to meet a host of blues greats – including Muddy. I remember Muddy was very gracious to me. Over the years I met him many times and got to hang out with him a little. The guys in his band - like his great guitarist, ‘Pee Wee’ Madison - taught me a lot of things.

“Once in L A when Muddy was playing the Ashgrove, a famous little blues club, I saw Eric Burdon of The Animals in the audience there. I asked Eric if he’d like to meet Muddy but he said, ‘I can’t get in there’. So I said, ‘Follow me’ and I led Eric straight upstairs holding my guitar up high because back then carrying a guitar was like a free pass to any gig. We met Muddy and Robin Ford the guitar player who was actually playing saxophone that night. Then Eric came down and joined our table. It was an amazing night.

“Another time I met Eric at the Whisky a Go Go club in Hollywood. Johnny Weider and Ron Chapwood were there with this other guy I didn’t recognise. I asked Johnny if I could play his guitar and he said, ‘Sure’. Suddenly the other guy I don’t recognise starts singing as I play and Eric Burdon and people are all clapping and cheering. Then, as I leave to go home, the girl I’m with is going crazy....’Wow, you just played with Robert Plant.’ I knew Led Zeppelin but, being more into Blues

Photo by Alan White

Who were the other musicians who Willie most admired?

“There are many. From those Mexicans in my childhood to now, I’ve learned from others along the way. But my music is rooted in blues. So it is people like Muddy Waters, Robert Johnson, Chuck Berry, Howlin’ Wolf who were big early influences. I met BB King and he showed me a lot, too. But I also loved the Beatles and George Harrison was a great guitarist. And I was always a big fan of the Stones, especially Keith Richards’ playing. Over time I’ve met Keith and Mick Taylor and Ronnie Wood. I really appreciate their early work; that stuff was really jamming. I loved Bill Wyman’s cool approach, sitting there casually playing with a quiet smile on his face amid all that pandemonium. But I have learned so much from so many people; I am still learning. My foundation is Blues so it is blues people who have been my biggest influence.”

Where did the name, “Lightnin’ Willie and the Poor Boys” come from? “Howard Stern, the original American radio “shock jock” was responsible for that. He’s in New York City now but at that time he was with a station in L A. There was the Creedence Clearwater Revival album, Willie and The Poor Boys. A song on the album, Down on the Corner, is about a fictional band busking on a corner for nickels. Back then my band and I used sometimes to busk in the street in Old Town Pasadena. Howard would see us there and talk on air about us....telling people to go down town to see us.....’They’re down there, Willie and the Poor Boys,’ he’d say. And people came. They believed we were the band in the CCR song. And our harmonica player always used to call me Lightnin’ Willie because I could play some of my guitar licks real fast. So we put those things together and became Lightnin’ Willie and the Poor Boys.”

Are there differences playing in the UK and Europe from touring in the USA? “Not many. And I play the same here as there. The musicians in the UK are really good. For my present tour - I call it the No Black No White Just Blues tour - I am supported by Giles King on harmonica, Paul Birch, known as ‘Nobby’, on drums and Aaron McRobbie on fender bass. They are excellent players and we work well together...it’s almost an instinctive thing. It is important to me to put on a great show – with style. I insist on having good lighting and looking smart. I am not a yeehaw but I wear my big Texan hat, I press my pants and polish my shoes. The amplifiers, my guitar, everything, has to be immaculate. The way I look at it is, people are paying their money and taking time out of their lives to see me so it’s only right for me to go to the trouble of looking and sounding good. Presentation, dynamics, courtesy is important. And be nice to everybody. This way people are glad to see you return; they remember you.”

Photo by Alan White

What other advice does Willie have for younger musicians?

Looking back, who do you owe the most to?

The ability to write and arrange must have helped when Willie was writing music for movies and TV?

“To just know that drugs or too much drink can badly affect your music. Like many of my generation I was involved in all that. But then, over 20 years ago, I straightened myself out. If you are a good musician, the only drug you ever need is the music...playing live and making people happy. There’s no better high than that. “I’d also say, learn how to read and write music. I started playing by ear, learning chords, learning by listening to records. But in my twenties I went off to Music College and everything got better then. I learned to write and arrange for a piano, for brass or strings. In the studio when we are recording one of my compositions I can say to the sax player or the pianist....’This is your part...’ and show them the score of what I want them to do. It’s a really useful thing. So that would be a big recommendation....make the effort, take the time and study music properly.”

“It always helps. My music and songs have been used in quite a few TV shows. And I’ve had music in a Lou Diamond Phillips movie and in The Final Cut, a 2004 movie with Robin Williams and Mira Sorvino, and in others too. I took my Mom to see one of the movies my music was in and then at the end, there’s the music credits......’such and such by Johann Sebastian Bach, such and such by Wolfgang Amadeus Mozart and then whatever it was by William Kenneth Hermes’. My Mom turned to me, tears in her eyes and just said, ‘Kid, the billing doesn’t come much better than that.’ I got such a kick out of that.”

“No question, my mother and my wife Jeannie. My Mom always wanted me to do what made me happiest. She always believed in me and backed all my choices and decisions. And my wife Jeannie has been the greatest support. Incredible, really, she’s a school teacher and is always there for me, showing tolerance and understanding and paying the bills if we hit difficult times. I couldn’t ask for more.

“I also owe a lot to the musicians who I’ve learned from over the years and those who’ve supported me. Including some I’ve had to part company with as I’ve progressed....the ones I’ve had to leave behind along the way plus the people who encourage me. Recently I’ve been working with Pete Anderson – the multi-platinum, Grammy Award-winning producer, writer, band leader and great guitarist. He’s worked with Roy Orbison, Lucinda Williams, Dwight Yoakam, so many people. “And I owe a debt to the audiences who have supported me and enjoyed my music over the years. When people applaud and cheer and stand for you....wow that means a lot. One day on last year’s UK tour, at the end of the show, a woman passed me the eulogy from her husband’s funeral that she’d written. She’d used words from one of my songs. That meant so much. You know, I went straight out there on my own without the band and just sang her that song with my guitar. I had tears in my eyes. It’s a potent feeling when you know you’ve touched someone so much with your writing. There are not many jobs in the world that can give that kind of satisfaction. But music can do it. Moments like that matter to me far more than fame or fortune.”

Shares his life in music with - Linda Fisher

Rick Payne is perhaps as widely known as a guitar tutor as he is as a performer. He has spent the past decade teaching all guitar styles, at all levels, to school students. In addition he leads workshops and master classes in conjunction with his live performances. Rick has used this wealth of practical experience to produce a number of very comprehensive and interactive, Blues fingerstyle and slide, tuition CDs as well as a series that covers folk, rock and Django jazz.

BM: So, how did it all start Rick?

Rick: I’ve been playing guitar since I was nine years old. Before that, I used to dance around with a tennis racket and pretend to be one of The Beatles - we all did! My brother had a guitar but never used it. It was a typical sixties guitar with a floating bridge and terrible action. I picked it up and played made up chords and stuff - it must have sounded awful. At last a friend of the family came round, tuned it up, and showed me the first three chords, G, C and D7 - and that was it! I was smitten. I taught myself everything I could hear, even the odd classical tune; I had a good ear I guess. I ended up studying for guitar exams at the Royal College of Music, London, and then later had to re-learn how to play the simple stuff like strumming. The Blues and slide came much later. I listened to Robert Johnson and was determined one day to figure out how to play, and I’m still trying! I listened to Ry Cooder a lot and he had managed to work it out, so he was a great teacher in a distant sort of way. Blues has been a great challenge since those early days.

Was the guitar your first instrument?

First guitar was an old 50s catalogue monster with nylon strings and a banana neck! I still have it in fact and it reminds me of how difficult it was to learn at the time. My first instrument was in fact the clarinet, then the uke and then I progressed to guitar. I’ve got about 18 guitars in my collection, but my work horse of a guitar is the 1970s Takamine, in all but name a Martin with the best pick up anyone could wish for - an early Fishman. I’m endorsed by Variax guitars and have been messing around on their Line 6 acoustic modeller.

What about your first gigs?

I remember my first little show was a two number set at the old Red Lion Pub in Sutton, near London. I went down with my mate Nick and we played a couple of folksy tunes that I’d written. I remember the guy in charge, Cliff Aungier, shouting ‘That’s enough boys’ and pulling us off - we must have been pretty sour. Cliff played some mighty fine ragtime and Blues so I must have logged that one in the musical head, but I didn’t start playing that kind of music until years later. I’ve just learned that Sutton is on the map as being part of the British R&B trail. The Red Lion was the venue for early Stones gigs. Long John Baldry and Rod Stewart played there in the early 70’s. We played there a few times after, so we must have got better. I was part of the British R & B scene without even knowing it.

…and then you added to your line-up?

Yes, Nick and I formed a band after those days called, JJ Jameson. This was the evil guy in the Spiderman comics - he was always out to nail Spiderman or Peter Parker - anyway, a crazy name, but it kind of worked at the time. We played all over the London scene; Marquee, Dingwalls, Rock Garden, loads of places. We were around just at the start of punk at the same time Dire Straits were just beginning to kick off. Charlie Gillett, at Radio London, used to plug their records and ours too. We got a chart placing at that time, tying 5th place with Blondie’s Denis - oh those heady days! We toured a lot and ended up behind the iron curtain in Poland, and basically burnt ourselves out - busted and broke!

What happened next?

After the crazy band days I went back to my acoustic roots and picked up the classical guitar again which I’d been learning whilst at school. Finger style was far cooler than just strumming a few chords. I really got stuck into it. I wrote my first ragtime ditty called ‘The Deptford Cakewalk’, which was named after the place I lived for a time. That was a crazy place in the late 70’s. We had Dire Straits, Squeeze all living on top of each other - a buzzing town indeed. Music wasn’t really paying the bills though.

How did you cope with that?

I had to get a job and ended up working for the BBC as an Orchestral Assistant. Basically, this meant being an in house roadie for the likes of The BBC Radio Orchestra and The Concert Orchestra -all based at the Maida Vale studios just off Paddington. It was an incredible job as I got to meet some of the finest session guitar players on the London scene. I remember Vic Flick coming in. He was the guy who played the guitar part for the original John Barry score for the James Bond soundtrack. I sat there with him and he showed me the famous Em/major9 chord at the end of the score - they were great days and I learned an incredible amount about reading session charts and comping chords, all really useful stuff, which came out in my teaching later.

Then there was the Scandinavian tour…

Around this time I started going out and playing an acoustic set which was a mixture of a whole load of styles. There were covers and a little Blues and ragtime. I became a bit of a troubadour, traveling around playing bars and clubs in London,

Photo by Kieron Argo

then signing up with an agency and ending up in Scandinavia. I began to pick up more finger style tunes and messed around with slide guitar. I had begun to listen to Ry Cooder and was totally blown away by his incredible bottle neck playing. By the time I reached places like Copenhagen I had become a bit of a celebrity playing this style. Danish Radio would turn up outside the gig and make a live broadcast and newspapers and magazines were always running stories about me - another crazy time, thanks to the slide guitar.

You mentioned teaching guitar - it’s a big part of your musical life… It was something I always wanted to share, especially the roots styles of Blues and ragtime. I produced a finger style book for a Danish school which became the inspiration for other courses I have written since. In fact, quite a lot has come from that course. I’ve got several video CD courses like “60 Day Fingerstyle Blues Camp” which takes you through finger picking styles and techniques and acoustic slide. You get an interactive PDF manual with loads of video and audio elements – you can see what both hands are doing at the same time - and there’s a power tab too. Another one is “Blue Notes”; that one deals with pentatonics and the diminished connection and so on. Truefire.com, based in the US, picked up on it and all my stuff is available through them now as well as from my own website and at gigs. Another thing that came out of it was Peter Finger’s Acoustic Music Records in Germany have published a book/CD called “Rick Payne’s Finger Style Blues”. More recently I’ve produced “Blues In A Day” which is my tribute to Bert Weedon, “Folk In A Day”, “Rock In A Day”, “Let’s Django” and “Broonzy Blues”, and again Truefire has taken them on. I’ve just finished “Chicken Skin Slide” it’s a slide guitar course that looks closely at the acoustic and electric styles of one of my all time heroes, Ry Cooder. It was a big job to take on because he really is a slide guitar master. In a funny kind of way I feel I learned a lot about the techniques of bottleneck by listening to his albums and am at a stage in my own playing now where I feel confident enough to pass it on to other players. Also, by listening to Ry Cooder you can hear, and therefore learn from, all the greats. It’s all there, from Robert Johnson, Muddy Waters through to Tampa Red. It’s called ‘Chicken Skin’ because the hairs on the back of your neck can stand up when you hear that slide! I think it’s a first, there don’t seem to be any other Ry Cooder style tutorials out there. I still do a lot of hands on teaching too and often do workshops in conjunction with gigs.

“Blue River Blues” is probably your most important CD so far; how did that come about?

I met some guys in Denmark, from the states, who were touring with their band, The Foothill Fliers. One of the band, Paul Emery, ran a small roots label in Grass Valley California, and invited me over to record a Blues record for them and play at the North Columbia Folk Festival. This is where “Blue River Blues” was born, recorded in the stifling heat of an Indian summer.

They were great sessions and I was especially blown away by the guy who was booked to play on a few tracks with me. This was John Girton, from one of my all time favourite bands, Dan Hicks And His Hot Licks. He’s a great player who wrote ‘Slow Dancer’, a song taken to the US number one spot by Asleep At The Wheel, and he worked his magic on one of my tracks ’Cafe Blue’. I owe him a lot, especially watching him play and learning so much. I wrote and recorded the title track after I got back to the UK and it turned out to be one of my most popular CDs. Check out those early Hicks records - he really is a cool player.

There have been a lot more recordings since then, including “The Bridge” and “Impressions”… “The Bridge” was my latest project with my band, The Blues Cowboys. I wrote those songs over several years and recorded them between 04-05. They’re an eclectic mix of folk and blues leaning heavily towards slide guitar. The title came from notes I made on scraps of paper while touring Norway. A number of guest musicians were called upon…Harmonica ace, Keith Warmington, who’s guested on numerous albums ranging from Dr. John to John Martyn…Stuart Gordon who’s worked with The Incredible String Band, he brings some haunting violin to the mix, John Cornick plays some fine trombone and The Blues Cowboys add a very special touch of class. ‘Thanks guys!’ That one got quite a lot of airplay…Paul Jones Show…Belgian and Australian radio. “Impressions” is a collection of acoustic instrumentals in the form of sketches or impressions. The first track is my tribute to Big Bill Broonzy and there are a couple of ragtime titles along with extracts from some of my film scores, eleven tracks in all including an out take from “The Bridge” – a tune called ‘Thing’ that features acoustic bass from Cliff Thorne.

Tell me about the film scores… Bristol, over the years, has become a Mecca for film post production and I’ve been lucky to be involved in many film soundtracks for the BBC. Whenever they want some slide guitar I always seem to get the call. These credits have been for a variety of projects from “Whickers World” to “The Natural World”, “Ray Mear’s Bushcraft” and “Nick’s Quest”. Making

Photo by Kieron Argo

So, what are your plans now?

Any advice for other guitarists?

music for polar bears and killer bees was great fun and doing “Holby City” a few years ago with my own band – miming to my own playing – that was a cool way to earn a living. I’ve also completed a score for an American short film called “John Doe and the Anti” once again loads of slide! It stars people like Hector Luis Bustamente, who was in”NYPD”, and even Bruce Willis, and is done in true Hollywood fashion. The music is like a road movie style aka Ry Cooder, “Paris Texas” and was premiered at the Cleremont-Ferrand Short Film Festival, it was shown at a few others too like the Phoenix Film Festival.

You’re known primarily as a Bluesman but you play a lot of folk festivals and clubs… Yes I do. The early blues songs come from the same traditions as folk music. They were field hollers, work songs and so on, so they fit in with the folk genre. I enjoy playing all kinds of music; blues, folk, jazz, classical. My CD the ‘Elizabeth Suite’ is my version of the lute styles of old England, I wrote the tunes based on the dance music of the time, the Gavotte, minuet and so on. A few years ago I got together with Gloucestershire poet Peter Wyton and we toured festivals and arts centres as Rhythm and Muse, I played loads of different styles to fit the poems, Blues and ragtime and also Spanish, mediaeval, celtic, traditional American folk. We got together again this year at the request of the Three Choirs Festival.

I’m still playing, exploring new styles, techniques, writing courses, recording, and I’m still totally blown away by the guitar. I’ve learned so much in all the years I’ve played. It’s still a long road to go and always new stuff to learn. I’ve settled near Bristol which has always been a great scene for blues and roots music and I’ve just about worked with everyone here, Keith Warmington, Andy Sheppard and Chris Jagger to name a few. It’s been a busy time for me here and because of my contacts in music I became Music Coordinator for the Bristol Old Vic Theatre, running a series of shows for them, called The Acoustic Alternative. It was a time when I could make sure all my old heroes like Bert Jansch, Martin Simpson and Eric Bibb could pass through Bristol keeping roots music alive.

Right now I’m working on a new CD called ‘Radio City’. It’s all acoustic blues and has a funny angle to it in that virtually every track has a reference to a radio in it somewhere. I heard about an organization called ‘Wireless For The Blind’ that helps provide really user friendly sets and other resources to the blind. In the past I did a show for the Bristol Eye hospital high-lighting the fact that so many early blues greats were blind. It’s a long story but I feel I’ve gained so much from this kind of music – inspiration from players like the great Blind Willie Johnson and many others - that I would like to dedicate this new CD to them and at the same time make a donation from the album to ‘Wireless For The Blind’. Time to give back…without sounding too coy I hope. Should be out later this year.

I think if there was one piece of advice I’d give to players it would be ‘Keep it simple, clear and easy, then build from there. Enjoy!’

The Blues Is LIfe!

Carol Borrington

Geoff Achison has one of the most unique guitar techniques you are likely ever to see. He is self-taught on a battered guitar that he found under the stairs of his childhood family stairs in Malmsbury South eastern Australian. He plays without any pedals or gadgets and you are some times left to wonder how he pulls those incredible sounds out of guitar without them, along with how the neck of the guitar withstands the physical strain he puts on it as he pulls every shade of sound his PRS has to offer! By his early twenty’s Geoff found himself as the lead guitarist of Melbourne’s Blues band. Yet only his own band was ever going to accommodate his own technical innovation and thirst for musical development and so he formed The Souldiggers. Geoff would the turn the world into his musical oyster, winning numerous accolades as he travelled its road, even picking up the coveted Albert King Award for his guitar skills. Nothing about Geoff though is conventional, even The Souldiggers came under his thirst for innovation and became an open door affair, changing in each country that he visited by selecting the best musicians of each nation he visits to stand at his side. With his gritty soulful voice, flair for songwriting and extraordinary skill with his axe, Geoff Achison is a musical force to be reckoned with!

BM: Can you tell us how you started playing the guitar?

Geoff: I discovered a guitar under the stairs in my mum, dad’s home started plucking away at the strings, I made a habit of sneaking under there, and sitting on top of all the junk, so I was truly a closet guitarist, I guess! One day this stream of light came in, it was my dad, he just kind of glared at me, I was afraid that I would get into trouble, there was a pregnant silence for about five seconds and he said “Do you want to play that thing” I sheepishly shook my head saying “no-o”. Obviously, I did and he met a fella down the pub who played a bit of guitar, he sent me along for a dollar a lesson. He showed me how to tune it up and form chords; I took six lessons from him and taught myself from there.

Who were your influences and how did what they do, affect your playing style?

Mostly all the old Blues guys, I discovered Blues music in my early teens and Freddie King was the first record that I had, and I just played that over and over again and learnt a bunch from that. I got into all the old guys just reading about who was who, on the back of record covers. I’m into all sorts of bags now, I listened to Blues almost exclusively for a period of several years to a point where I deliberately avoided being in an environment where I might be subjected to other forms of music, I felt I had to do that to really understand it. Dutch Tilders I played in his band, he was hugely influential on me. Also I had a mentor, Alan Watson whose an old jazz musician, he was a horn player but he had an inheritance and he filled his house with instruments, not many of which he could play but it was just in case someone turned up who could jam with him.

Your playing style is different in that you seem to be able to produce a variety of effects without a large rack of pedals. How do you achieve that?

I’ve never mastered using effects, they’re a source of enormous bewilderment to me, early on I didn’t realise the sounds I was hearing on records were sometimes made with gadgets, there must have been a few techniques I developed trying to emulate the sound of wah wah, phasers and I’d use the controls on the guitar to do that. They never sounded quite the same to me so when I discovered pedals it was like ‘Duh’. I got a handful of them but couldn’t get my head round them and I think I was enjoying the physicality of trying to wrench things out of the instrument.

You play a PRS ‘standard 22’ which is not a standard guitar for Blues players why this guitar and are there any modifications to a normal standard PRS?

It was a replacement for my old Gibson Les Paul, which I loved dearly. I’d played it for twenty years and it got a little too old, a little too fragile. It kinda broke my heart ‘cause I wanted to play that guitar till the day I died. Then a buddy of mine bought a PRS, there was a jam session and I played this thing and I was really impressed. It was well made, it sounded good and it was also that hybrid, it’s got the best of the Gibson but is kinda got Fender qualities. Every single one I played was the same and that’s what impressed me about them. So I ordered one direct from the factory, I had modified it but for the most part it’s just a well made machine.

The paintwork on the guitar is also non-standard, can you say something about it and does it represent a particular idea of the artist?

It’s kinda become my trademark now; I do like to have a guitar that stands out. When I got the PRS, it was nice, shiny and just a bit too good looking for my taste. There’s an Aboriginal mate of mine who’s a fantastic artist, he offered to do one of his paintings on the guitar and I just handed it to him. It turned the guitar into a work of art. It’s such an individual and unique looking thing and I love it ‘cause I’m not the most flamboyant dresser and I figure the guitar ’s something to look at. You originate from Oz how does the Blues scene differ there from what you have found in the UK or the USA?

The audiences we tend to play to are usually a similar demographic, you’ve got baby boomers at one end and at the other you’ve got young kids. It always thrills me that we’ve got young folk at gigs and I can talk about guitars and stuff with them. As a rule, English audiences are much more polite and quite often will sit and listen. Coming from the States, audiences there will get right into it, party, whoop, and holler and it’s like this big love in that we’re all part of. Both styles are great for different reasons.

Photo G Johannessen

The shortest definition of the Blues is that it is ‘a feeling’ but where does The Blues come from for Geoff Achison? Life!!! I just wanted to come up with a shorter one, you gave me a challenge!

You do solo acoustic and full band gigs, can you tell us how your performances differ with respect to the songs in both situations and which do you prefer, band or solo?

It’s not a matter of preference, they’re so different, I enjoy them both for different reasons, you’re in a different mood at the time. There’s such a contrast in the way I approach the instruments, they’re two different animals

Can you tell us something about ‘The Souldiggers’?

These guys that we have in England; this has been an evolving group. The line-up we have at the moment is Spy Austin on bass, he’s a very funky dude, he’s our newest member of the team. Paul Jobson, I’ve been working with Paul long enough that I can’t remember how many tours we’ve done. He’s a very talented young man, he’s playing keyboards with us, but with other bands he’s playing drums or bass, makes you sick just how talented he is. Both of these guys were recruited by my great friend Sam Kelly, who plays drums. I first met Sam in 1997, which was my first visit over here. I was living in London trying to get a foothold in the Blues scene, I met Sam at a jam session, we just kinda clicked musically, and we always kept in touch.

You have a different ‘Souldiggers’ on each continent you perform, why choose not to travel with the same band and what benefits and disadvantages are there for touring like this?

The advantages are I only need to get myself to where the tour is happening. I was getting offers from all over but the cost of bringing a band from Australia to just about anywhere else is prohibitive. I guess John Mayall and The Bluesbreakers inspired me. The Bluesbreakers is more a description of the music not the band members. That’s how I came up with the name ‘The Souldiggers’ I kinda wanted a name like that, that described what the music was about, so the idea was; we dig into the soul, man!

Is there anything else you would like to say to Blues Matters readers?

You have become a regular mentor at the Fur Peace Ranch guitar workshops in Ohio. How important do you think it is to pass on what you have learnt to other musicians, another generation?

When I first landed that gig, it was kinda bewildering at first; I wasn’t quite sure what it was about. I’ve just done my thirteenth year. It’s a gig that taught me how to teach. In that facility they’ve made a habit of hiring players other than professional teachers. I enjoy it immensely now, the more I do it the more I enjoy it. You take it for granted when you’re playing every day that you pick the guitar up and do this and that and it makes that sound. It’s enormously rewarding to sit down with somebody that’s interested in knowing how it’s done and having the opportunity to have some patience and take your time and show them how to do and then to see them master it. When something clicks and you’ve been able to pass on that little bit of knowledge, it’s the most enormous feeling of achievement for both teacher and student. That’s something I’d like to do a lot more of.

Your last album ‘One Ticket, One Ride’ was released last year can you tells us something about it, the songwriting and production you went through and where your fans can buy it? The best place to buy anything of mine is either to visit my website or come and see us on tour. We’re an independent act like most Blues and roots acts, that’s how we’ve always done it, and it’s worked out well for us. That last record was made in Atlanta, Georgia, when I was living over there. It was at the suggestion of my lovely wife, Michelle, she suggested it would be a good idea to do some recording whilst I was there, ‘cause that was the best thing I could bring home to Australia. The guys I was working with, I’d had two years to build up a rapport with them, there was a really good community feel. The music scene in that town is quite vibrant and the musicians jump from band to band and know each other. The songs, some of them were old songs that had been laying around for a while, but others were written whilst I was living there. Just got a selection of things and booked the studio for a day here and a day there, then see who was available to come in and lay some tracks down. I hope it sounds like a bunch of musicians just getting together and enjoying it.

All I can say is I’ve been touring over here for some years now as a regular visitor and we’ve done a lot of great gigs but the band is just getting better and better. It’s sounding tighter and tighter and taking more and more risks on stage, so we’re never quite sure how it’s going to sound. The more we play the more we’re able to explore what’s possible with what we do. It’s an adventure for us on stage and I just want to keep encouraging people to come along and keep seeing live music ‘cause it’s still growing and it’s still evolving.

Joe Bonamassa

Glenn Hughes

Jason Bonham

Derek Sherinian

‘ EVERY TRACK IS CLASS ‘ - BLUES MATTERS

‘ THIS IS QUALITY STUFF ‘ - THE SUN

‘ BLACK COUNTRY COMMUNION IS ONE SUPER GROUP THAT REALLY LIVES UP TO IT’S BILLING’ MOJO

‘ BONAMASSA’S FLUID VIRTUOSITY IS

“Funky Blues - At a push” - Norman Darwen

The Ari Borger Quartet’s album “Backyard Jam” is a real breath of fresh air – organ jazz and Blues from Brazil, played in the classic fashion but with a contemporary feel and a South American tinge. Norman Darwen gets some background on the man and his music:

BM: What was your first experience of music?

AB: I started piano lessons with a classical piano teacher when I was nine years old. I was influenced by my father, who used to listen a lot to classical piano concerts, and it was my own choice to start taking lessons.

How did you become interested in Blues and jazz, and who were your favourites when you were young?

I became interested when I first encountered the Blues piano players like Otis Spann, Johnnie Johnson, Pinetop Perkins and the boogie-woogie style like Pete Johnson and Albert Ammons. The feeling that the Blues can transmit shocked me, it’s a kind of language that only the Blues, and nothing but the Blues, has the power to reach people in a real particular way.

How did you come to play the organ?

The organ, I think, was a consequence of my love for the blues. That hot sound turned me on, when I had my first contact with a real B3 I felt an emotion impossible to describe, it’s an incredible instrument - so rich! And it’s a real great thing when performing live you can switch instruments, piano and organ, taking your show through a whole different level and atmosphere.

What makes a good organ player? Any particular numbers you like best?

I think you need to know the instrument very well to explore all the different sounds, express yourself a lot with the volume pedal, play with your heart and feeling, and definitely listen to the masters like Jimmy Smith, Jimmy McGriff, Lonnie Smith and more recently (John) Medeski. They really combine feeling, ability, skills, incredible swing, and alternate mellow moments with an aggressive style. One of the records that I like most is “Organ Grinder” by Jimmy Smith, a beautiful recording with such a true feeling. In our days Medeski shows on his records an incredible variety of sounds on a B3, exploring his creative compositions in a modern and vintage vibe at the same time. “A Go Go” with (guitarist John) Scofield shows those qualities in a very clear way.

You have a real feel for the Blues - what does the blues mean to you?

The Blues means everything; if a musician doesn’t really have the Blues in his pocket, he will never be able to express himself with the emotion that music needs to reach people’s mind. It’s a shorter way to say something, and it’s very difficult to absorb the real feeling that the blues needs. Without that feeling, it doesn’t sound real and natural. The blues is simple and very hard at the same time - it’s a challenge to learn the real meaning of it.

Is the Quartet your first band?

I played in several different bands in Brazil but the quartet was my own first project. I recorded my first album in 1996 in New Orleans, my second in 2007 with my quartet, and the third one this year with the same band.

How did you get the Quartet together and why did you choose these musicians?

I met the guys playing at Jazz, Blues and Brazilian clubs in my city, São Paulo. I had my own gig three times a week in different places, and I played with several different musicians, until I found the right people with the language and chemistry that a real band should have.

What kind of audiences comes to see you in Brazil?

There’s a very varied audience; young people, older ones, real blues and jazz lovers and some others who are having their first contact with this style of music. I really like both atmospheres - a sit down audience pays more attention to the details of the music you’re playing, and one that dances brings up an energy that is really great for the band, both ways there’s an incredible energy exchange. When we play live it’s a real experience, the crowd participate and understand our music even when they’ve never had much contact with instrumental music.

What is the blues and jazz scene like in Brazil?

We have a public that really knows and likes and understands Blues and Jazz, buys CDs and comes to shows. It’s

Have you played outside Brazil?

Your style runs from very quiet pieces of jazz to funky blues and soul - do you have a preference?

become more popular over the last 20 years, but we don’t have the same amount of festivals that you have in England and Europe.

I lived for one year in New Orleans (1996). An American piano player invited me to play in the U.S. and it was a great experience. I played at the most popular clubs such as House of Blues and Tipitina’s with some local artists, and twice with Clarence ‘Gatemouth’ Brown. I recorded my first record there with some great musicians.

I like all those styles, I think when you put them together in an album or in a live performance, you can reach a very interesting result, especially for instrumental music. The music doesn’t become boring. If I had to choose just one, I think a funky blues, a very strong style.

Tell me about ‘Backyard Jam’ - and why did you include a cover of The Beatles’ ‘Norwegian Wood’?

The “Backyard Jam” sessions started to grow during our shows and rehearsals, and we felt it was the right time to record the feeling that we had on stage. I composed most of the songs myself and did some arrangements with the band together. One of the great things in this album is that we put together some Blues, Jazz, and Soul feeling with Brazilian rhythms and percussion. I think in this way we create a very particular and creative sound, bringing up some personality to the band. We recorded live at the studio with a great sound engineer; we wanted to hear our instruments with their own individual sounds. ‘Norwegian Wood’? We had played the song a few times at some festivals, with a great response from the audience. We didn’t want to rehearse it because I think, sometimes, depending on the song; you can lose the feeling if you play too much before going to a studio. We were on a good day and it’s the real first take!

What plans do you have for the future?

I’m really looking forward to playing with the Quartet in England, Europe and U.S.A. but it’s hard to find here in Brazil a good agent that handles Blues and Jazz festivals outside the country. We really need that experience because we don’t have too many festivals with a complete professional structure to make a good tour, and it would be very gratifying to play for an audience outside Brazil - especially in Europe.

Ari Borger’s album made No.34 in the Real Blues Magazine Top 100 albums as published in October 2010. Here’s hoping that Ari and the band get their chance to show Europe what they can do.

Photo by Kieron Argo

Part 2 of an interview - Vicky Martin

Well I wouldn’t say Motown. I’d say Stax for Rhythm and Blues; Motown was its own thing…

We were taking a kind of overview of America R&B and we see three iconic labels for US rhythm & blues – Chess / Atlantic / and Tamla Motown – each has a distinctive sound – what would you put that down to?

OK, then, Chess, Atlantic and Stax, that’s a pretty magical line-up. They’ve each got a distinctive sound, I wonder if you can comment on that?

Well a lot of it is kind of regional- you know, like Stax, they had Otis Redding, the Memphis horns; that whole kind of horn thing; and then Atlantic, they were different, although Atlantic produced themselves, like Jerry Wexler produced Aretha, that was great, but Atlantic really utilized master purchases, finding outside producers around the country, so Atlantic regionally came from many different places. When it came to the electric Chicago urban blues, Muddy, Wolf, Little Walter and all that, we at Chess, were seminal – we made that music that changed the sound, but as the music grew, as R & B and soul music grew Chess was no longer making the sound, we were riding the wave of being in the record business. So it’s us saying ‘Soul music’s selling, look at where Otis Redding is, we need artists of that type’; that’s how you would think. And then you’d start looking, and then once you got them into the hands of your production, it was shaped by the Chess producers and the Chess rhythm sections, we had a lot of great rhythm sections – Maurice Whit who became Earth Wind and Fire on drums, Donny Hathaway the great piano player on keyboard. Later on we had the great arranger

Charles Stepney who did the Rotary Connection, piano with that and then did all Earth Wind and Fire and Terry Collier, each label had its own sound due to the musicians and due to the location. The weather in Memphis changed the sound of Stax Records you know! I learned that with the Rolling Stones; we recorded all over the world – and you know the setting changes the sound- we spent eight months in Jamaica doing ‘Goat’s Head Soup’, we weren’t recording reggae but it changed the sound of all those tracks.

Listening to what I think is the really classic era of Chess recordings – The Wolf / Muddy, Little Walter and the rest – the sound of that period was described by Alan King of Blues Matters as ‘Stripped down Bareness’. It was raw, a raw basic sound

How do you see that sound in relation to modern production sounds? Well it is different today; here’s how I see it; all those early great Chess records were made on two track or at the most four-track. Everyone had to get it right, the original blues stuff on two track you couldn’t correct mistakes, everyone had to be locked in together; so you had this kind of meditative state that you get into – you had to be as one to make a magical track – later on as they added more tracks and technology you could correct anything – you could record even in different cities, and even though you may have a perfectly sounding good recording; using all these multiple tracks, corrections, all these tricks to make the tuning and the beat match up; it killed the magic, the magic that is in that playing as one. And even when I worked with the Rolling Stones – that was the first thing I noticed - they had this ability after a few days of playing together, even if they hadn’t played together for six months to lock together and play as one, they’d reach that level of magic, it’s hard to describe it in words but music has always been so magical to me. I’ve seen over and over again how it can make people feel – you know, up-tempo can make you happy, blues can make you sad, blues can make you feel better, it’s the psychology of it…I’ve seen it so often, the effect of it; but I’m a great believer that, you know – five guys locking together playing as one – that creates something very special.

Yeah, and it’s still the same with the Rolling Stones – it’s still five guys locking together on stage… Yeah, it’s still the same when they record man, when used to record we’d lock that whole rhythm section together… It’s still the same-it’s the same buzz, I wonder if there was any artist of that era that you would have liked to get into the Chess studios to record?

Well of course, we had a lot of sides, we had some great B.B. King sides in the Chess studio…but yes there were artists that we would have liked. The one we wanted more than any other was James Brown; and we only missed James Brown by having bad weather on an aeroplane flight. We were all racing down to sign him, I think it was in Atlanta, this is my Uncle’s story, and the Head of King Records beat us by about four hours. That was someone we’d heard about – see what you’d do in that era – all the disc jockeys around the country would be your talent scouts, and someone like would record say a James Brown record in, say, Cincinnati, take care of the payola to the disc jockey, he’d play it and his phones would light up, they be ringing in ‘play it again, play it again!’ and interest would build and you had to try and get in before everyone else. Sometimes you did others you didn’t. It was always mainly us and Atlantic. They’d call my Uncle and say ‘Leonard listen to this’ and he’d buy that master. Atlantic and Chess were the best of the master purchasers. It’s like ‘Susie Q’ by Dale Hawkins; that came out of Shreveport Louisiana.

I remember those early James Brown records, I used to buy them as imports on King; it was a tremendously exciting sound

They were, he had his own sound

Again, the Rolling Stones came back from their first tour having seen James Brown, and they were telling everybody how great he was.; and Mick Jagger definitely picked up on some of James Brown’s dance moves Oh yeah, he picked up all sorts of moves, Mick Jagger when I worked with him he used to put a sock in the crotch of his pants!, he got that from Muddy Waters, he used to put Coca Cola bottle down there…

We heard it was lead piping, or copper tubing?

Well yeah, it could have been many things but I heard it was a Coca Cola bottle

Is there any modern artist who you’d like to see tray and record in that ‘stripped down bare’ style?

Oh God, I don’t know, let me think now, I don’t know, that’s a hard one for me – I listen to a lot – reggae, African music, my musical tastes have changed – I had a blues radio show, satellite, for two years, and I totally immersed myself back into the Chess catalogue to make my show, that was my blues period. The thing is, I don’t really know enough about contemporary music, but I see my kids watching some great music. I’ve heard great hip-hop music, the kind of hip-hop that has interludes of singing- I’ve seen some great black performers in hip-hop videos that really blow me away – and you know one who I like a lot is Jay-Z- he’ almost like a Muddy Waters to me and I like; and Nas I like him too. I actually like a lot of that hip-hop music; I see a lot of similarities to the early blues, like that it’s a reflection of their life-style

Chess moved from Blues to Soul music and the latter period was primarily soul who would you say was the outstanding Chess soul artist?

Well Fontanella Bass was great, Sugar Pie de Santo, Minnie Collier; I consider all them as just great female singers. I loved Billy Stewart – but to me the Queen was Etta James, you know like ‘Tell Mama’ or something- that was hot; ‘I Rather Go Blind’, that was brilliant; Etta was really fantastic. I liked so many of them, but you know it more by the records than you do by the artists; when you’re in it every day you remember by distinct songs-certain songs you just like – every artist had songs even though they might not have been a hit.

OK then, thank you for talking to us, it’s been very interesting and congratulations again on the box-set

Yes thanks, it is a great box-set and for anyone discovering Chess it’s a great way to get into it and it’s a reasonable size. It’s good for us who’ve lost a lot of our albums and singles over the years as well; it brings back things we’ve forgotten.

Sure

Well I’m not going to ask you for your favourite track but I would like to invite you, for a future issue of our magazine, to choose and comment on your ten favourite blues tracks. Would you be prepared to do that for us please?

Yeah I would; just send me an email to remind me and I’ll do it for you, that’ll be a pleasure.

OK well thanks it’s been great talking to you

Thanks to you as well, it’s been great talking to you as well, don’t forget to send me that email, and have a great day.

Keeps On Smiling

Stunned by her performance

Interviewer: Duncan Beattie

Duncan Beattie caught up

When legendary Led Zeppelin singer Robert Plant tells you that someone is worth checking out, it’s probably worth listening, when he calls that person a great singer, even more so. He was so taken by Lisa Mills that he took her on tour with him. Mississippi born Mills has had an interesting journey so far, from honing her vocal abilities in church to performing with Big Brother and The Holding Company, from playing the Gloucester blues festival to the huge crowds at Glastonbury. A chance encounter with Robert Plant saw her support him on tour and hook up with Andy Fairweather-Lowe in the studio. While adept at playing with a band or solo, Mills is also pretty good at the unplanned interview. Blues Matters caught up with her to discuss her influences, her career to date, future plans, her love of whisky and her tribute to Freddie King.

Please tell me about your upbringing and early musical experiences?

I was brought up in Hattiesburg, South Mississippi. Having looked at my family origins, much of my family had the name Davis while my father who was adopted had the original name of Snellgrove which is Scottish. This Celtic origin is important to me as the Celts were always known as great singers and story tellers. I’m also part Native American. I first started singing in my grandparent’s church. I would start to sing to the congregation. I enjoyed it immensely. Later in my teens I decided that I wanted to play guitar and I’m self taught. My dad did play guitar a little and so did his partner after my mother and they encouraged me to do so.

Can you remember your first live show?

Yes. My first gig was in my final year at high school. I sang a lot of the music popular at the time like The Band’s ‘The Night They Drove Old Dixie Down’, Willie Nelson and others.

Which artists in particular shaped your musical direction?

When I was at college I was exposed to great music I had not heard before, the Blues Brother movie was out and I became aware of great singers like Aretha Franklin, Nina Simone and Etta James. Their singing influenced me greatly as did Johnny Cash and Ray Charles. One artist who had a profound impact upon me was Bonnie Raitt. I was introduced to her first album and it really made an impact as this was a skinny freckled white girl who was making her living by singing the blues. She really showed me that it could be done. I’ve tried not to be too like her though; I have always steered away from playing slide guitar, although I can play it, as I feel that is her real strength

So what was the first break?

I recorded my first CD, a live CD back in 1999. It was recorded in a juke joint in Pascagoula, Mississippi called, Spiceys Blues Bar. The owner of the bar paid for the recording of the CD. A copy of the CD got into the hands of a friend of Sam Andrew. Andrew was involved with Big Brother and The Holding Company. So I linked up with them. We played some songs by Janis Joplin, such as Ball & Chain and Sunshine, but also a lot of more contemporary music too. It was a great opening for me; we toured the USA, Canada and Europe over 3 years. One of the venues were played was the original Robin in the Midlands. After playing I was introduced to Robert Plant’s tour manager is Roy Williams. He told me that Robert Plant was in the audience. Bizarrely I imagined they were referring to the guy with flashy cars and pretty girls in his videos – Robert Palmer! This led to me performing as support on Robert Plant’s tour. One of Robert Williams colleagues also introduced me to Ian Jenkins, who has played with Jeff Beck, Andy Fairweather-Lowe and both of whom have given me a huge amount of support.

I saw Eric Clapton live about twenty years ago in New Orleans and loving the show, but I recall thinking at the time I’m sorry Mr Clapton, but I love that guitarist’s playing more than yours. At the time I fell in love with Andy’s playing. Anyway I performed at the Gloucester Rhythm & Blues Festival where I appeared with Mike Sanchez and also performing there were Andy Fairweather-Lowe and Imelda May. Andy was impressed with my performance and we agreed we would work together. He plays on the whole of my new album ‘Tempered In Fire.’

So you’re at the Edinburgh Jazz and Blues Festival for the second year running. How does it feel to come back?

I’m really delighted to be back here. Although I’d played in Glasgow the year before this was our first time in Edinburgh. We played an open air show at the Grassmarket before supporting Eric Burdon at Queens Hall. The show was notable as the fire alarm when off during the show and everyone had to leave the building, twice! I got to see Maggie Bell as well who is a superb singer. This time I’ve been given the opportunity to play twice, first with a band, featuring Ian Jennings on bass and John Mullen on drums and then a solo performance the following day. I do enjoying being in Scotland, Ian and I always have a beer and a whisky before the show. Before I played that time in Glasgow I naively ordered two Jamiesons before the show only to get some surprised looks. I guess you don’t order Irish whiskey in Scotland! I love Scotch whisky too, last night we drank a bottle of Balvernie. My father was a farmer and used to home brew whisky, beer and wine.

So what are your future plans?

There is nothing firm at this moment, but we hope to do something more at the end of October. What I really looking for is a distributor. So far my albums have been self-released and we would really like a distributor to come on board to give us a greater exposure.

Do you compose all your songs, or do you use outside writers?

It’s been a mixture of both. I’ve written songs with Hoy Lindsey who has written songs for a number of artists, and Dan Pen, he has written for Solomon Burke. I do record some other people’s songs, ‘Keep On Smiling’ by Wet Willie is a song from my home town Mobile in Alabama. I’m very pleased though that more of the songs are coming from my own pen. I feel I am developing as a song writer and keen to push on and develop further as a song writer. I wrote a song just last week at home after cutting the lawn and I’m ready to write more.

Many of your songs are about love, or specifically lost love. Do you need to have experienced the hardships of life to sing the blues?

No, I don’t think so. You are right though, that subject does come up many times and I’ve had a degree of that kind of experience. Maybe one day I’ll settle down with a Welsh farmer!

Tell me about the song you played for Freddie King?

That was my special tribute to him. Of course there were three Kings, but he was by far my favourite. I really love his music, his vocals and also his superb song writing; listen to some of the lyrics he wrote. I wanted to honour him in my live shows, yet it’s hard as a woman to cover his songs as many are not suitable for a female, Big Legged Woman etc. So that’s my song in honour to him. Obviously I don’t play all the stunning guitar lead breaks that he did, yet I think somewhat of his groove is featured.

I did not catch the name of the song, what is it called? Err, we just called it the Freddie King Thang! Laughs.

How do you describe your music?

I simply call it ‘Southern Roots Music’. It’s as simple as that; all the key ‘old timey’ elements are there. I’ve never been too concerned by musical genres, and always played a variety of style - blues, folk, soul and country - are the styles of music that I really connect too. I find it hard to identify with much modern music, they take themselves too seriously. That’s not really what’s important; you just need to be real about your music. Been authentic to yourself; rather than to a style. It’s about enjoying the music and being true to yourself.

You’ve spoken about many of your influences, from Hank Williams, Willie Nelson, Ray Charles, Billie Holliday, Chaka Khan, but you’ve not mentioned many modern acts. Are there any younger artists that you like?

That’s a very difficult question… Christina Aguilera is one that can really sing. The Kings of Leon are an awesome band; I really think some of their work is amazing. I can’t think of that many others…One artist who I really like that your readers will know is Ian Parker. I think that man has really got soul; he’s superb I love his approach, before you even consider his great guitar playing. He will be appearing with me at the Robin later this week which I’m delighted about.

Oh, I’ve just remembered another one, and I can’t believe I forgot him, it’s James Hunter. I really love his work. He’s

How does your success compare in the USA to the UK?

What is the most embarrassing thing that has happened to you on stage?

fabulous. I often listen to him just before going on stage to relax. You know though the first British artist to have an impact on me was Tom Jones. He had a TV show once which I used to watch with my mom. I used to try to imitate his singing and his dancing.

It is quite different, in the USA most of my shows are in my local area in Alabama. I play a large number of my own shows, but also as support to others. The new Robert Cray album (Cooking In Mobile) was recorded in the The Saenger Theatre where I recently supported Shelby Lynne. It’s great to have developed a following in the UK but I do love coming back home again at the end of the tour.

I’d have had to think about that, but you’ve just seen it. I was playing ‘Too Late’ earlier and getting carried away and my stomping foot pulled the lead out of the guitar! I had to wait for the sound man to run to the front of the stage and plug it back in again!

Do you prefer playing solo or with a band?

Do you have any message for the readers of Blues Matters?

Although this might have been an ordeal, Mills coped with this admirably. She continued to sing, tapped the guitar to the rhythm and then continued the song once the lead was plugged back in again. Speaking of your guitar, what do you play?

This is a 1947 Epiphone, from year before the company was bought by Gibson. Her name is Josephine and she goes everywhere that I do. I have another model from 1956, but it just does not have the same feel.

Lisa will be touring the UK from August 2011 so watch out for dates via Movin Music.

I love both; there are pros and cons to each. Obviously if I am solo I don’t need to write out a set list before I start and can change as I wish. It is more challenging though to play on your own and I do enjoy playing with a band.

Simply thank you! I’m well aware of the magazine which I think does a great job. Keep supporting live music and I hope to see you on the road again soon.

Clive Rawlings delves into the fascinating music and world of Elephant Shelf.

Elephant Shelf is a unique band! Their eclectic music is rooted deep in the Blues and mixes in many genres; people are starting to really take notice. The band members’ history takes them deep into the world of music past and present. They are a unique synthesis of sound and sight on stage and CD I had met Vicky Martin & Diana Stone of the band at Skegness Blues weekend earlier this year, and also in their other ‘incarnation’ as the Delta Ladies during their French tour. Our interview before a night out in Brighton touched many bases including Blues, Al Bowlly and even Dixon of Dock Green!

BM: Tell me some of the background

Vicky - Its run for just over six years and 750 (band & duo) gigs; the first three years we had a larger line-up with Jessie Pie, a singer from the burlesque circuit, fronting the band alongside me. We got popular in North London and Brighton but played all over with several great gigs. Eventually Miss Pie went her own way; we cut the band down to a six-piece and continued. A few of our original songs were in the set, we started writing more and they went down really well. We decided to record an album and to try breaking onto the main circuit. That’s difficult to do, but getting Monica Madgwick’s recommendation was a vital step forward. Now we’re getting endorsements by such as Dale Storr, Jim Rodford of the Zombies, Barry Goldberg, and Larry Miller, and it’s all beginning to work.

I think the album ‘In Trouble Again’ is brilliant- with many different styles –how would you describe your music?

VM- Our songs have lots of influences so maybe it could be described as something posh like ‘an eclectic blues based mix’? Mind you, looking around Facebook and seeing the twaddle that’s written to describe music these days – we came up with this selection; ‘gloriously garrulous, diffidently divine, pumping, wheezy, guitar and fiddle-driven, contemporary avant-roots...!’…but seriously – we all go back a long way. The Stones, my first inspiration; turned me on to Muddy Waters and co. I’ve stayed with that and with certain players as my main inspiration – Miles Davis, Keith Richard, Bob Dylan, and Ray Charles–all because of musical attitude really but I also like Al Bowlly and Flanagan and Allen.

Al Bowlly?

Diana – He was a popular 1930’s English crooner who died in the Blitz. He made the original version of Ray Noble’s ‘The Very Thought of You’, (Vicky interjects “Which Di sings & plays very well!”)|. We listen to lots of stuff; show tunes and vaudeville; people like Flanagan and Allen; we put their tunes into the Delta Ladies show at times.

Vicky –There’s a definite a touch of vaudeville in rock ‘n’ roll, like the Rolling Stones Rock and Roll circus, with the top hats and all that.

Favourite guitarists?

VM –My favourite musicians are Miles Davis. Keith Richards and Ray Charles

Diana what about you?

DS My musical background is different from Vicky’s – which may contribute to the band’s overall feel. Favourite guitarists are Joe Pass for Jazz and for blues / rock a certain Mr Hendrix. I’m also influenced by a lot of fiddlers from the whole spectrum of folk to jazz to classical.

The rest of the band?

VM - Terry McInerny has a jazz background and is a huge fan of Miles Davis. US bluesman Glenn Patrik came over last year and said Terry has the best time and feel of any drummer that he’s played with. He took Terry to the States to jam with some of the best LA musos. They backed Glenn’s judgment.

DS – In fact, our Tel was offered a couple of tours while out there.

DS – We’ve got young Robbie Charles on bass, he’s been in all sorts of jazz and funk acts and plays in a top Klezmer band, so he’s pretty eclectic…

What about Rosie?

VM –‘Little’ Rosie has an amazingly voice for such a wee one – her background is at the soul / pop end of things. She’s a Spurs supporter like the rest of us so she’s got to be OK, and she’s been down the gym a lot lately so I have to watch what I say!

Could you describe the band’s philosophy?

VM –Good songs and entertainment all round – to do the job well you have to try and reach all ages and all typesDS –What we do is song not ‘solo’ based; it stands or falls on the quality of our songs.

VM - Lots of people have praised the songs– Dale Storr, Golly Gallagher, Larry Miller, Jim Rodford, Raphael Ravenscroft… Diana – But we’ve a way to go to catch up with Roadhouse – David Cameron liked their songs –Vicky – But he’s only the Prime Minister – Golly & Larry are much more significant! It’s simple though; as I said, like it or not ‘entertainment is the business we’re in’.

Is there a story behind the album title track?

VM: Yeah, I wrote that after we got stranded with a van load of gear but no ignition key outside a pub in Holloway at 2AM! Our harpist then, Dan Foster, had packed the van and then went off on his bike with the van keys and his mobile switched off. A Keystone cops type of adventure followed. I changed the lyrics but that was the inspiration.

The CD notes say the song ‘Undubwise’? is about the transgender experience - tell us about that.

DS- I wrote the music; a sort of reggae groove, and Vicky said I think I might have a song to go with that. I was sceptical, but when she showed me it worked. It tells it as it is in a kind of simplified poetic way.

VM –It’s just telling the basic really. Transgenderism brings a whole heap of trouble with it; family break-up, laddered tights or peep toe-shoes in the rain, all that sort of thing! The song doesn’t touch that.

Has the transgender issue caused any problems for the band?

Has it ever caused problems at venues?

VM – Not really but we’ve deliberately never sold the band on that basis. We’ve never said ‘Hey, look at us!’ We’re just are as we are; first of all a band and musicians, the trans thing is just there. We present as a band playing our own music, our songs and it lives or dies by that. We get a lot of leg-pulling and jokes, but hey, who cares anyway, we’re in the entertainment business.

DS -– It makes us a little more memorable, which might be an unfair advantage. I would say we are more what you might call ‘Saga Louts!’ J

VM - Not really; we’ve done every sort of venue from the roughest Irish pub to five star restaurants and nothing bad has happened really… there was a rough pub in Streatham, as we walked up to the door, a bunch of “Paddies” came rolling out the door fighting, and one looked at me and said “Oi bet your f______ proud o’ yourself darling?”, and I said “Give us a kiss and I’ll tell you”, any way in the place there were punch-ups going on all night, and some 6’6” Irish geezer who kept falling over us, but they liked the music and we won them over. Another time was a big football pub, full of Arsenal fans, right hard looking lot, it felt a bit intimidating when we walked in –but we just rocked the house and they loved it- adopted us as a sort of mascot in the end! After that not much bothers us – the other night we played a biker’s venue; got a few hard looks as we walked in but we won them after two tunes – the music always does it for us really.

DS - I had a few “interesting” conversations with punters, mostly about violin & piano technique and if I’d give lessons or personal instruction! J

Tell us about your future plans

DS –We’ve an album recorded with Glenn Patrik in the can, there’s mixing and dubbing to do yet so we’re not sure when it’ll come out. We have a lot of material for a new Shelf album and start work on that around Christmas time…and Terry is working on his concept album too!

VM - It’s a musical based on the life of E. J. Camm

Have you got any songs for the album?

DS – Well Terry has the ‘Ballad of E.J. Camm’ but that’s for his own album! And yes, we’ve got enough numbers for two albums at the moment and a lot of them are road-tested as well. We regularly try new material allowing it to grow so it’s ready to record. We’re ruthless at dropping things that don’t work live.

How do you go about writing songs?

VM –We always have a small recorder ready to put down ideas. Lately I’ve written with Terry our drummer – he experiments with rhythms or he’ll lift a rhythm from a Miles Davis track and play it; I’ll suggest different emphases and play over it. There’s a drum kit always set up. I’m often in another room, hear a rhythm and get an idea in my head so I shout: “Keep it rolling” and then I lay some chords or syncopate a rhythm on top. If we like it we record it. I’ve lots of lyrical ideas or musical fragments I can apply. These things are often a groove of sorts – in fact, the new album will have several ‘groove tunes’ on it. Also Diana’s written and recorded dozens of songs and been played on Radio; I sift through her back catalogue for suitable stuff – there’s lot’s of good tunes there.

DS - My taste is eclectic and I write in several genres; an occasional hint of prog rock creeps in and it’s often a long way from the blues. I’ve written a lot of instrumental music too. I also play guitar and mandolin so some of my stuff is rootsy too.

Vicky I believe you mentioned playing in dance bands?

VM –Yes, I played in real dance bands, doing foxtrots, waltzes and such. I remember when I played in Tim Aves’s neck of the woods (not a band name by the way) in Burnham on Crouch, it was in a dance band with a guy called ‘Three Chords Max’, and I actually brought in Elmore James’ stuff on electric slide – that dance band was never the same again!

Have you any interesting events from your early days as a player?

VM –Not really, I developed late as a player, but Diana has interesting tales about when she did sound control at Hammersmith Odeon– especially one about Bluegrass legend Bill Munroe…

DS - I was lucky to work there - one of my first jobs after leaving school in the days when they still showed films too. Because I was 17 my parents had to sign a consent form so I could show X rated films. I saw a lot of shows from the side of the stage; everyone from Hawkwind, Clapton, Alex Harvey, Elton John, and more. Bill Munroe did a show and a country music club had hired the venue. Unfortunately for Bill they used the house PA, parts of which dated from about 1940! An older member of staff who usually worked it had taken a little too much drink as he was retiring. He reduced a lot of the show to howls of feedback until we managed to coax him away from the faders. I think Bill thought we had it in for him! That job introduced me to rock and roll time when a show was on you would go to work at 11.00 and get home around 04.00 am the next day. There was an Irish pub nearby where there was always a lock-in. Even now there would not be many places where you could get draft Guinness at 3 in the morning.

So looking at the current scene what do you think?

VM –There’s an over emphasis on power guitar trios, and guitar dominated bands and there are some dodgy rhythm sections around, a bit more listening to Charlie Watts, Mitch Mitchell, Ginger Baker et al would help. They had the magic ingredient – swing. I mean so often the drummers just don’t hit the back-beat. Everyone applauds the guitarists but rhythm is the foundation of music and so often it’s wrong. Of current bands, definitely Hokie Joint, are excellent, original and song based -great image- they swing (musically that is!) and with us can (I hope) really break the mould. I would also say Larry Miller– because his love of the music absolutely shines out and he’s a real entertainer. Some people might knock ‘entertainment’, all this ‘serious guitarist’ tosh, but at the close of play, when the last over is bowled and the stumps are drawn, (Diana interjects – “to quote a well known cliché”) if you send the folks home happy with a smile on their face then you’ve done your job and Larry does it every-time.

Vicky have got you a philosophy of the guitar?

VM –It’s not the notes you play, it’s the faces you pull! Changing the subject for a moment - Vicky, you were whistling the Dixon of Dock Green theme when you walked in, why was that?

VM –Well Clive, as well as being a successful DJ in France you’re also an ex cop so we did it for you…

DS …that’s only part true; we’ve got an arrangement for it… we have what we call ‘mad-medleys’ that we like to spring now and again…

VM – yeah, that medley is Dixon of Dock Green going into ‘Louie Louie’!

So, the question you must have been asked thousands of times – where did the name Elephant Shelf come from?

VM- We is glad you asked that…but we aren’t going to tell you.

DS -Because there is a gypsy curse that gets invoked if we do; the curse of the Battersea Gypsies.

VM –the album artwork gives a clue to the origin; it’s to do with Diana’s ancestor Uncle Dave who was an explorer in Victorian times. There’s a short comic novel about the Origin of the Name to be published soon, on-line, in association with BIFF of the Guardian.

Who actually is BIFF?

DS- Biff, who did cartoons for the Guardian for twenty-odd years, is actually two people; Mick Kidd who lives in Crouch End and Chris Garrett who lives in the Scilly Isles. What do they do now?

VM - Mick Kidd runs a sanctuary for small lost animals in Crouch End, and lectures on ‘What its Like to Be a Famous Cartoonist’, and Chris Garrett does wood-carvings of famous peoples’ heads.

Well thank you very much ladies, shall we have a nice cup of tea?

The Ladies – That’ll be nice Clive, and you can tell us about the time when Brighton nearly won the FA Cup …and Smith must score!

FESTIVAL

CAMBRIDGE ROCK FESTIVAL @ Haggis Farm Polo Club, Cambridge 05-08/08/10

EVENTS THAT HAVE HELPED SHOWCASE THE BLUES

After Blues Matters two day introduction to the Cambridge Rock Festival in 2009, it was decided to take the BM team and Roadshow, along this year to check-out the full experience. To say we were truly impressed is probably an understatement. Over the four days of the festival, not only were we made most welcome, but the standard of the music, organization and punter experience again turned out to be top class. From the musical point of view, although called a ‘Rock Festival’, there was enough Blues on display to keep all but the most ardent purists happy with the added bonus of a top class display of its offsprings, rock and prog-rock. This year due to the funding problems being felt by all the UK festivals reviewed by BM, it was not possible to get sponsorship for more than one day of Blues on the second stage. The standard on display, in even this reduced quantity was good and there was an abundance of blues to be found on the main stage to compensate for this. The festival kicked off on the main stage Thursday with a combination of Blues and rock acts. Smokin Hogs were the first up to represent the Blues with a high energy set and a good taste of 60s and 70s blues, reflective of the British Blues era but with a modern edge. They were followed on stage by Split Whiskers. A five piece Cambridge band that offer a foot tapping display of blues and funk, mixed in with a little jazz and even some Skiffle. Onto the Friday and the evening offered a real Blues treat, following an entertaining afternoon of rock and rock Blues on the main and second stages. The main stage Friday was to be dominated by two stunning performance firstly Danny Bryant’s Redeye Band and then The Deborah Bonham Band. Danny’s a real favourite with the Cambridge crowd and this showed itself with cheers of approval as he started his set. Danny put on a blistering of show of guitar technique throughout and thrilled the crowd with his innovative version of Voodoo Chile, that had them clapping and cheering at his behind the neck antics fun. Like Walter Trout, one has to admire Danny’s control and sheer ability to produce astonishing guitar riffs without the aid of effects. Just man and axe in unison. The Deborah Bonham Band had looked hot, ruffled and shattered when they arrived late in afternoon; they had been stuck for five hours on M25 on their way to Cambridge. This is where pedigree and professionalism come into operation and it didn’t the stop the energy and pure quality of the performance of Deborah and Band in many ways probably drove them a little harder. They hit the stage almost on a high and rocketed into one song after another. They had a surprise up their sleeves for the assembled towards the end of set. Featuring songs from their last CD “Duchess”, we were also given a taste of the future. The band have a new CD coming out in 2011 and Cambridge was treated to a taster of what is to come with two tracks from the album called ‘I Need Love’ and ’Killing Field’ both numbers of quality! The show-stopper was the ‘Old Hyde’. The Blues Matters team now know that this is the song that we are not allowed to look at each other during, for fear of invoking a stream of tears from us all! Not just BM though, just a causal glance round that tent said, there wasn’t a dry eye in the house. The real emotional killer was the arrival of young blues guitarist Chantel McGregor on stage to play along side Deborah in the final part of show. Even Deborah Bonham was heard to say, she couldn’t see because her contact lenses where misted with her own tears. Music and musicians that can bring that level of emotional response are special and that is certainly true of Ms Bonham and Miss McGregor! Saturday arrived and the Main Stage at the beginning of the afternoon was a hum of excitement and anticipation after the previous evenings short introduction to the guitar skills of Chantel McGregor. This again

Deborah Bonham

Cherry Lee Mewis

was another stunning performance to a packed main stage and brought about a five minute ovation and demand for an encore. The only compliant about this performance from a crowd stunned with appreciation by Chantel’s talent, was why she had not been put on the evening programme. 2011 may see this miscalculation addressed, if BM sources are correct. Saturday evening brought two more Blues stalwarts to the stages. Firstly, in the shape of Blues Rockers, The Stray and Del Bromham, who soon had the punters on their toes and paying attention. This was followed by an electric and blistering performance by Larry Miller and again another favourite of the crowd and back by popular request after his 2009 performance and seven encores! It wasn’t hard to see why; the sheer energy in Larry’s stage usage was enough to leave anyone feeling tired. He must have covered every square inch of the stage in that performance. His guitar work was a pleasure to watch and all allied to a tight band to match! It wasn’t though, going to be a seven encore that night, ‘just the one’, was the order of the day, as things were beginning to run behind schedule. Don’t think the crowd would mind though, as they continued to cheer and stamp well after Larry had finally left the stage. On to Sunday and into the final day, by now all members of BM team were fully into Cambridge chill mood and going round asking what day is it? Sunday saw the second stage finally become the Blues tent for the day. Cherry Lee Mewis performance early in the day’s events, to the say least it was an impressive start to proceedings. Cherry has an exceptional likable vocal, good intonation, range and a striking stage persona and is a name to look out for in the future, the girl has talent. It was a bit of a home from home for the BM team, when The Mustang’s took the stage. They have a long association with the magazine and the team were interested to see how they would do at Cambridge again. This was another pristine performance from the band. Alan Noteworthy’s energetic guitar and vocal, underscored and tightly held together by the band percussion section, through the work of bass player Ben Mckeon and drummer Jon Bartley. Then all beautifully topped off by the top class harmonica playing by Derek Kingsaby. Storm Warming too were one of the blues highlights of the day proving themselves to be a tight and classy band. There was added bonus throughout the day in the Blues Tent, David Bristow interspersed the band change-overs with a series of acoustic Blues sets. Very classic in style but very modern in their lyrical message and well played and received. The Cambridge Festival also had two extra facets, the inclusion this year of a busker’s corner, which turned out to be very popular with punters and gave lesser known and unsigned musicians a chance to show what they had got. There was also an after hours jams session in the second tent, that started at Midnight when the main days proceedings ended and this finished roughly about two in the morning or when the bar staff decided it was time to call time! The jam session were very loosely arranged affairs but produced a selection of great musical innovation crossing genres and musicians and really added to the whole event, even if it meant BM team camped behind the second tent, had gave up on their slippers and hot chocolate after the first night and went along to watch with the flow! It’s fair to say from the point of view of the BM team and the punters we spoke to, that there is real feel with Cambridge of the atmosphere of Glastonbury before it became a over commercialised. Cambridge retains the magic of Glastonbury but also manages to be a well run, friendly and modern festival.

Carol Borrington

FESTIVAL FEVER

FESTIVAL FEVER

The Ninth Annual Madison Ribberfest BBQ Blues and Balloons

Nestled on the banks of the Ohio River in southeastern Indiana is the town of Madison. Founded in the early 1800’s, it is one of Indiana’s oldest settlements. As a port city on the Ohio River, in the early days it was one of the largest hog markets in the country, but that has since moved to the big city of Chicago as has the ship and barge industry that was a fixture for many, many years. Annually, this modest community puts on a two day festival aptly titled “Ribberfest” to both commemorate their pork heritage as well as to celebrate the BBQ cook off that takes place. Part of the celebration is a hot air balloon glow and race, with the staging point directly across from the festival on the Kentucky side of the Ohio river. Each night of the two day show they light the balloons to the amusement of the fans. The main attraction, however, is the Blues Blast which kicked off Friday evening August 20 and ended Saturday night August 21. 2010 marked the 9th version and it has grown annually in stature, size and performers.

Opening up on Friday was the Greg Foresman band out of Nashville, Tennessee. As guitarist for country artist Martina McBride’s road band, Foresman has been on the road playing for years. During his off time a few years back, he formed his own band and took off on his pursuit of his music. What has transformed is a lively mix of rock, blues, folk and country, with an emphasis on strong guitar. Stacy Mitchhart is a veteran of many years on the blues scene. Based out of Nashville, TN and a regular at BB King’s there, Stacy has developed into a great showman. Backed by his band “Blues you Can Use” and billed as NashVegas Blues, his smooth guitar and the bands powerful horn section of Jules Caldarera and Cory Distefano got the crowd up, moving and primed for the night. When he pulls out the Epiphone resonator and rips into his Led Zeppelin medley it is an amazing piece. Pulling songs from his first CD “Blues Transfusion” which was released in 1993, through 2009’s “Grown Ass Man” he kept the songs coming and the show rolling. His recently released “Live from BB King’s” is an excellent sample of this Blues veteran’s presence. Closing out the Friday night show was Isle of Man’s Davey Knowles and Back Door Slam. After missing their shows in the Midwest last summer, I was looking forward to his set and he didn’t let us down. A sensational guitarist, he gave the fans a taste of old and new blues in his set. He won the crowd over with his virtuoso guitar, and his “Tear Down the Walls” was a fan favorite. There were those that complained he was not “real blues” or he was “too rock for a blues festival”, but for 21 years old, this young man has a maturity beyond his years and has developed into a powerful guitar force and left the majority wanting more.

Day two dawned with a heavy rain rolling through, much needed in this region. By the time Louisville, KY based Hambone took the stage the rains had given way to a warm haze. Hambone, originally from Indianapolis, IN, had migrated to Louisville a few years back to hone his blues skills. This young white kid has the blues burning inside him. His sound defies the look. He can play slide with the best of them and his performance in front of an early afternoon crowd was stellar. His recently released “Conflagrations”, his third CD, is perhaps his finest and shows how this young slide impresario has developed into a very talented musician. Ribberefest annually tries to have a diverse cast for the fans, and Tyrone Cotton’s set was a nice Saturday afternoon progression. An extremely Talented songwriter, Cotton and band took the crowd on a soulful journey through his own songs “Breaking Away”, “As Befits a Man (Don’t mind dyin’)” and Storm from his Tyrone Cotton CD. Backed by Stephen Couch on slide, Jesse Hall on drums and Tim Brothers on bass, these guys were a breath of fresh air and are a must see when they are close.

Up from New Orleans, Big All and the Heavyweights took the crowd down to the bayou with their flavor of music, kind of gator gumbo zydeco blues. Featuring Big Al’s vocals and Harmonica Red on, well, harmonica, they got the spices flowing with “Alligator Crawl”, “Bad for the Blues” and “Nothin but Good lovin” from their Nothin’ but Good Lovin CD and dove back into their repertoire to showcase “Cajun Roux”, “Hey,Hey Mardi Gras”, and “Red’s Nut’s”. These guys have a loyal following in nearby Louisville, Kentucky and many “Gumbo Heads” were on hand for their solid afternoon performance.

Teresa James and the Rhythm Tramps followed up with a very fine

performance. A touring veteran of many years and a mainstay on the Delbert McClinton Sandy Beaches Cruise annually, Teresa is an amazing songwriter and her sultry voice got the crowd all steamed up. Featuring songs from her latest CD titled “You Know you love it”, she treated the audience to the title song, “Sunday Shoes”, “Might be Memphis” and “Talk to the Hand” as well as digging up “Nobody Rings my Bell”, “Day Drinkin’”, and my favorite “24 x7 x 365”. Her band is just as hot as her voice, and she was probably the biggest surprise of the weekend. What a solid performance from a premier singer/songwriter.

Veteran Jimmy Hall followed up with a little bit of something for everyone. Jimmy is one of the most soulful singers today. His heritage takes him back as one of the founders of legendary Southern Rock band, Wet Willie, through stints with Jeff Beck and Hank Williams, Jr. A premier harmonica and saxophone player, Jimmy and crew gave their all on a 90 degree (Fahrenheit) evening, laying waste with a stout rendition of Willie Dixon’s “29 Ways” , Sam Cooke’s “Change is Gonna Come”, Wet Willie classic “Grits aint Groceries”, his own “Rendezvous With the Blues” and closed it out with “Keep on Smiling”. Even with the heat and humidity, these guys left everything on the stage, the mark of a true journeyman of the road.

Headlining this years Ribberfest was the legendary Delbert McClinton. Opening up with “Mamma’s Little Baby” from his latest CD, “Acquired Taste”, he rocked on through an amazing set. At nearly 70 years old, Delbert is still a showman and worked his magic on stage to perfection. A cross between country, blues, rock with a Texas sting, Delbert and crew presented “Starting a Rumor” and “People Just Love to Talk” form Acquired Taste as well as many of his crowd favorites over the past forty years. “Back to Louisiana” featured his still world class harmonica skills then rolling out “Leap of Faith”, “New York City”, and faithful followers favorites “I’m with You”, Sandy Beaches” and “Givin’ it Up for Your Love” left the crowd wanting more. With outstanding guitar by Nashville’s Rob McNelly and magnificent keyboards of Kevin McKendree, this performance will be remembered as one of the best in the 9 years of Ribberfest. The people of Madison make you feel at home, feel welcome. They appreciate the folks that annually visit Ribberfest and all those involved go out of their way to insure a great experience is had by the fans and the performers. Talk is that something special is brewing for next year’s 10th event, but this years show will be mighty hard to top.

Randy Jones

Newark Blues Festival

We are British so lets talk about the weather first. It was superb. That out of the way let us look at the festival. It is set in the castle at Newark bounded on one side by the river Trent and the town on the other side. Talking about the town it was pleasing to see so many pubs that were putting on blues concerts across the weekend. I have to say that Newark was one of the best organised Blues festivals that I have been to in a long time. The sound was great; the mixing was as good as it gets any ware. Food. Well I would hazard a guess that the food outlets had been vetted as the fast food was very good even the roast potatoes in duck fat were scrumptious with the sprinkling of sea salt. The nitti gritty; the bands were all good but some had the edge in my own opinion. On the first day with the exception of guest appearances of Paul Jones and Giles King there was a shortage of harp players.

I was very impressed by a young chap from Glossop who despite being only fourteen years old was a hundred and fourteen years old in his guitar skills. If you closed your eyes you could swear that you were watching BB King himself. Who was he?? Well watch out

FESTIVAL FEVER

FESTIVAL FEVER

for The Alex McKown band. It was very pleasing to note that there were several young bands playing which bodes well for the future of live blues in this country.

On the Saturday they had two female guitarists on the main stage. The first was Delta Maid with here cheeky smile and strong Merseyside accent entertained the crowd with a mixture of great acoustic delta and country blues. Next up on stage was Chantel McGregor who blew away the crowd with a set of familiar and not so well known blues with her own inimitable style. I was asked by so many people if she was playing at Skegness in January 2011. Just before Chantel went on stage Paul Jones was presented with the Best Harmonica player of the year award at which time he played a blistering solo ‘harp’ track then came on again to play with Chantel, which as you would imagine went down well with the audience.

On the Saturday afternoon a number of bands gave excellent performances they were Blues Print with a rocky edge and a band of youngsters with a young lady with a very strong voice who, I am sure, will go far under the name of Erosion. Saturday afternoon was a free concert. Saturday night was a magical event with lights being played onto the castle walls. Virgil and the Accelerators started off the show with an excellent set they were followed by Kevin Thorps Tipping Point. It was a blistering set which made the crowd sat up with smiles on their faces. Sadly to report that about half an hour after the set finished Kevin had a massive hart attack and sadly died. The Sean Webster band were their usual professional self and when Giles King got up with them for a few numbers there were many cries from the gathered throng of “wow” and “now were rocking” Aynsley Lister and his band were a great act to close the Saturday event and I was going to slip away as I had over forty miles to travel to my bed but the act was so good I stayed to the end. Sunday was also a free day thanks to sponsors and what a day that was. The 49ers kicked of with a set that comprised of covers with a twist to make then unique. There were time when I thought “I like that better than the original” Then came a breath of fresh air with the Unusual Suspects who comprise of acoustic guitars drummer, bass and sax player who could really play that horn. He changed from alto to tenor according to the tune and was well received by the audience. They were just that little bit of different to make a difference. Southside were different with a line up of very talented musicians and the set had a funky edge to it which reminded me of the successful band Giles. The Ron Sayer Band and Wilson T King delighted the watching throng and the band Snakewater certainly caught my attention. The conclusion to the festival was The Mustangs who played like their life depended upon it. The harmonica solos were very favourably received. It was good to see such a tight band playing at the end of a festival. I will certainly be looking to go to the Newark Blues Festival in 2011. All I would ask is that the organisers consider their publicity as it is a pity that such a well organised festival was not more patronised.

Tony Nightingale Blues-Unlimited Lincoln City Radio

EDINBURGH JAZZ & BLUES

FESTIVAL Various locations, Edinburgh 30/07/2010 – 08/08/2010

This festival saw ten days of jazz and blues acts take to various stages across the capital culminating in the Blues weekend for the closing weekend. The key attraction on the opening night was Alvin Youngblood Hart whose set commenced with an electrified Mississippi derived groove of ‘Big Mama’s Door’. The large seated crowd were a little sedate and perhaps Hart’s tongue was in cheek when before ’Illinois Blues’ he asked if the audience recalled the 1930s.

‘In My Time of Dying’, was superb yet coherency was lost somewhat with deviations into country and odd covers. Pianist Jon Cleary made a welcome return as his trio treated us to the street beat groove of New Orleans before

Blues in Trouble

Paul Jones

Photo by Stuart Strott

a superb reading of Lowell Fulson’s ‘Reconsider Baby’. ‘I Can’t Believe You Wanna Leave’ had the crowd swinging in their seats before Jelly Roll Norton’s ‘The Cray’. Canned Heat played that evening; however the unexpected passing of local bluesman Tam White and illness to Peter Green sadly meant two cancellations. A detour ensured to the Orchestra Nationale Orchestre De Jazz’s performance of the music of Billie Holiday with vocalists Karen Lano and Ian Siegal. This was Siegal’s UK debut alongside the 10 piece orchestra which gave modern jazz interpretations of Holliday’s songs. Siegal contributed vocals to several numbers including the opener ‘Solitude’, and an avant-garde version of ‘God Bless The Child’ yet the pick of the evening ‘My Man’ offering both singers the opportunity to grab the limelight in a spirited duet. A further dedication to past greats, in this case Sonny Boy Williamson and Jimmy Reed took place the following evening as Blues N Trouble vocalist Tim Elliot and guitarist Sandy Tweedsdale performed a laidback tribute to both Blues masters. Eric Burdon returned a consecutive year on Friday night, yet eyes were fixed on the final weekend at the Jamhouse. First in a sell-out performance of Ladies of The Blues was the Violet Leighton Band featuring a top set of Glasgow based performers including ex John Martyn bass player Alan Thompson. ‘Sugar Coated Loving’ which highlighted Leighton’s fine jazz tinged vocals. Kirk Lothian’s Hammond lit up ‘Rock Me Baby’ before the mellow funk of ‘Can’t Stop The Rain.’ Leighton is a one of a fine succession of Scottish blues singers, yet the band appeared a little constrained by both the pace and material aired. A more rootsy take on the Blues was provided by The Lisa Mills Band. Mississippi born Mills is a natural entertainer and won a new legion of admirers. Backed by Ian Jennings on bass and John Mullen on drums her set included the upbeat ‘Keep On Smiling’ and ‘Never Fall In Love Again’. Her melancholic vocals lit up the afternoon with ‘If You Should Lose Me.’ The impassioned blues of ‘Too Late Now’ preceded the upbeat ‘Freddie King Thing’. Barbara Morrison closed a very successful afternoon with backing from the Tom Findlay Trio who formed the backbone to the charismatic singer’s performance was an almost telepathic understanding as she performed a set of jazz and blues that featured an extended version of ‘Stormy Monday’.

The evening by contrast was a high-powered showcase of masculinity. Gerry Jablonski took to the stage to play a raw boogie riff at full volume before his Electric Band rushed on to provide support. ‘Two Timing Woman’ was a fast paced shuffle with heavily amplified harp from his punk attired harp player before the more melodic ‘Black Rain.’ The heavy blues rock riffs came in waves and only punctuated for moments as Jablonski raised his hand to signal or point to the sky. Hardly known either for playing at a quiet volume is Alan Nimmo, yet King King not only provided they have a more diverse selection of songs, plus a superb second focal point with the flamboyant Ben Holland on keyboards. ‘Heart Without A Soul’ is their signature tune, yet it was ‘Feel Like Rain’ which really allowed the crowd to join in. ‘Old Love’ slowed the evening down yet there was regret when their set finished so soon with ‘Highway Man’. The ever present Tim Elliot was the primary focus for Blues N Trouble accompanied by guitar slingers Sandy Tweedsdale and Mike Parks. The fast paced set included ‘Try Ask Twice’ and ‘Trash In Line’ before Parks’ tribute to former side kick Lou Martin with ‘Red Wine Boogaloo’, and Elliot’s harp show stopped ‘Honey Pot.’ The band were pushed up yet higher with the introduction of much admired original guitarist John Bruce for the closing three numbers, the boys can still boogie long may they do so!

Sunday afternoon started with local based bluesman John Hurt who plays an interesting self-built guitar. ‘Too Damn Smart’ was a notable slide number played before ‘Cold As Ice’ paradoxically worked up a sweat. ‘Just Keep Your Business To Yourself’ was a uncovered gem before ‘Your Rock Has Got To Stop’ cast criticism on certain notable musicians who sell insurance on television. Lisa Mills returned solo for a stunning ‘Tennessee Tears’ before an emotional ‘Unchain My Heart’. Just penned ‘I Don’t Want To Be Happy’ preceded the gospel of ‘Tell Me’ and light hearted ‘Good Day For The Blues’. Paul Lamb and The Kingsnakes’ eclectic repertoire was to follow from the John Lee Hooker boogie ‘Born To Lose’ to some sweet 1950s Rhythm & Blues and then the Otis Rush styled minor ‘Someone To Blame.’ Better suited to the evening perhaps, therefore the crowd appreciated the numbers Lamb father and son played as a duo. Opening the evening show was Tweedsdale’s regular band, The River Devils and an early highlight was ‘I Just Can’t Say.’ From the middle of the hall, Angus Rose’s keyboards were particularly high in the mix, yet he used them to superb effect on the upbeat ‘Fire In This Town’ while his psychedelic playing on ‘Dallas’ took the song on an interesting excursion. Tweedsdale’s firey slide playing came to the fore on the unexpected encore of Lil’ Ed William’s ‘Find My Baby’ prior to the first appearance in Edinburgh by Charlie Musselwhite in 25 years! Several notable harp players had played, yet with Musselwhite was in another class, no notes were wasted in a true benchmark performance. He graciously shared the limelight with his superb band, the rhythm section of MikePhillips and June Core who powered like a freight train and

Barbera Morrison

Photo by Stuart Strott

FESTIVAL FEVER

young guitarist Matt Stubbs was a revelation. ‘Going Home’ was an exceptional blues rumba, before a take of ‘Roll Your Money Maker’ played with reference to Shakey Jake and Matthew Sam. A bluesed up version of ‘As The Crow Flies’ preceded the rocky ‘Stranger In A Strange Land’. There were no complaints when Musselwhite insisted on the slow blues of ‘Just A Feeling.’ Then the juggernaut of ‘You Know It Ain’t Right’ nearly raised the roof. The band each had their moment under the spot light during ‘Long Legged Woman’ yet it was Musselwhite himself that had the final word with the sublime ‘Cristo Redemptor.’ On the whole, the musicianship at the festival was of a very high standard with an impressive array of diverse talent, yet Blues appears very much the junior partner to jazz, despite the high attendances. Furthermore planning occurs very late, meaning many touring artists are unable to accommodate Edinburgh into their busy schedules. The cancellations do illustrate the point that the festival should look beyond the tried and tested to allow newer established acts greater coverage in future years.

HARVEST FESTIVAL REVIEW @ Fredericton, New Brunswick, Canada. 14th – 19th September 2010

Duncan Beattie

It’s early Thursday evening; already the streets have a hustle and bustle of traffic, people, street musicians and sounds of live music from all corners of the city. People are rushing to catch the next show or to eat to sustain themselves till the early hours of morning. The second night of the Harvest Jazz and Blues Festival in the small city of Fredericton - capital of New Brunswick - is swarming with thousands of visitors to catch this year’s line up featuring the best of Canada’s thriving

blues scene and established world blues acts. It’s been 20 years since Harvest started as a small music event featuring 25 local acts performing around the city’s main venues. Since then, the festival has gone in leaps and bounds facing a fair share of challenges, like 9/11 and the aftermath of Hurricane Katrina, both almost prevented major US acts from performing. The festival now consists of twenty three stages including four public free stages, hosts 100 acts including 12 international acts from Wednesday to Friday making Harvest East Canada’s largest Blues and Jazz festival. It’s quite overwhelming when you initially go through the program getting your head around the number of acts, slot times as well as the venue locations.

There’s always the headache of what to do, when you see two of your favourite acts playing at the same time at different venues at opposite ends of the festival.

Luckily in Fredericton, the venues are within 10 minutes walking distance from each other and you’ll find most acts are booked to play more than once over the four days from the free public stages to the big tents. For example, Matt Anderson -local blues hero and winner of this year’s International Blues Challenge - is playing three shows. Harvest regulars and Grammy award winning blues powerhouse duo Derek Trucks and Susan Tedeschi are playing two nights at the festival’s largest venue the blues tent.

The bill features a wealth of Canadian talent such as Ross Nielsen and the Sufferin’ Bastards whose recent album is produced by Hill Country Blues Revue and North Mississippi All Star multi instrumentalist Cody Dickenson. Up and coming Canadian talent includes Little Miss Higgins, Theresa Malenfant, Monkey Junk – who are featured alongside

Photo by John McDermitt

Matt Andersen, Ross Neilsen & Mike Stevens

Maritime Blues - veterans such as the Downtown Blues Band, John Campbell John and Joe Murphy. There’s also a wave of excitement from locals about the return of Big Sugar, a powerhouse blues reggae rock band from Toronto who have reunited and return after many years.

Other acts from far and wide include Hill Country Revue, Eden Brent and Homemade Jamz from Mississippi. The festival’s ongoing links with its Acadian cousin Louisiana continue with Sam’s Funky Nation and legendary harp player Johnny Sansone while other US acts include Portland’s virtuoso blues guitarist Samuel James. Headlining the blues tents on the first two festival nights are current Rolling Stone magazine favourites Grace Potter &The Nocturnals. Grammy award winning blues guitarist Kenny Wayne Shephard headlines on the final night. One can’t help but notice the creativity that festival music director Brent Staeben and his team have put into planning the bill; sets put together according to themes and music similarities between the various artists. For instance, on Friday the Cajun Cousins Kitchen Party sees Louisiana player Johnny Sansone jamming with Canadian harp players Michael Pickett, Joe Tucker and guitarist John Campbell John whereas “The Mississippi Swamp Stomp,” at the Barracks Tent sees Hill Country Revue

The festival thrives on providing the very best in Maritime hospitality to its guests and this mainly comes from 1,000 local volunteers who help out in a wide range of activities including hosting some of the artists in their homes, selling merchandise and stage managing. In return the festival offers perks for the local community including the “Blues in Schools,” where, during the day, performers such as Samuel James and Eden Brent give pupils an introduction to the blues. For adults there are workshops open to the public where performers share their musical expertise in the intimate setting of a small conference room in Fredericton’s Crowne Plaza. The public are also invited to apply for a Gold pass giving them back stage access and chances to dine with their favourite performers.

After having spent three days exploring the province’s spectacular coastline and local gastronomic delights such as lobster courtesy of New Brunswick Tourism, I arrive in Fredericton to see its historic downtown in full swing, alive with the sound of the Blues. People are already talking about the early evening performance from Australian Blues rock artist Xavier Rudd at the Blues Tent. At 7.30pm everyone’s rushing to make the first of the evening’s main performances. At the Hoodoo Lounge a session called Memphis Gold features Samuel James; Mississippi blues pianist/singer Eden Brent and Matt Anderson. By the time I get to the Blues Tent, Harvest regulars Derek Trucks and Susan Tedeschi are into their set. With a new line up including a couple of old members from their individual bands, the husband and wife team play their latest material, they also thrown in a couple of old favourites from both their solo careers; including “Sailing On,” and “700 Houses.” Derek wows the audience with his guitar skills complemented by his wife’s dexterity on guitar. After the set, I chat with the couple in their truck and they both tell me that between them, they have 400 songs so they’re never short of material to play.

The main show-stoppers that night are Grace Potter & the Nocturnals who play the Early After Burner at 10.30pm until midnight. Originally from Vermont, the 27-year-old blonde haired singer has already been hailed as the new Tina Turner. Tonight, her band have turned up on stage in retro-look suits complemented with seventies style haircuts. Grace steals the show in a short black sequined tunic dress, strutting from her keyboards to the microphone showcasing her skills as a musician and her powerhouse vocals. Recently applauded by critics for their album “This is Sometime,” the band belt out their seventies retro blues driven with rock overtone sound. Next morning, talk is buzzing about the night before - in the same breath people mention the Nocturnals’ performance and “that dress!” Harvest is a festival where there’s something for everyone. If you want to party till the early hours of the morning, then the Afterburners after midnight provide more live music. If you’re an early bird, there are the free performances at many of the city’s public spaces from 11.30am.

If you like to burn the candle at both ends you are spoilt for choice. After a rather late first night I find myself next morning outside an unassuming shopping mall amongst a large crowd of people watching Canadian blues artist Joe Murphy & The Water Street Blues Band perform. Part of Halifax’s Blues establishment, Murphy has been playing the circuit for twenty years alongside greats like John Lee Hooker whenever they are in town. In 2002, he recorded an album with his Louisiana peer Johnny Sansone. Joe’s set has various traditional Blues numbers which he breaks up with some entertaining anecdotes.

Photo by Eric Thom

Kenny Wayne Shepherd

Throughout the festival, the Garrison District Ale House offers the perfect opportunity for an early afternoon warm up before the evening shenanigans. Formerly a bank, the venue proves to be the perfect venue for Canadian blues artist Little Miss Higgins. On the final day she entertains dining visitors with her pre war blues sounding songs, set against harsh Saskatchewan winters with cheeky lyrics such as “Glad Your Whiskey Fits Perfect inside My Purse.” Her material and style of guitar playing is reminiscent of Memphis Minnie who she later cites as her major influence. I also visit the Ale-House to catch the great Blues guitarist Samuel James in a more intimate setting. Described as “the last of the great black American troubadours,” his one-man show seems overshadowed by an ongoing beer festival and fails to ignite the juke joint revelry it’s worthy of but regardless, Samuel seems pretty relaxed considering his busy day which has involved getting up early to visit a school. Fortunately, I manage to catch Samuel James’s later performances at the Hoodoo Tent. Tapping his foot for the effect of percussion while playing steel guitar, his style is in the same vein as Booker T White Washington or Son House. But, cleverly the 27 year-old guitarist keeps his material fresh by using the traditional Blues form to tell modern day fairy tales of Asian outlaws and the quirky vagaries of American life.

For someone like me who comes to the festival as bit of a novice on the Canadian Blues scene, the Friday bill is an excellent showcase of the country’s finest blues talent. In the Mojo Tent, the atmosphere electric as local hero Matt Anderson teams up with old school friend Ross Nielsen. Harvest is a big home coming for Anderson whose career was launched here back in 2002 after he won the festival’s Galaxie Rising Star Showcase. Speaking backstage he told

Blues Matters how the festival has been a great opportunity for evolving Canadian blues artists.

“This is the biggest festival in Canada, East of Montreal. The festival musical director is really good at bringing in the big international acts and also supporting the local acts which a lot of festivals lose sometimes.”

Matt is a great showman, plays with a fiery passion especially when he closes with the final lines of his track “Devil’s Bride”. Members of the Canadian blues establishment Joe Murphy, Michael Pickett and John Campbell John accompany Louisiana harp player Johnny Sansone on an interesting brew of Acadian Cajun Blues. The climax of the festival is the return of Toronto powerhouse rock band Big Sugar at the Blues Tent also featuring a well engineered collaboration with fellow Toronto rock band; The Trews, pure dynamite on-stage, the audience in near frenzy. Big Sugar play an interesting hybrid of rock, blues and reggae, at the helm is the larger than life lead singer Geordie Johnson dominating the stage with his two-necked guitar. At various points during the set members of The Trews and Monkey Junk’s Stephen Marriner on harp join him. The show ends in a grand finale when Geordie reveals the back of the guitar with the Canadian maple leaf on it! I head back to a dimly lit Garrison Ale House to catch a late gig from up and coming New Brunswick star Keith Hallett. Aged 21 he’s already been nominated for a Maples Blues Award and like his predecessor Matt Anderson he also competed in the Memphis Blues Challenge earlier this year.

Photo by Barry Calhoun

Photo by John McDermitt

Saturday is a grand finale of a final day. It’s a bright sunny morning and festival - goers have descended on the weekly farmer’s market for brunches. US artists such as New Orleans trumpeter Kermit Ruffins, Big Sam Funky Nation and Kenny Wayne Shepard arrive for their evening performances. I meet Kermit Ruffins before his afternoon performance at The Playhouse and he tells Blues Matters how Harvest will always be special to him as a result of what happened in the aftermath of Katrina, when they turned up in Fredericton with nothing! “We were booked right before Katrina. After the hurricane, we got a call from our manager saying we have a Canadian gig. We got there and were treated real nice; they gave us travel bags and suits. We had such a grand old time.” Themes of the final night revolve around Mississippi and Louisiana music. First at the Blues Tent Monkey Junk wow the crowd with their blend of Louisiana swamp rhythm and blues and funk. Mississippi youngsters: Homemade Jamz Blues Band take the tent by storm with their off stage antics which includes the brothers diving into the audience. They’ve been staying in the city the past few days with one of the volunteer families and proudly declare on stage that Fredericton is now their second home. They probably played the most performances at the festival.

Susan

Kenny Wayne Shepherd, brought in to replace Jonny Lang, is the headline act of the big blues stage playing hits such as “Blue on Black,” & “King Bee,” to audience delight. Already there is euphoria about the release of his new album, “Live! In Chicago,” featuring performances with legends such as Hubert Sumlin and Willie “Big Eyes” Smith at the House of Blues. Meanwhile, a couple of doors away, the Mississippi Swamp Storm is in full rage with the excellent Ross Nielsen and the Sufferin Bastards playing alongside their buddies Hill Country Revue who were invited to Harvest by the New Brunswick band. It’s been a great year for Ross who recorded his new album Redemption in the studio of late blues producer Jim Dickinson in Mississippi with his son, the Grammy nominated producer Cody Dickinson who also leads Hill Country Revue. As a result, both sets this evening are a wonderful combination of the hill country Blues of Northern Mississippi & Allman Brother’s style southern rock. Hill Country Revue’s new album is called Zebra Nation, the name given to Cody’s late father’s studio.

The grand finale of the night is back at the Blues Tent with New Orleans band Big Sam’s Funky Nation who gets the audience dancing till the early hours of the morning with their funky Big Easy groove. The band finishes around 1.30am but in the tradition of any Blues night still too early for many. Rumours are rife around the city as to who’s going to play at the late night /early morning jam at the festival after-show. Unfortunately, the legendary Harvest cold seems to have taken its toll on me so I head back to my hotel room to sleep, in preparation for an early morning hike around the Bay of Fundy. When I wake up there’s silence on the streets of Fredericton as the city sleeps off the past four days…..ah, what an event this was. Note: must book up for next year!

Feed Me

Paromita Saha

Maryport Blues Festival 2010, Maryport, Cumbria Friday 23rd - Sunday 25th July 2010

The Maryport Festival this year featured over forty bands and a hundred and fifty musicians spread across the main marquee, the Trail and The Wave Theatre. Most people believe Maryport starts on Friday night but that is not actually true, it starts the day before. Thursday night is a free family friendly event, with no alcohol allowed, where families

Grace Potter

Photo by John McDermitt

Tedeschi & Derek Trucks

Photo Alan White

Photo by John Pollack

FESTIVAL FEVER

can come along and in safety get there children what is often a first taste of live music. The ambience is totally different to the main festival and more child and youth centred, with performances being given by local young bands that were represented in the annual ‘Battle of Bands’. Soft drinks, crisps, candy floss and a bouncy castle replaced the bar on the night. The remarkable feature that Thursday evening, was to watch young people some in prams and others just coming to adulthood stood together watching music, with a level of good behaviour not often accredited to modern day youth and the music on show although crossing multiple genres of a good standard to boot and turned the event into a highly enjoyable evening when the traditional opening act were Feed Me, the winners of The Battle of The Bands Competition and it wasn’t hard to see why. Maybe, a touch nerves in the first couple of songs, but who won’t be with their first opportunity to showcase themselves to the Blues Fraternity Feed Me provided an impressive set of Blues and Blues Rock. They are a band to keep an eye out for, as they now begin to climb the tricky music ladder to success. They were followed on stage by Greg Wright, a Texan son now based in California. Greg played mainly self-penned music with a smattering of classic Blues songs. A lefty with the axe strung right handed, Greg displayed a masterful demonstration of what you can do with a Strat throughout his performance, allied to a deep gritty Blues vocal and superb stage presence. The audience now suitably warmed up with the preceding acts and prepared itself for the arrival of The Hoax and they were not disappointed! This was a crowd busting performance, of high instrumental and vocal impact with all that Hoax stage persona, that did and now reformed, marks them out as a band to be reckoned with on the Blues circuit. Last act of Friday evening was Paul Carrick, UK singer, songwriter and multi-instrumentalists. Carrick has a long pedigree in the music and his performance displayed why both vocally and instrumentally. Although known as a Blue Eyed Soul singer, it would be fair to say that, there quite a few among the Blues punters who questioned whether he should have been at this festival, not on the ground of his performance which was top class but with his Blues credentials. That said, the same reservations were echoed about Mica Paris. Saturday was a full day and it was a trot down the hill into the town to see, the musician no UK festival is complete without on the trail, Unfortunately, Sean Webster had had fallen from a ladder while undertaking his other career as a tree surgeon and fellow Nottingham musician Kev Thorpe had come to the recue and taken over Sean’s set. Mr Webster was not going to be kept down even by a broken arm and joined Kev vocally on three songs. All three songs were self-penned by Kev and it made for a great duet! It was then back up the hill to pick-up one of 2010’s, major young successes, Virgil And the Blues Matters! 74

All photos on these pages by Alan White

Booker T

Robert Cray

Popsy Dixon

Accelerators. They launched into their performance, again with a little bit of youthful nervousness at the start but that was soon blown away with a performance of spectacular guitar work and vocal from Virgil, immaculately supplemented by Tom Sansbury on bass and additional vocal. Young Gabriel McMahon was an extra pleasure to watch on drums, sixteen years and already playing that like someone twice his age and it was plain to see that Gabriel put his heart, soul and every bodily sinew into that perform. The Marcus Bonfanti Band had the job of following the young blues warriors on stage and did so with style. Marcus is becoming a bluesman now for the young to emulate, deeply rooted in the Blues, but with the a modern outlook and a way of interacting with young people, which was evident at the Workshop he gave on Sunday morning, Marcus is a good addition to those forwarding the future of the Blues. His performance and the bands to say the least was impressive. Marcus and his band made a return appearance as they provided extra musical accompaniment to Paddy Milner and the Big Sounds. Also joining the collective was Sandi Thom’s guitarist, Randall. This combination of musicians under the leadership of Milner produced a selection of music that elicited sounds of New Orleans, Jug Band Blues, Jump Blues and Jazz from the pen of Dave Brubeck, a pure Blues ballad from Memphis Slim and concluding with a number full of fun and party atmosphere built around the Blues, jazz, rock and soul, eliciting vivid images of a carnival. Saturday evening’s performance commenced with Bex Marshall and band. Bex is a real Blues mama in both ability and persona. With her deep alto vocal with its Blues grit and impressive intonation, she kicked off her performance with a gospel sounding number that wove itself into a Blues rock ballad of merit. Her second number was a new song titled ‘Guilty’ which is a Blues Rocker, full of soul and worth listening out for in the future. Bex Marshall certainly showed herself to be a force to be reckoned with in the Blues and very uniquely offered one of those rare occasions where you see women en-mass forcing themselves to the front to watch and listen. She was followed by Mica Paris her soul and RnB set unfortunately falling on deaf ears of the Blues punters but loved by those there to see her.

Booker T concluded the day’s events with an RnB and soul laden performance, commensurate to his legendary persona. Sunday afternoon saw The Rory Ellis duo from Australia opened the proceedings. A highly likeable duo, full of raw Australian humour, good musicianship and very much a crowd pleaser. They were followed by Hokie Joint, who it can be argued put on one of the star performances of the weekend. Any band that included Giles King is going to be of musical merit and professionalism. Add in frontman JoJo with his consummate showmanship, eye for theatrical costume, facial eccentricities and hard hitting vocals and you have got something special and it showed. Hokie Joint were a hard act to follow but you couldn’t have asked for a better contrast than a rare UK performance of The Holmes Brothers taking the tempo back to the roots that Hokie Joint had sprung from. The much awaited Sunday evening performance was kicked off by Canned Heat. Although an excellent performance, perhaps not as Blues as their sixties roots and hits would suggest. The set with its pentatonic rock solos saw them in a more solid rock light, but this was not the sixties and like all bands Canned Heat has developed with time away from their Blues root. The ultimate act of the night and festival was a much anticipated performance by Robert Cray, entering the stage to a crescendo of applause, Cray set about wooing the assembled both vocally and through his passionate guitar playing. He left the stage with tumultuous cries for an encore and a fitting close to Maryport 2010.

Carol Borrington

Bex Marshall

Paddy Milner

With a noted debut album and several successful festival appearances behind them Hokie Joint are set to take it all forward to a new level. They recently released a video; ‘The Way it goes… Sometimes’ as an extra in the independently made vampire-cowboy horror flick ‘Umbrage’.

The film has attracted attention and heightened anticipation for their new album planned for year end release.

“After two years of struggling people are starting to realise that Hokie Joint exist” says their charismatic vocalist Jo Jo Burgess. The line-up with Joel Fisk’s full guitar style, Giles King’s tasteful harmonica, the solid swing of Fergie Fulton on bass and the ‘elegantly wasted’ Stephen Cupsey Cutmore on drums works together as a really tight ensemble all adding up to a cohesive musical and visual image. We met briefly during an interval in recording recently and the band exuded a ready confidence.

‘We’re working on an album that’ll kick the blues scene in the teeth’, said Jo Jo, ‘Were writing blues based songs about what we know and not what we’ve heard other blues artists know’ played some extracts from the album and it‘s just that; very original blues based songs themed on the band’s own life experience.

The basic classic American rhythm section still hits the back beat but all sorts of interesting influences are appearing; East European and other modal scale based stuff outside of ‘strictly blues’.

The band agreed that they are ‘not trying to fit into a particular scene any more’ that they’ve ‘found their identity as a band’ and are fully tuned into ‘people want to be entertained’.

Judging by what we heard the people are going to be very entertained and the album will really challenge accepted views.

Blues Mattes readers are in for a treat next issue as we sit down with the band and talk in detail about the new album. You’ll also be able to hear it via Podcast on

www.bluesmatters.com

Set to Break The Mould

Photo by Alan White

photo by Christine Moore

Jo Jo Burgess

ERIC CLAPTON

Releases with a Blues vision

The 1960s Review

Chrome Dreams DVD

The thing about a good blues song is that no matter how many times you play it, it never gets to be boring. You could say the same about a good story, and this superb 120 minute DVD covers the life of Eric Clapton from schooldays through to Blind Faith. Most of us old crusts who’ve been around long enough think we know the ‘Clapton is God’ period well enough, but it is to Chrome Dream’s credit that the smoothly-edited mix here of talking heads, photography and atmospheric footage offers many fresh perspectives. It’s a 1960s blues who’s who in many ways; interviews with Paul Jones, Tom McGuinness, Dave Kelly, John Mayall, Chris Dreja and many others, including the erudite scribe Alan Clayson and ex-Melody Maker journo Chris Welch all combine to flesh out a genuinely fascinating – and very important – chapter British musical history. Oddly enough, there’s a strapline on the DVD packaging which proclaims ‘This DVD is not authorised by Eric Clapton, his record company or management’. As a simple fan and viewer, I find this corporate attitude cold and aloof, but sadly that’s the way the music business has evolved over the years. If you’re under 30 and into the blues, and you’d like to know just how fraught its early development was in this country, then you’ll not leave the sofa for two hours. There’s the odd interview with God himself, from various periods, footage of Cream and Blind Faith, among others. However, the overall appeal of this well-produced and directed film is that it holds your attention for 120 minutes, offers new insights into blues guitar, and even provides a few laughs. A must for any true music fan’s collection.

Roy Bainton

ERIC BIBB WITH DAVE BRONZE

Live at The Basement DVD

Manhaton Records

This DVD was recorded live at The Basement nightclub in Sydney, Australia on 21st March 2002. Its running time is eighty-four minutes and concert audio in Dolby Digital 5.1. The DVD, as well as including the live gig, also has bonus footage. This consists of a rare documentary with Eric Bibb. Acoustic performances of ‘My Mailda’, and ‘Sebastian’s Tune’. There is also a special studio performance of ’Kokomo’. The DVD also sees UK bassist Dave Bronze playing alongside Eric Bibb. Bronze was the Eric Clapton Band’s guitarist from 1994-96 and joined Eric Bibb in 1999 to 2004. The sound on the DVD is superb and so is the close-up shots of Bibb and his guitar work, pan-outs though are little on the dark side but this does not distract from the DVD. The whole recording is of Bibb singing

and playing electro acoustic accompanied by Bronze on five string bass doubling as percussion and rhythm. The concert comes across very relaxed and a first class performance by both musicians. The songs performed are mixture of self-penned music, and traditionals arranged by Bibb and one cover. Bibb’s electro acoustic version of the traditional ‘Needed Time’ is absolute perfection. Beautiful in its simplicity but that should not be seen as taking away from the passionate vocal rendition and the guitar work going on by both musicians in this piece. The Instrumental ‘Sebastian’s Tune’ truly focuses you on Bibb’s guitar work, which is fluid with a fine demonstration of thumb fretting, finger picked arpeggioed chords and as heartfelt in its rendition as the look revealed on Bibb’s face, gently smiling throughout. For Eric Bibb fans this is a must but one also for all blues fans, who like Bibb’s style of acoustic Blues and Blues gospel.

Carol Borrington

JACKSON BLUES GUITAR, ATLANTA BLUES GUITAR & BOTTLENECK BLUES GUITAR

Stefan Grossmans Guitar Workshop

Three new releases from the famous Stefan Grossman guitar workshops, the first two being by the same tutor, John Miller. These two are definitely for the enthusiast of early twentieth century finger picking acoustic Blues from obscure players The format is the same in both DVDs, with John, sitting in a room in front of a dark backdrop with his guitar. He sets out to dissect the playing style of each artist, after first playing and singing the relevant song, there are six on the Jackson DVD and seven on the other. At the end of each DVD there are audio versions of the original artists playing, and for the most part, they are quite primitive recordings with abysmal sound quality. I found Johns teaching style to be quite boring, and I have to confess that I was nodding off after a couple of songs, but worse than that, I was surprised to find that the video format did not really show enough of what he was doing, and it wasn’t possible to see where he was placing his fingers. In fairness, he did talk it through, but this only created more confusion, and overall I was quite disappointed with both of the first two DVDs. It does say that they are for intermediate players, and I would certainly agree with that. It was supposed to be possible to download a PDF file showing the tab and notation for all of the songs, but I was unable to access it after several attempts, and I gave up. The third DVD (Bottleneck Blues Guitar) is tutored by Stefan himself and is straight away of a different calibre, for a start it consists of two DVDs, covering over twenty songs in Open G and open D tuning It

also includes rare footage of the artists playing their songs, artists such as Son House, Furry Lewis, Jesse Fuller, Bukka White, Fred McDowell and Mance Lipscomb. These were probably mostly shot in the fifties and sixties and consequently the sound and picture quality is of a much higher standard that the first two discs. Stefan himself is a much more user friendly tutor and the style is much easier to follow, not only does he play the songs, but tells stories of the times that he met and played with these artists, and also throws in asides showing the variations that were often incorporated, and the different slant that other artists put on the same songs. Whereas the first two DVDs were aimed at the specialist student, this one is much more wide ranging, covering some well known songs such as Spoonful and Good Morning Little Schoolgirl, songs which are equally well played on electric as they are on acoustic, and thus appealing to a much wider audience. The two DVDs run for almost 4 hours, and I would rate them excellent (I still couldn’t download the PDF file though!) I will be referring to this one for a long time to come!

Dave Stone

RORY GALLAGHER

Capo/Eagle Vision

2-DVD Set

When we list the great guitar players from this side of the Atlantic, we’d probably say Clapton, Peter Green, Jeff Beck, Richie Blackmore, Albert Lee … but Ireland’s late Rory Gallagher would still have to be in the top five. This double DVD set is one helluva tasty package. At 179 minutes running time, you not only get a featurelength documentary on Gallagher’s tough rise to fame, but 16 live performances from the Beat Club sessions 1971-2. There are many revealing contributions from a veritable galaxy of stars, including U2’s The Edge, Slash, Bob Geldof, and, most poignantly, Johnny Marr. There was something rather moving about Marr’s story of waiting outside a stage door in Manchester to meet his idol one very rainy night, then missing both the bus and the train, and having to walk the many miles back home, soaked, yet basking in the warm memory of meeting Gallagher. Rory was the consummate blues aficionado, a dazzling master of the Stratocaster and Telecaster, a terrific slide guitarist who wrote much of his material. His story was one of his band, Taste, being ripped off by management, and struggling against being made into a ‘pop’ star by the convention of releasing singles. Watching his fretboard wizardry on songs such as In Your Town and Should’ve Learned My Lesson, you realise that his powerful riffs and fluid style were miles ahead of many of his contemporaries. He was a huge, fearless talent; I recall one story of him playing a theatre gig when a power cut occurred. Undaunted, he brought out his acoustic, and by candlelight played the whole gig with no amplification. The documentary ends with The Edge unveiling a street sign in Dublin – Gallagher’s Corner – and it warms your heart. This DVD set is a thrilling night in for anyone who remembers Rory – and a total revelation for Gallagher newcomers.

Roy Bainton

ROBBEN FORD TRIO New Morning- The Paris Concert Inakustik

This DVD was recorded in 2009 at The New Morning club, Paris. The venue seats approximately 250 with punters at tables arcing around a good sized stage, with good lighting for this size venue. It was filmed in HDTV mode and the quality is generally good though when viewed on a computer screen at full size, it has a tendency to look pixelated on full stage shots. There is a good mix of close, full stage and audience reaction shots throughout. The sound quality is good and well synchronised. The main concert lasts for 90 minutes and 13 songs are included. There is a bonus of two tracks recorded at the same gig when Larry Coryell playing Ford’s Sakashta guitar joins the trio on stage and feeds in some jazz riffs to Ford’s Blues ones. The trio itself, as one would expect, nail this performance, Ford fires in with his Jazz Blues fusion of deftly controlled and felt techniques, without ever trying to blow a hole in your eardrums. For a delicate emotive Jazz Blues solo try ‘Earthquake’. Meanwhile Travis Carlton (Larry Carlton’s son) more than ably supplies the rhythm and often melody on his five string bass. If you like Bass solos see Travis’ in ‘Moonchild Blues’ you won’t be disappointed. Toss Panos is a drummer who needs to be seen to be appreciated, and this DVD does just that. There is more input into his fills than possibly any other drummer I have seen and it is an absolute pleasure to watch him in the solo sections and close ups. For an excellent drum solo see the one at the beginning of ‘There’ll Never Be Another You’. This DVD is good for any fans of Jazz or Blues.

Carol Borrington

ANDY TWYMAN

Chickenbrain Independent

It’s an absolute pleasure to find a young, self proclaimed “teenage one-man-band juke joint punk blues” performer. Even better, young Master Twyman hails from that hot bed of the Mississippi Blues that is East Grinstead. Oh, yes, indeed. Seems like Sussex is the new Delta, especially if this album is anything to go by. For Andy Twyman is influenced by the likes of R L Burnside, T Model Ford and Cedell Davis. So, looks like someone was brought up on a diet of deep fried Fat Possum! And guitar wise he can certainly cut it, as he rattles his way through thirteen tracks of ramshackle Blues. He started out playing the Blues in a more conventional format, but now that he’s getting on a bit, he decided to come back with a fresh take on his music. He also belies his youth with some gutsy vocals that make up for what he lacks in technique with plenty of feeling. You’ll recognise a lot of the tunes here with the likes of ‘Smokestack Lightnin’, ‘My Babe’ and ‘Terraplane Blues’ all getting an airing. There are a couple of songs that don’t work, but for a fellow just out of short pants, the boy done good.

Stuart A Hamilton

DIABEL CISSOKHO & RAMON GOOSE

Mansana Blues

Dixiefrog

Well known for his work with the alternative/ experimental group Nublues, Ramon Goose has seen fit to follow many of his elders into exploring the roots of the Blues in West Africa. In 2009 he traveled to Dakar where he played with many of the finest African musicians and where the germ of an idea to record “Mansana Blues” was born. Linking up with Senegalese kora player and renowned griot (someone who delivers history as a poet, praise singer, and wandering musician), “Mansana Blues” brings together the Blues with its spiritual homeland and the result is both mesmerizing and irritating at the same time. Like its forerunners, Ry Cooder with Ali Farka Toure and Taj Mahal with Toumani Diabate on “Kulanjan”, the music has its own place in the history of the Blues but can only reach a narrow audience because of its very nature, appealing to only a few. Rhythmically and musically there is much to admire here but the major drawback is the lyrical and vocal content, being in Mandinka, Peul, Woloff and occasionally English. It’s this which is a great barrier to the wider audience. Goose and Cissokho play off one another and compliment each other throughout. In fact Goose and Cissokho’s styles are extremely empathetic to one another and there are some tremendous moments of slide playing behind the vocal, particularly on the title track and ‘Totoumo’, perhaps the most straight forward sounding Blues in the whole set. Instrumentation is pared

ANDY WHITE

Songwriter

back throughout, with a minimum of accompaniment as in ‘Talibe’ where the Kora and electric guitar are backed with only a double bass. Again Goose’s playing is totally suited to his environment. An album for those with an adventurous spirit, but for me, I wish it had been an instrumental release.

Merv

Osborne

Floating World Records

This is the tenth album from ANDY WHITE despite being promoted as a rootsier than his previous albums; the reality is this is a long way from the blues. With lyrics that are ponderous, shallow and full of contrived cheesy rhymes that float unconnected to the pleasant but unmemorable tunes. There is nothing earthy or distinctive a pleasant sound that in reality irritates you like the incessant wasp around a jar of jam at the breakfast table. The musician ship has a meandering tinkling quality and lacks the bedrock of a strong rhythm section to give tonal depth. How can a song titled ‘If You Want It’, whose chorus line includes the phrase ‘it’s the last long evening on the planet...’ be delivered as a delicate perhaps charming ballad – where is the despair? where is the blues? At best ‘Songwriter’ can be described as pleasant, inoffensive but it certainly has no place in a Blues collection.

Liz Aiken

BROOKS WILLIAMS

Baby O!

Red Guitar Blue Music

Blues Americana singer/songwriter and guitarist

Williams hails from Statesboro, Georgia and now lives in Cambridge (UK) and tours the world performing his intense interpretations of songs ranging from early blues to his own recent compositions. Williams has been on the road for 24 years and this is his 17th CD which was recorded in Bristol and engineered by Andy Bell of Seasick Steve fame. Opening track ‘Frank Delandry’ is the sad and beguiling tale of a forgotten New Orleans guitarist and features fiercely strummed acoustic guitar with tasty slide fills and understated backing vocals from Helen Watson. The backing band, are absolutely spot on and includes David Goodier on double bass, PJ Wright on slide, dobro and pedal steel and Keith Warmington on harmonica. Son House’s ‘Grinnin’ In Your Face’ is a beautiful rendition of an old blues standard and the original ‘Walk You Off My Mind’ is a tale of lost love featuring a superb harp solo. Keening pedal steel guitar adds a country tinge to ‘Last Chance Love’ but the pace quickens for the bouncy, infectious rhythms of title track ‘Baby O!’. Even an old chestnut like ‘Amazing Grace’ comes up smelling fresh as a daisy with a breathtakingly beautiful instrumental version on solo slide guitar. Mississippi John Hurt’s ‘Louis Collins’ is given a gently rolling cover before we are treated to the funky, bluesy,and foot stomping groove of ‘Sugar Sweet’. The album closes wth the swinging strains of Duke Ellington’s classic ‘I Got It Bad (And That Ain’t Good)’ and I’ve already marked this one down as a contender for acoustic album of the year. It certainly is classy, tasteful, bright and hugely enjoyable.

Dave Drury

BOBBY DAY

Rockin’ With Robin

Hoo Doo CD

If Bobby Day had only recorded ‘Rockin’ Robin’ his place in the annals of R&B would be assured. Yet he did much more, such as the uplifting, toe-tapping ‘Little Bity Pretty One’, and although later artists had far more success with his songs than the man himself, (among them Michael Jackson and The Jackson Five) what immediately strikes you when listening to this is the sheer, chirpy fundamental vibrancy of original rock’n’roll. The first eleven tracks on this splendid 24 track collection were recorded in California between 1957-58, and released as Day’s first album in ’58, entitled ‘Rockin’ Robin’.You can feel the sun-kissed difference between New York City rock recordings and those from California. These tunes are full of natural elements; as well as ‘Robin’ you’ve got ‘Honeysuckle Baby’, and the romantic ‘When The Swallows Come Back to Capistrano’. The 13 bonus tracks are no less impressive, and the line-up of musicians on some of these early recordings often throws up some surprises. For example, here you’ll find the great jazz guitar giant Barney Kessel, (who played with Charlie Parker and Lester Young) with some fine saxophone from Plas Johnson, famous for the sax solo on Henry Mancini’s ‘Pink Panther’ soundtracks, as well as being a sideman for Frank Sinatra and Ella Fitzgerald. There are curiosities here, too, such as a well-sung version of ‘Unchained Melody’ (a big hit later for the Righteous Brothers) which is peculiarly dogged by some weird backing vocals from The Satellites. All told, this is a fine collection of early R&B from one of the best decades of American music, and Mike McDowell’s liner notes tell you all you need to know. Superb.

Roy Bainton

BRAD VICKERS AND HIS VESTAPOLITANS

Stuck With The Blues

Man Hat Tone records

The fun starts here on title track‘ Stuck With The Blues’, a NOLA or maybes Windy big City motivator with guitar straight outta the Chuck Berry impossibly wonderful but close to collapse paradox box. ‘Cold Fish’ is built on a sax bedrock, a horny country Blues with spunky guitar picking, a distant relative of ‘Catfish Blues’, via Allen Toussaint and King Oliver. Shake your wobblies, baby to ‘What About Me?’, iconic 50s rock ‘n’ roll in the exhausting Jerry Lee Lewis ‘Breathless’ tradition. Jelly Roll Morton’s ‘Winding Boy’ takes me back to those wonderful scratched 78s we bought from the hall next to the Prince of Wales after a Saturday lunchtime sesh in 71’s long summer. Chuck Berry’s eternal motor song ‘Jaguar and The Thunderbird’ rolls like a bastard, I just hope the state troopers don’t clock ‘em as they burn up the highway. ‘They Gave Us The Blues’, sincere tribute to the founding fathers of the music we love so much, is a Blues history lesson encapsulated in a skanky, imaginative, open-eyed six minutes, three seconds. You see the album’s title – what you see is what you get, and you’ll be chuffed at what you get.

Pete Innes

CHARLES WALKER

Soul Stirring Thing

2010 Blue Label

CHARLES WALKER stamps his style, conviction and talent in the opening and title track ‘Soul Stirring Thing’ he is delivering the best of soul not retro imitation but lyrics

THE ANDY POXON BAND Red Roots

Independent Release –www.andypoxon.com

and melodies that have taken soul forward into the 21st century. Blues fans will find plenty of authentic sounds here – notably the Stan Webb (Chicken Shack fame) penned ‘The House That Love Lives In’ but elsewhere Walker offers surprising twists to the format on things like ‘My Buddha’ and Tom Waits’ ‘San Diego Serenade’. Both are interesting if unspectacular and that’s the issue with the album. The album ‘Soul Stirring Thing’; is a good album but not for the Blues purist, though no one should fail to recognise that authentic soul music is deeply rooted in the blues and this is an authentic soul album combining Charles Walker’s vocal skill with four quality musicians. Despite this the album is pleasant but lacks the killer track(s), with a big production that stands out from the crowd to make it a truly memorable album.

Liz Aiken

Well, I checked and rechecked this one – see; teenage Blues guitarists may be rare but are not unknown, though tall, gangly, freshfaced 16 year olds with huge red afros are perhaps less common. Even so, I can’t quite figure how Andy has come up with such a mature set. I thought maybe the photographs had been taken a couple of decades ago at least, but I was wrong. Take a listen to this set and you’ll see my problem: all the songs are originals, penned by Andy and displaying an insight and depth not usually associated with teenagers, and his singing voice also sounds mature and soulful. He is a master of Blues and roots guitar styles, whether it is the rockabilly styled opener, the country inflected ‘When’, the blues ballad ‘I Want You So Bad’, the soul inflected ‘I Need My Girl’ or the traditional-sounding Blues ‘I Hate Being Alone’ and the slow ‘Is There Anything I Can Do’ – and he never overplays, not even on the Blues-rocking ‘I’ll Sing The Blues’. I feel fairly safe in saying that the Blues world is going to be hearing a lot more of Mr. Poxon and his tight little group – I certainly hope so.

Norman

Darwen KENNY WAYNE, JULIAN FAUTH, CURLY BRIDGES, BOBBY DEAN BLACKBURN. Blues Piano-Rama Electro-Fi records

This is a live recording of what the label says are ‘a quartet of Piano Maestros recorded in Canada in October 2009. With 175 years of collective keyboard Mojo behind them, I agree – there is some mighty sweet Boogie Woogie on this fine album. The opener, ‘Boogie Woogie Showdown’ sets the scene in a fine way and is what it says it is – good old Bogie Woogie. Lovely stuff. The second track, ’24 Hours A Day’ extends it and contains some cool trumpet work. Juno award winner Julian Fauth then joins with Bobby Blackburn for ‘All Night Long’ before doing a solo stint with ‘Blues For Mel Brown’, a late night Blues with some nice guitar and harp thrown in. The audience reaction towards the end of this track tells it all – wonderful music! A Curly Bridges track, ‘You’re The One’ is another straight Blues with some good vocal and playing. ‘Something’s Going On

In My Room’ by Kenny ‘Blues Boss’ Blackburn concludes the collection. Weighing in at over eight minutes this ends the session with a bang. The audience loved it too. Good guitar work from Chris Whiteley and some lovely keyboard runs from Kenny Blackburn. This is a fine recording from some very talented pianists performing at their best. I loved it!

BILLY PRICE & FRED CHAPELLIER

Live On Stage –Night Work Tour

Dixie Frog

These two guys recorded the excellent “Night Work” album back in 2009 and this comes from two nights of the tour that promoted that well-received CD.

Kevin Wharton

French guitarist Fred is a firm follower of Roy Buchanan (though he does not limit himself to one style) and vocalist Billy worked with the late great way back in the 70s – so it was natural for the two to team up back in 2007. They have continued to work together and this release presents them in front a tight, superbly disciplined band (listen to those horns!) that includes Billy’s pianist Jimmy Britton. Though a fine Blues singer, Billy has a real flair for that good old soul music, particularly of the Memphis variety –his versions of O.V. Wright’s ‘Don’t Let My Baby Ride’

and ‘A Nickel And A Nail’ (which Buchanan also recorded) are wonderful. Fred’s guitar playing matches him to a ‘t’ –check out his solo on the opening ‘Keep It To Yourself’ for a good example, though there is really an embarrassment of riches here – and just when you thought it couldn’t get any better, you can listen to the album and then watch a live, very professionally produced DVD. Recommended then? Of course!

Norman Darwen

JOHNNY WINTER

Highway 61 Revisited Music Avenue/ Blues Boulevard

At the tender age of 66, Johnny is still more than capable of wringing out his famous Texan swaggering, staggering and dextrously hard line crunching guitar solos, along with his exuberant fast flying sliding flurries. When the guitar is in his hands, he has the appetite and vigour of a youthful 20 year-old and like the true Bluesman he is, he still is in there grindin’ and stompin’ out the Blues for all and sundry. This live album has Johnny together with Jon Paris on bass and harmonica and Bobby “T” Torello on drums, and together they attack (with great gusto) 12 Blues and rock standards such as ‘Hideaway’ - which is torn into with zest and feeling, much to the great appreciation of the audience. Numbers such as ‘Killing Floor’, Taj Mahal’s ‘E.Z. Rider’ and ‘Catfish Blues’ are given the full Winter Texan treatment. On ‘Stranger’ the mood is somewhat more reflective, whilst Bob Dylan’s Highway Sixty-One Revisited’ is nothing less than a full tilt, heads down guitar slider. The album finishes with two wonderful blasters, ‘It’s All Over Now’ and ‘The Crawl’. If you like Johnny Winter this is definitely for you!

Brian Harman

BO DIDDLEY

Live In Eighty-Five

Blues Boulevard/ Music Avenue

Bo Diddley was always one of the most idiosyncratic of the Chess artists in Chicago; his music was a huge influence on the early sixties Blues boom in the UK, even if he was, with some level of justification, dismissed as a one song man – but what a song, what a rhythm, shave and a haircut, six bits, thrashed out of Bo’s customised guitar and with a manic drummer pounding away. And besides, he did other things too – this set, recorded in California in 1985, opens with the boasting, selfaggrandising ‘I’m A Man’, which Muddy Waters borrowed. What makes this set different though is that Bo brings together many of those who were inspired by his sound – Ron Wood, John Hammond, Carl Wilson, John Mayall, Mick Fleetwood and Ronnie Lane, to name just a few – so that this is a supercharged, hell-for-leather session, a true shared celebration of Bo’s legacy, and a good time is had by all, make no mistake. Chuck Berry, no less, sits in on three numbers, though his tracks are perhaps over-busy and include ‘My Ding-A-Ling’. There are no such problems with Bo’s tracks though - they hit the groove and stay right there, and that’s really all they need.

Norman Darwen

BUDDY GUY, JUNIOR WELLS, OTIS SPAN and more… Viper Snakebite

- V Floating World Records

The first thing to say is despite the title, there isn’t any ‘more’. Indeed, this is an album with 15 tracks from Buddy Guy and Junior Wells. Whilst Otis Span may be playing on some of the tracks, there is no mention of him whatsoever! There are only five tracks from Buddy Guy and the rest are down to Junior Wells. The compilation sets off in good style with a Buddy Guy rendition of Willie Dixon’s ‘I Got A Strange Feeling’ highlighting his trademark scintillating guitar style. Then come four Junior Wells tracks. In common with many Blues lovers I think this guy is so important in the development of Blues harp, and made some wonderful music. Not sure if we get the best selection on this compilation though. One or two of his tracks are more like novelty recordings, such as ‘Galloping Horses A Lazy Mule’ and ‘Cha Cha Cha In Blues’. A 1957 version of his self penned ‘I Could Cry’ and the final track, ‘Prison Bars All Around me’ show us the man in a better light but are not the best representations of his work. The Buddy Guy tracks are better. His ‘Ten Years Ago’ stands out as a fine example of his smouldering style, backed by some fine harp playing. Whilst this is a retro selection there is no information about the tracks apart from the main player and the writer. It would have been good to know when the track was recorded and who did the backing etc! In conclusion – could be a lot better than it is.

Kevin Wharton

CHARLIE MUSSELWHITE

The Well Alligator

A new album from a man who has played with some of the best Bluesmen and Blueswomen that have ever graced the scene is something to be savoured and absorbed and Mr Musselwhite doesn’t disappoint as he gives us an album of real variety and some superb songs, not to mention some fine performances. Musselwhite has written every number on the album and the themes and moods are obviously personal to him – ‘Dig The Pain’ describes his relationship with alcohol over a jazzy country number

and if you didn’t know better you would think he was talking about a relationship with a difficult woman. ‘The Well’ is a straight narrative of his cessation of drinking as a statement of support for a three year old girl who was trapped in a well and he swore not to drink until her rescue – 22 years later he still isn’t drinking but she was saved after three days. It all sounds rather pious but the music accompanying the songs is terrific – his harp playing is the same that has graced so many albums over the years and Dave Gonzales, John Bazz & Stephen Hughes are an excellent support band. Mavis Staples donates some vocals on ‘Sad And Beautiful World’, a song to Musselwhite’s murdered mother. All the songs tell something about either the people he has known or circumstances he wants to share with the listener but if you don’t want to heed the vocals you could just settle back and enjoy the music – Blues, Country and r&b, he does it all. ‘Hoodoo Queen’ is possibly the best number on the album and also the one that sits most awkwardly with the rest – a gentle Louisiana funk with some brilliant guitar and harp over the tale of a man stealing the bones of Marie Leveau, the Hoodoo Queen and being thwarted by Dr John – great number but ......

Andy Snipper CELILO

Bending Mirrors Independent

The Pulitzer prizewinning “Willamette Weekly” is a sleazebusting local rag that stands no nonsense. They describe Celilo as “one of Portland’s hottest alt. psych country outfits” and the seemingly faint praise evokes memories of The Housemartins being the “4th best band in Hull”. With lofty accolades to satisfy and still unsigned, Celilo needed to pull something out of the hat. Opener ‘Easter Lily’ is not the Blues and initially doesn’t promise much yet it is quirky and alluring - by the second listen you’re hooked; Sloan Martin’s slouchy vocals are nicely suited to ‘Wy-am’ and all the subsequently intriguingly selfpenned numbers – this is indie country rootsy fusion par excellence. I recall raving feverishly about the Deadstring Brothers’ ‘Sao Paulo’; this has similar passionate polish, equal songwriting prowess and a poetic lyrical touch hard to resist. ‘Bush Pilot’ is mournfully memorable, employing Tucker Jackson’s pedal steel to its waling, woebegone best and ‘Pink Sofa’ is a jaunty interlude full of something splendidly retro. “A busted up piñata lying in the street/ empty of everything that once was sweet” confirms that this yearns for something lost without ever sending for brandy and aspirins; it is songwriting craft at it’s most refined, and the playing is understated and knows what it’s about. How are they unsigned? Perhaps if they just rocked up on prime time TV and warbled some Celine Dion hit it would all be different. Pulled it out of the hat they did - not Blues, but possibly the best album I’ve heard this year.

CLAUDETTE KING

We’re Onto Something

Blues Express Inc

Richard Thomas

This is indeed none other than the youngest daughter of the legendary BB King and we are left in no doubt of the

CHRIS ANTONIK

Chris Antonik

fact, with pictures of her and the great man on the inside cover. Add a stellar band featuring Jim Pugh and Richard Cousins of Robert Cray fame and various Blues luminaries, such as guitarists Alan Mirikitani and Bobby Murray, (Etta James), gospel vocalists and a brass section. Take songs especially penned by Mirikitani and Dennis Walker, long associated with BB and Robert Cray, and we could look forward to a great blues album. Sadly not, as Claudette’s sculptured and modulated vocal style is by far best suited to the mainly jazz tinged songs here, as admitted to in the copious, overly long winded and effusive sleeve notes. It is difficult to escape the whiff of nepotism or indeed hero worship by proxy, but that said, this is a pleasant enough album for fans of the nightclub jazz scene. Successes are tracks such as ‘Too Little Too Late’ and ‘Rock My Soul’ which suit her limited vocal style. ‘Playing With My Friends’ the already well known Cray and Walker collaboration, demonstrates clearly the shortcomings Blues wise with an unconvincing studied vocal, neither soulful nor warm and joyous. The instrumental and production quality is as every bit as high as you would anticipate. There is a gorgeous Jim Pugh keyboard solo on ‘Isn’t Peace The Least We Can Do’ which is a jaunty, jazzy and heartfelt highlight but for me Claudette’s often nasal and slightly strangulated vocal style detracts even where her skill at phrasing and varied tonal quality succeeds.

Bob Chaffey

Messrs Waters, Trucks, Guy, and Clapton as key in fashioning their musical identity is clearly worshipping in the right church. But many are similarly called – few are chosen. With such influences I was hoping for something more bucolic and dirty but that notwithstanding, this is a highly creditable debut; Blues with a more buffed-up production and scrubbed clean sound has many followers and on this form, Antonik will become their darling very quickly. He himself concentrates on the silky licks and largely delegates the vocal duties to the growlingly accomplished Josh Williams but the collection (8 penned by Antonik) demonstrates a wide instrumental range to offer plenty of future options; ‘If We Start From Here’ features Mark ‘Bird’ Stafford on harps and a swinging brass section to delight yet another demographic who like their blues with some swing. An interesting collection throughout, it is full of welcomed gear changes and tempo switches that some Blues albums eschew; the instrumental ‘Dhyana’ is Bonomassaesque in terms of style and quality and in ‘The King Of Infidelity’ it can boast one of the single track highlights of the listening year to date – it is so good you can imagine the clearly dedicated family man Antonik becoming synonymous with this single number for years ahead. He needs to be watched –something may be starting here, and my slight reservation is only a quirky taste thing. What do I know? Let’s not go there again.

Richard Thomas

CHRIS FARLOWE & THE EXCELLOS

Tell Mama (single)

Rollin Records

Silverbirch Productions

Canada has a lot to offer these days. Anyone who cites Messrs Waters, Trucks, Guy, and Clapton as key in

Chris Farlowe is a living legend of the 1960s English Blues

and Rhythm & Blues scene. Like his peers: Long John Baldry, early Rod Stewart and Joe Cocker his brilliant voice came to exemplify all that is great about the genre. However, the quality of studio recordings as opposed to raucous live performances, was dependent on good material and masterly production. Sadly this often let him down. Thus his cover versions and occasional forays into more mainstream styles tended to compromise his reputation as a stunningly authentic Blues belter. His true love has always been apparent, and here in this brief single CD cameo we are reassured that all is well. Taking Little Walter Jacobs ‘Tell Me Mama’ c/w John Lee Hooker’s boogie special ‘I’m Going Upstairs’ Chris Farlowe sounds like a man half his age, and the Excellos’ raw backing serves to showcase his typically energetic renditions.

DAVID ROTHERAY

The Life Of Birds Proper Records

David Rotheray is a songwriter and guitarist, best known as lead guitarist with The Beautiful South

Noggin

This is his debut solo album. It is all-self penned or co-written by Rotheray and is a concept album. It’s loosely built around the concept of birds, which Rotheray uses as allegories to depict the ills and pains of modern society through a series of well crafted and beautiful songs. He uses a series of vocalist and instrumentalists to weave his tales of the challenges of the modern world. Topics like mental illness, Alzheimer’s, teenage sexuality, the growing mentality to short-termism and self-gratification. Rotheray mixes melancholy with a dry sense humour which has the effect of drawing the listener to the lyrics, making you think deeply. The CD opens with ‘The Sparrow, The Thrush and The Nightingale’, in narrative about greed. ‘The Road South’ looks at the ‘live for today mentality’ and self-gratification haunting our modern society and ‘Sweet Forgetfulness’ takes a hard look at Alzheimer’s. The root of this CD is found in folk but there are other genres in the total make-up including hews of the Blues and Bluegrass. It is in the feeling of the musician, whatever their genre orientation and lyrics they portray that one has to question whether this should be included in a Blues review. If Blues is more that a dictionary definition and is a feeling, the soul of humanity, the CD can sit with Blues or any other genre as an equal because in the end, the music it contains is the mother of all genres. Which is one of the strongest conveyors of human emotion there is! It is probably going to be better appreciated by the folk fraternity but it is a CD worth a listen to, just for its inheritant beauty and social exploration of the human condition.

Carol Borrington

DIANA BRAITHWAITE & CHRIS WHITELEY

Deltaphonic Electro-Fi

This special duo combines once more to delve into vintage Blues and deliver it with absolute pleasure. Braithwaite

provides soulful vocal alongside multi-instrumentalist Whiteley who trots out impressive turns on guitar, harmonica, and of course trumpet. All the tracks have a similar Blues intonation, and whilst glossily produced at odds with the vintage presentation, hit the spot. It’s a family affair with Whiteley and Braithwaite kin helping out on piano, organ and backing vocals. For all the precision, some tracks are loose enough to have that live, even jam, feel. This is a positive reflection of the ease the two performers have with each other. This is particular evident on the duet ‘Midnight Stroll’. The tracks alternate from happy Blues to sad, and take the listener through emotive high and low. Most of the tracks are written by Braithwaite and Whiteley, with a notable exception of a downbeat ‘It Hurts Me Too’ by Tampa Red. Their own ‘Border Patrol Blues’ takes it down a notch further and reinforces the retro-stance and old school ideal; a perfect Blues of departure and despair.

Gareth Hayes

MUSIC ROUGH GUIDES

Desert Blues

Rough Guides

Several years ago releases like this would have been found in what Record stores would of categorised as ‘World Music’, suddenly the in-word for music originating from around the Saharan Nations is ‘Desert blues’, personally I struggle to interpret some of this music here into what I consider to be the Blues category although the ten page booklet accompanying this release provides comparisons/antidotes for the perceived links to American Blues. The CD package includes one album which incorporates thirteen different artists who have each provided one song, the artists include; Tamikrest & Ali Farka Toure, names that I have previously come across, the ‘bonus’ CD replicates the debut album from 2006 by a band called Etran Finatawa, I found this CD far more accessible than the Desert Blues compilation album. The Etran Finatawa band mix their electric guitars & more traditional instruments seamlessly and create a very hypnotic sound that would not been out of place in the late 60’s psychedelic era, if you wanted to download a representative track I would recommend ‘Ronde’, which has some East of Eden ‘jig a jig’ links. Going back to the Desert Blues compilation there are a couple of artists who may be worth looking out for, they are; Bassekou Kouyate & Ngoni Ba, the vocalist has a very deep tone aka Tom Waits and Mamane Barka who plays the traditional five stringed lute type instrument called a ‘Biram. As an introduction to the music originating from the Sahara Regions this double CD collection cannot be beaten.

Adrian Blacklee

DEVON ALLMAN’S HONEY TRIBE Space Age Blues Provogue

Devon may be a chip off the old Allman’s block, but that chip has been grafted onto a different tree, with its roots still firmly in the Blues. Devon said about this second CD for the band “I wanted to make a statement about the way we live. I love blues and I’m a sci-fi geek, so I imagined a marriage of the two”. The title track opens with gentle swelling guitar and saxophone from Ron Holloway, which move toward a crescendo, en-route joined by drums and bass, then falling fuzzed guitar leading into Allman’s vocal which has polish and grit but allied to a haunting quality as he weaves a tale of uncertainty in the modern world. ‘Endless Diamond’ continues the space age concept in a

slower classical Blues-rock format. Forceful drums and bass leading with power chord guitar into inspiring Bluesrock guitar riffs and lyrics of cosmological proportions and a vocal to match. The CD concludes with an instrumental ‘Insh Allah’, which in many ways sums up the whole album. It has a spiritual feel not just of Middle Eastern music but also of religious music from other beliefs. This is interchanged and underpinned by a space age feel as Devon employs the Kaossilator but without it screaming of 30th century imaginings. The whole is tightly cocooned in an emotive Blues guitar wrap as Devon feels his way through the vastness of that question; Insh Allah? George Potsos on Bass and Gabriel Strange on drums are the remainder of Honeytribe and are the perfect complement to Devon and his inspiration for this album. Calling this album a concept album would be a misnomer giving the impression of New Age, Stockhausenesque effort, of which there are elements here, but mostly there is solid Blues-rock.

Carol Borrington

ERNIE HAWKINS

Whinin’ Boy

Corona Records

Guitarist Ernie Hawkins has been Pittsburgh’s best-kept secret for a long time but this album must surely highlight his expertise. The title track Jelly Roll Morton’s ‘Whinin’ Boy’ gives straight away the laid back trad jazz New Orleans vibe that permeates the whole album. Acoustic guitars, washboard and clarinet surrounds Susie [of the Islands] Bix Biederbecke-style. ‘Makin’ Whoopie’ and ‘Southbound Sneak’ has the same treatment. ‘Basin Street Blues’ and Irvin Berlin’s ‘Blue Skies’ are sublime in their simple renditions. His own composition ‘My Poodle Has Fleas’ played on the ukulele is just magical. If you like your blues with a trad-jazz complete with brass then this is definitely up your Basin Street. Late night feet up and a tumbler of bourbon is the way to listen to this CD.

Bob Bonsey

FRANCESCO GREGGIO & SUCKER PUNCH

Blue Homework Independent

On this album Francesco demonstrates that he is certainly a very talented guitarist, having previously played in several Italian Blues & Rock bands, he has now taken the plunge producing and releasing his first solo CD. While Blues dominant there are some subtle Jazz touches throughout, support on the album comes from a group in their own right, called Sucker Punch, their vocalist does an admirable job although with five instrumentals included here it is clear Francesco knows where his strengths are. Two of these instrumentals are covers of Freddie King & Stevie Ray Vaughan songs; ‘The Stumble’ and ‘Rude Mood’ respectively, neither are straight lifts from the original versions, each has been given its own ‘Francesco’ brand. I understand that the artist does teach music when he is not performing and I would imagine that these are ‘Guitar Master Classes’ as he plays both lead

& rhythm effortlessly, these skills are nicely highlighted on the Ben Tucker instrumental ‘Comin’ Home Baby’. A promising debut solo album whose album title appears symbolic, highlighting that Francesco has done his “Blues Homework” & knows the type of music that suits his playing; mind you the final semi acoustic track with a lengthy false ending doesn’t work!

Adrian Blacklee

GERRY GRIFFIN

Moment to Moment

Renegade Music

This is a collection of heartfelt love songs delivered with beautiful intensity by Gerry Griffin in a whisky-soaked vocal style, and accompanied in lovely soft harmonies by Heather Housten. The whole thing is lyrically perfect with touching heartache and personal yearnings throughout. This will not be to everyone’s taste but it is what I would call lovey-dovey blues and could easily grow on you. Titles like ‘Its Love That Gets You Through’, ‘Without You’, ‘When I Say That’ and ‘I Love You’ basically tells the story of the album.

Bob Bonsey

ERYN SHEWELL

4th & Broadway

Rewbie Music

Eryn Shewell has been singing professionally since she was thirteen years old, going on to spend ten years singing with country band Sundance. But now, all grown up, she’s concentrating on her own music and this is her second solo album, following on from the 2008 release, “Window Pane”. It’s a higgledy-piggledy release, jumping from Blues to country to soul to jazz, and all points inbetween, but no matter where Ms Shewell finds herself, you can be certain of one thing. And that is top quality songs and performances. Granted, not everything is going to appeal to everyone, and when I first heard the opening number ‘Beloved Goodbyes’, I set myself up for an album of disappointment. However, I couldn’t have been more wrong, as the country tinged ‘Already Wrote The Song’ arrived. One of the numbers that sees Ms Shewells vocals at their absolute best, it can stand alongside the jazzy ‘Moment’, and the bluesier ‘My Soul’ and ‘Whiskey Devil’ as one of my favourites. If you were looking for a comparable artist I’d have to throw the name Joan Osborne into the mix, something that is about the highest accolade I can give to an artist. The production and band performances are of the highest order, especially the strings that appear hither and thither from Tanya Peterson. Ms Shewell certainly seems to have found the perfect collaborators to showcase the songs. Although I would have preferred a couple of Blues numbers in place of more mainstream material like ‘I Would Wait Forever’, this remains an absolute delight, even if I have reshuffled the playing order, and it’s a CD that comes highly recommended.

Stuart A Hamilton

BOB CORRITORE AND FRIENDS

Harmonica Blues

Delta Groove

Bob Corritore has been playing the harmonica for four decades, and having become steeped in Chicago Blues, he relocated to Phoenix, Arizona nearly twenty years ago. There he has earned a solid reputation in the live playing, recording, producing and broadcasting field. Corritore is a mover and shaker, who has the respect of both local and visiting musicians, and has throughout his stay in Phoenix masterminded a series of often impromptu recordings, which are pulled together for this collection. The album gains in its sheer authenticity, Corrimore‘s excellent ensemble harp exploits, the gritty no frills sound and obviously some of the greats in the genre bringing their talents to the studio. The successes include for example: Koko Taylor’s typically fiery rendition of ‘What Kind Of Man Is This’, Louisiana Red’s conversational ‘Tell Me ‘Bout It’ and Robert Lockwood JR’s unique recording of ‘That’s All Right’. The harmonica playing in tunes like the instrumental ‘1815 West Roosevelt’ and ‘Big Pete Pearson’s rendition of ‘Tin Pan Alley’ is wonderfully understated. Unfortunately, where this project is lacking is in the somewhat tedious nature of the predominantly slow or mid tempo selection of material: it is short of presence and excitement. Also the collection is a reflection of the fragmented nature of the recordings; inevitable when the tracks were laid down over such a long period, and by so many occasional guests. Think of this of as a harp-centric various artists time capsule and it isn’t half bad.

Noggin

GOV’T MULE

Mulennium

Provogue

This new release from Gov’t Mule in fact goes back almost ten years to very late in the evening of December 31st 1999. Yes this triple CD package was recorded live then and over into January 01st 2000 hence the less than subtle pun of the title. There is plenty of music on offer featuring the lineup of Warren Hayes, Matt Abts and the late Allen Woody. Honestly I liked this album a lot but it is not a collection that you might sit down and listen to from start to finish. I suspect that, like me, you are more likely to dip in and out of it. I have also transferred individual tracks to my MP3 player in the car because there are some mighty good driving cuts on here. I include the extraordinary three covers versions that close out CD1 ‘21st Century Schizoid Man’, ‘We’re Not Gonna Take It’ and ‘Dazed And Confused’. Nearly twentytwo minutes of blistering Rock Blues performance that is way up there. Talk about a terrific way to start a New Year! Of course there are grand versions of original material as well. Look no further than ‘Lay Your Burden Down’, ‘Life Before Insanity’ or ‘Towering Fool’ for fine examples. The sound quality of these recordings is excellent throughout. One section I do listen to more often is when Little Milton joins them on CD2 for a slightly more traditional Blues workout on ‘When The Blues Comes Knocking’, ‘Lump On Your Stump’, ‘I Can’t Quit You Baby’ and others before being joined by Black Crowes guitarist Audley Freed when

the music turns heavier again. Music like this never dates and so enjoy your peek back in time and enjoy but keep your feet in the now.

Graeme Scott

GROVER WASINGTON, Jr. THE GOOD OLD BOYS

Live At The Deep Purple Convention

Wymer Records

A concert staged for a convention commemorating the 40th Anniversary of the formation of Deep Purple saw The Good Old Boys taking the stage of Esquires in Bedford. In case you don’t know, The Good Old Boys feature original Deep Purple bassist Nick Simper along with his former Warhorse / Fandango colleague Pete Parks on guitarist. Add in former Strawbs drummer Richard Hudson, ex Renaissance guitarist Simon Bishop and one time Jo Jo Gunne vocalist Alan Barratt, and you’ve got a fair pedigree going on. However, nowadays they’re largely content to play other peoples songs in the manner of a glorified bar band, as they tackle blues, soul and rock’n’roll chestnuts from the likes of Eddie Cochran, former Simper employer Johnny Kidd, ZZ Top and Fleetwood Mac. They do tip their hat to Deep Purple with their version of ‘Hush’, and a fine version it is too. It’s the sound of a really great night out, and if you stumbled into one of their shows, then you’re pretty much guaranteed a good time. My favourite was their take on The Temptations classic, ‘Shakey Ground’, a tune also covered once upon a time by Whitesnake guitarist Bernie Marsden on his “Look At Me Now” album. Whether this translates onto CD is another matter altogether, although the musicians involved do put on a fine performance, and I’m quite happy to have it sitting here in my collection. The CD comes with a 12 page colour booklet with band biographies and photos from the soundcheck and show.

Stuart A Hamilton

CLAUDE HAYE

Deep Fried Satisfied Self-release

I can’t remember the last time I listened to an album opener praising the virtues of pizza, but that’s what Claude Haye’s “Get Me Some” does, He passes on his favourite recipe - “there’s only one flavour for me, nice base, tomato paste, cheese, pepperoni” - and a groovy blues tune to boot. The title track goes further down the fast food road, but “Deep Fried Satisfied” is as much a rant against the influence of fast food culture as the opener is a plug for the New York-style pizza. It also has “stompability” as do the majority of the other tunes on this selfrelease, showing Haye to possess smartness other than the variety in his lyrics. It is a big sound - slide guitars, sitars and plenty of kick and rush from the percussion section. All the more remarkable given that Haye is the epitome of the one-man band. He does all this alone, even apparently on his live shows. You’ll see what I mean after just one listen. A live show is a must - certainly my appetite is whetted by what I’ve heard on this, his second album. Each track is layered with undeniable bluesy roots, with a little funk influence and in the catchy cover of Queen’s “We Will Rock You” loops sit on loops and blues

riffs abound.The slide guitar sound evokes thoughts of John Butler Trio and on “Don’t Give Me That Shit”, Hay rips along as forcefully as any rootsy 3-piece outfit could hope to. “Deep Fried Satisfied” is a ripper from first listengenuinely catchy and seemingly ingenious; it delivers on a number of levels. There aren’t too many quiet moments, but I’d say buy it - and to stay on message, get it from your local take-away not the cheap and nasty outlet! Make sure you support a wildly talented independent Aussie musician, you’ll love the taste.

CYNDI LAUPER

Memphis Blues

Downtown Music

Clive Rawlings

Cyndi has come a long way from when she just wanted to have fun. Going back to the roots is her way of continuing to have fun! As she says “For me the Blues is the basis of everything you sing your whole life”. The CD features some quality guest musicians who add street cred to this venture and more importantly add what they are good at, good music. The focal point however is what Cyndi brings to the whole. Opening the CD with Little Walter’s ‘I’m Just Your Fool’ Cyndi is accompanied by Charlie Musselwhite on harp who brings the song on with excellent trilled and sustained notes. Cyndi’s vocal is clear and brings a lot of her four-octave range into use. From the outset, you get the impression she feels what she is singing and because of that enjoys singing it. Louis Jordan’s ‘Early In The Morning’ features the recognisable tone of BB King’s guitar with trademark vibrato evident throughout, supplemented by Alan Toussaint on piano and response vocals to Cyndi’s slightly gruffer vocal. The CD ends where the Blues started, with a social comment signposting the Blues use in an early feminist song by Ida Cox ‘Wild Women Don’t Get The Blues’. Cyndi takes the song home with a more guttural vocal whilst retaining the clarity and quality of the singing. Musical support coming from acoustic strummed and fingerpicked guitar with gentle glissando effecting the resolution of the phrasing. There is sometimes a feeling amongst Blues fans that if you don’t start in the Blues and stay in the Blues, then you can’t sing the Blues. The new generation like Sandi Thom and the not so new like Cyndi Lauper have shown that what really matters is that you feel the Blues!

Carol Borrington

DAGO RED

Dago Red

Blues Qui Roule/Straytown

Dago Red hail from Italy and the last decade has seen and the release of several albums within Europe while their line-up expanded to six. The latest disc, self-titled Dago Red, was issued in 2009. It’s a very mature and expressive collection of self-penned songs, sang in English. This is an acoustic album firmly in the roots tradition, with a complete range of tempos and diverse styles ranging from blues to country. The album is a collection of tales such as the self-awakening of the delinquent in ‘I’m Sober Now,’ the vagabond musician in ‘Half A Hobo (Half A Lord) and themes of love and death. ‘They Took Me’ starts with a prominent guitar line and lyrically refers to the state’s interference with one’s life journey. Indeed journey are a key feature of the album. The song writing is primarily by lead vocalist and guitar player Giuseppe Mario Mascitella, although harmonica player Marco Pellegrini composes two songs on the album. Rooted in pre-war blues is the delightful

‘Short Kind of Love’, which is as much fun to listen to as it appeared to be to record, with a laidback swing, while ‘Keep On Smiling’’ has a concise harp solo and distinctive lap steel guitar riff. The closing ‘Travelling Light’ is an eerie number which may have been played on a square neck guitar, it resonates as a moment of contemplation as the album completes. Robert Johnson’s ‘Kind Hearted Woman’ is slowed, encouraging the listener to appreciate each word of the ancient lyrics, while ‘My Babe’ is rebuilt over a jungle beat. An album of intrigue, it benefits from repeated listening and is highly worth investigating. The superbly packaged CD comes with an inlay book with lyrics published both in English and Italian.

ED DAMPIER

Blues Deluxe Independant

Duncan Beattie

This is the first album, released in 2009 by London and South East based Ed Dampier, an alumni of the Guitar Institute and prior to that a self-taught guitarist. Dampier’s vision, drawn from his influences of Jeff Beck, Jimmy Page, Jimi Hendrix and Bert Jansch et al is of an uncompromising showcase for the instrument within a varied light and shade background. He steps effortlessly through a hybrid of styles; from acoustic folk styling’s, through more obvious Blues and rock riffs to some complex jazz figures. Instrumental albums are undeniably different, and one is either resigned to mere background listening or alternatively alert to an intense experience, freed from the imposed themes, meanings and distraction of vocals. In this case, and after several plays, one is drawn into a often tranquil and ultimately satisfying soundscape. From the riffs of ‘Sidewinder Blues’, evocative calm of ‘Snowfall In Spring’, gentle Santana like sway of ‘More Love More Power’ and complexities of ‘Archipelago’ this is a classy album. The three accompanying session musicians ace the interpretations, and Dampier is certainly a master of the Fender Stratocaster. He rarely succumbs to the temptation to doodle, and fittingly the seven track album is brought to a conclusion with the gentle acoustic ‘Cascades’ to round off a piece of work which began with the equally dramatic though very different stylistically rock piece ‘Overture’.

Noggin

THE GOOD OLD BOYS

Live At The Deep Purple Convention Wymer Records

A concert staged for a convention commemorating the 40th Anniversary of the formation of Deep Purple saw The Good Old Boys taking the stage of Esquires in Bedford. In case you don’t know, The Good Old Boys feature original Deep Purple bassist Nick Simper along with his former Warhorse / Fandango colleague Pete Parks on guitarist. Add in former Strawbs drummer Richard Hudson, ex Renaissance guitarist Simon Bishop and one time Jo Jo Gunne vocalist Alan Barratt, and you’ve got a fair pedigree going on. However, nowadays they’re largely content to play other peoples songs in the manner of a glorified bar band, as they tackle blues, soul and rock’n’roll chestnuts

from the likes of Eddie Cochran, former Simper employer Johnny Kidd, ZZ Top and Fleetwood Mac. They do tip their hat to Deep Purple with their version of ‘Hush’, and a fine version it is too. It’s the sound of a really great night out, and if you stumbled into one of their shows, then you’re pretty much guaranteed a good time. My favourite was their take on The Temptations classic, ‘Shakey Ground’, a tune also covered once upon a time by Whitesnake guitarist Bernie Marsden on his “Look At Me Now” album. Whether this translates onto CD is another matter altogether, although the musicians involved do put on a fine performance, and I’m quite happy to have it sitting here in my collection. The CD comes with a 12 page colour booklet with band biographies and photos from the soundcheck and show.

DUDLEY TAFT

Left For Dead

Big Woody Music

Stuart A Hamilton

A splendid “first blues release” by this singer guitarist who betrays his musical muse in sporting the ZZ Top beard and sunglasses on the inside cover. If you enjoy ZZ Top’s bluesy material, this is for you but there is more here. The classic Blues covers are well executed and fresh with their style makeover, but it is the strength of the self penned material which makes this such a success by the guitar, bass, and drums trio. ‘Ain’t No Game’ launches the 53 minute, 12 track CD with a trademark hard guitar riff and snarling vocal. Willie Dixon’s ‘Back Door Man’s Southern rock tempo works for me as does his ‘Seventh Son’. ‘Have You Ever Loved A Woman’ with the clear throaty vocal sitting nicely above the searing crescendo of flowing guitar work also succeeds. The highlight is the superb title track with its potent lyrical imagery. Evocative and compelling lines lead into various Rootsy American scenarios where an abandoned victim is left for dead. Charlie Patton’s ‘When Your Way Gets Dark’ is an understated piece with some lovely slide by Billy Stapleton, who also graces ‘Devil’s Crown’. The pulsing tempo and searing guitar of this Cowboy Blues again contains lovely imagery “under the setting sun, the noose hangs high, the gunman’s hands are tied, the devil’s grin in his eyes”. ‘Long Way Down’ reprises the theme of the title track. ‘Blue Lady’ is what passes for a ballad in these parts with a raspy vocal and piercing guitar before Peter Green’s ‘Drifting’ which has a menacing riff and punching drum beat but with every word of the measured nuanced vocal crystal clear. ‘If You’ll Come Home’s sardonic lyric of the cheatin’ lyin’ but I love you still variety is a fine closer to a dynamic but nuanced and sensual set, a must for rocking blues fans.

Bob Chaffey

CD. This masterly live recording goes one better than that and comes from our digital age. It is the best bits from a live performance given by the late Grover Washington, Jr. and his band at The Paramount Centre for the Arts in Peekskill New York on 7th June 1997. Supremely produced, it is a glossy affair that should satisfy both fans and new recruits. The first major number, ‘Take Five (And Another Five)’, comes in at a silky smooth eleven minutes, as his caressing sax effortlessly soothes the soul against a funky backbeat. Subtle changes in rhythm make an adequate security against over-familiarity of Desmond’s popular theme. ‘The quality mix has that studio feel such is the perfection, until Washington drops in a couple of live commentaries, and the authentic showman style is reinforced. Hip innuendo make ‘Uptown’ downright sexy, and ‘Sassy Stew’ continues the nourish theme and stirs the imagination. The latter half of the album is given over to a fun medley which again doesn’t disappoint and offers soundbites from Marvin Gaye’s ‘Inner City Blues’ as well as fan’s favourite ‘Just The Two Of Us’. It certainly is Blues in the jazz tradition, in other words, simply blue. True genius.

Gareth Hayes

DINO COCCIA

Swung Drawn & Altered (Widespace II) Note Records

It is rare for a non-singing drummer to release an album, but to release two (and the first with Note Records) is rarer still, it must undoubtedly be a tribute to Dino’s outstanding talent. There is only one Dino Coccia, acclaimed not only for his breathtaking performances as a jazz, blues and roots drummer but also, for those who know him, as an exceptional human being. The first “Widespace” album was dedicated to Dean Hajir and all the former pupils, helpers and staff at Thurlow Park School, a special needs school in South London, closed by Lambeth Council. For his second album, “Widespace II”, also known as “Swung Drawn & Altered”, Dino is joined by two of Britain’s finest young musicians, Nigel Price on guitar and Pete Whittaker on the organ. Add to this sophisticated cocktail, the elegance of Art Themen on sax and Robin Jones on percussions, finished with a hint of pepper from the brilliant Alan Glen on harmonica. Out of the ten tracks available, Dino Coccia has written the title track and he has cowritten ‘Mick’s Place’. The musical ambiance from the ten tracks is a beautiful mix of blues and jazz, showcasing each musician’s individual talent, and proving yet again that Dino is equally at ease in these two styles of music. Hung, drawn and quartered you will be after listening to this breathtaking album, and hung, drawn and quartered you’ll want to be again and again.

Frankie Bluesy Pfeiffer and Nat Harrap

HAT FITZ AND CARA ROBINSON

Beauty ‘N The Beast self-released

GROVER

WASINGTON, Jr. Grover Live Lightyear

Jazz music has special connection when parked alongside classical and Blues. All three gain benefit from having a vast back-catalogue of vinyl waiting to be exposed onto

The liner notes spin a legend of the ancestors of lovers cruelly forced to part in Ireland 200 years ago being symbolically reincarnated in Australia in this musical union. It is a romantic and compelling notion, with a ring of truth, as this seemingly unlikely pairing skillfully combines trans-continental delta Blues with Irish folk music. Hat Fitz, a brusque and crusty vocalist, guitarist and banjo picker out of Cootharabah. Australia has garnered a reputation for raw stomping good-time festival performances, and has now sought a more varied and unusual setting for

his talents with the beguiling and sweet sounds of Cara Robinson. She is a renowned multi-instrumentalist who plays drums, washboard, flute and whistle on this album, as well sharing the singing. The sixteen songs mix their own compositions with the traditional for example ‘Black Cat Bone’, ‘Nobody’s Fault But Mine’, replete with Robinson’s stirring interpretation and Fred McDowell’s ‘Won’t Be Late’). The duets like ‘Mad About You’, with its delightful clarinet part by Bruno Benz could have been written in the same period and suggests what an excellent collaboration of equals this is. American roots Blues music and Australian and Irish Folk styles are blended lovingly into a fine concoction, which takes the rhythms and primitive feel of the former and combines it with the storytelling and Celtic influences of the latter. This is sprinkled with the indefinable magic of two people working in true harmony to produce a remarkable and organic album.

JACK DE KEYZER

The Corktown Sessions.

Blues Star Records

This CD won Jack De Keyzer, “The Juno Award” for “Blues

Noggin

Album of The Year” in 2010 and it adds to a weighty list of other awards that he has collected for his music over the years. He was described by the late Jeff Healey as, “The Finest Blues Guitarist in Canada. Originally born in the UK, Jack De Keyzer is now based in Canada, he is a singer songwriter and it was recorded in the spring of last year in Hamilton, Ontario in the Corktown pub. The CD contains twelve tracks, five of which are covers and seven originals. Rooted solidly in the Blues, De Keyzer also has the ability to cross to jazz and RnR and mixes them seamlessly into his music when the mood demands it. This reveals itself in the variation of tracks throughout the CD, which keeps you on your listening toes from beginning to end. The CD kicks-off with Albert King’s, ‘Let’s Have A Natural Ball’, an uptempo Jump Blues number, that sees De Keyzer vocal, guitar and keyboards launch proceedings into action with a foot-tapping starter. The track displays some top quality keyboards and guitar throughout, were De Keyzer mixes in Blues and jazz riffs into a pot to produce a classy number. ‘When You’ve Got A Good Friend’ a Robert Johnson number traditionally arranged by De Keyzer. His vocal here and throughout the CD is highly reminiscent in intonation to that of John Mayall. The track also displays an impressive display of slide guitar with a trill baseline. ‘King Of The Blues’ and CD moves into a more modern funky number, opening with deft quarter and half string bends’. So, the quality and styles go on to the end, leaving you in no doubt why this CD is a winner!

Carol Borrington

J EDWARDS

Lulu’s House Serenity Hill

Very misleading picture on the cover – J Edwards on his stoop, alone and with an acoustic guitar – then you put

the album on and get treated to some fine bar-room Texas Blues just loaded with all sorts of electrickery. I got over that pretty quickly and settled down to an album of real grit and orneryness. Edwards has a gruff and deep voice, not dissimilar to Omar Dykes, and a really fulsome delivery. As he opens with ‘Ain’t Gonna Be Your Dog’ you get his drawl and world-weary delivery, very soulful and superbly backed up by Larry Van Loon on keyboards and Kenne Kramer on guitar. ‘You Said You Loved Me’ kicks off with Edwards harmonica and some Freddie King styled guitar and the whole thing begins to settle into a real groove. There isn’t anything blindingly original about any of this but it is done so well that you completely lose yourself into the playing, especially the guitar lines and some very subtle backing music. The tempo lifts a little on ‘New Shoes’ and they develop a light and jaunty touch with Edwards whistling his way down the street. Thankfully ‘Supper’s Waiting’ isn’t the excrable old Genesis number but another rollicking Blues with added horns and double entendres to spare. ‘Still The King’ is a slow and heartfelt Blues with some great slide while ‘Taste’ takes it all down for a real soul blast and organ filling out Edwards vocals. The title track is a blast – tuba backs up Edwards pleading for a meal – “I can eat down at Lulu’s for 65 cents so brother can you spare a dime” – on a real thirties style Jazz Blues and allows Edwards to do some scat. This album was unexpected but it has grabbed my ear and I can only look out for J Edwards visiting the UK sometime soon – this stuff should be wicked live.

Andy Snipper

SAVOY

BROWN Train To Nowhere Secret Records

Axe victim Kim Simmonds is a seemingly perpetually under-rated guitarist, whose talents equal and often exceed those of his more famous peers. Partly this is down to bad luck, being the right person in the wrong place and time, partly down to his stubborn refusal to compromise stylistically, and it must be said through the chronic detrimental effect of the ever revolving door of band personnel, crucially vocalists. Having enjoyed the services of the likes of the superb Chris Youlden and Dave Walker, and especially the marvelous Bryce Portius who started it all, it is a constant source of regret that Simmonds cannot retain their services long enough to enjoy the rewards of being a true and developing band, rather than what seems to be himself plus others. This lack of continuity is frustrating to critics, who inevitably hark back to occasional cameo albums with talk of unfulfilled promise and ego winning over talent. Simmonds does not have a strong voice, and he shares vocal opportunities here with Nathaniel Peterson who is probably the last of the great vocalists who have graced Savoy Brown. In fact there are comparisons to be drawn some thirty years after the event between Peterson and the debutant Portius circa 1968. Peterson is also a fine bass player. This double CD set consists of live recordings from 1997 in Rochester, New York and 1998 in Tampa, Florida, originally broadcast as radio shows. The 13 minute epic interpretation of ‘Little Red Rooster’ and ‘Savoy Brown Medley: She’s Got A Ring... / Street Corner Talking / Hellbound Train / Wang Dang Doodle / Tell Mama’ serve as reminders of what a fine three piece version of the band this was. Simmonds is given plenty of opportunity to demonstrate his extraordinary guitar

acumen, and the use of wah-wah and slide are especially effective. In the hope for something new, sadly much of the material is represented by well known Savoy Brown tunes, of which there are many other recorded examples. One is left to rue how much better it might have been if say half the time had been allotted to more “modern” material, such as the best track, the slow Blues ‘Bad Shape’, which is good as any of the classics. Having said all that, this is a must for completists and lovers of Blues / Boogie alike.

Noggin

REVEREND DEADEYE

The Trials and Tribulations of Reverend Deadeye Hazelwood Vinyl Plastics

Red Lick Top 10

1. Lightnin' Hopkins: His Blues (Ace)

2. John Jackson: Rappahannock Blues (Smithsonian Folkways)

3. Magic Slim & The Teardrops: Raising The Bar (Dixie Frog)

4. Classic Field Recordings 1936-1940 - Landmark Country Sessions From A Lost Era (JSP)

5. Watermelon Slim: Ringers (NorthernBlues)

6. Willie Buck: The Life I Love (Delmark)

7. All We Wanna Do Is Rock - Bear Family Sampler (Bear Family)

8. Mississippi Fred McDowell: Long Way From Home (Original Blues Classics)

9. Smokin' Joe Kubeck & Bnois King: Have Blues, Will Travel (Alligator)

10. Silas Hogan: So Long Blues (Excello/Ace

Now, see, this is just great. Pure dead brilliant to use the vernacular, if like me, you like you’re Blues rough and ready, then this is going to be an essential purchase. As I’m the kind of guy who slavers over the distorted Blues rock screechings of Alex Gomez, it’s no great surprise that Brent Burkhart aka Reverend Deadeye should turn out to be right up my street. But I never expected it to be this gosh darned good. The Reverend is a man that makes Seasick Steve seem like a glossy, commercial, middle of the road artist, utilising a wok-lid resonator guitar, a drum kit that includes a metal washtub for a snare and a rusty beer-can microphone. Now that would just be so much flim flam and jibber jabber were it not for some absolutely fantastic songs, wild guitar playing and hell bent for leather vocals. He tells tales, tall and otherwise about sin, God, redemption, sex and betrayal, both electrified and acoustic. The Blues, in other words! I’m already addicted to ‘Backstabbin’ Saviour’, ‘Drunk On Jesus’ and ‘Jesus On The Mainline’, and this has rapidly turned into one of my favourite albums of the year. It’s dirty, fiery, downhome, backporch Blues picking, and all the better for it. But I still feel like I need a shower and a scrub down.

Stuart A Hamilton

STEVEN L SMITH

Outside of Tupelo

Vinyl Record Company

Firstly, a blues album this is not. Steven L Smith hails from New York State and he not only writes his own material but also builds guitars. Here you have a collection that should please fans of new country and Americana. Opener “Woman On A Pole” is a fun, honky tonk number about a punter getting drunk in a bar and throwing money at strippers. He’s obviously reformed by track 3 “I’ve Got You” telling us how he used to get drunk - “I never found love in a beer mug”. In similar vein, “I Stole The Bible”, a little country rock song where the temptation-fighting man wakes up in motel room but takes the Gideon bible instread of the usual bathroom samples! Title track offers two country music odes for the price of one - trucker chases that elusive girl - but with a haunting minor key melody and forlorn vocal to match; certainly a winner. “Molly” follows the title character to Hollywood when she gets into prostitution only to be rescued by hero Hayden, who takes her back home and cleans her up. A couple of the songs are hindered by clumsy lyrics. “Big Sky” is easy going med-tempo with interesting story threads. “Firm Believer” feels a little underdeveloped, especially with the “doo, doo, doos” through half the chorus. “Cowboy Song” focuses on a common man delivery, a lonely fiddle adding real weight to the lyrics.

Closing the album, a mere nine tracks, “Oregon” uses dabs of cowboys imagery - worn out boots/ legs and lost love for a girl from Oregon and wraps the album up neatly. Outside of Tupelo is a songwriters album first and

foremost but vocally and musically goes to prove that Steven L Smith could be find in the massive world of independent artists.

Clive Rawlings

JJ GREY & MOFRO

Georgia Warhorse

Alligator Records

Wow, this is a great album mixing soulful R&B and Swampy Blues material, which is delivered with a cutting rock edge, from start to finish this album just eludes quality, it is aided by some excellent production work from Dan Prothero, who has created a very stripped down and ‘clean’ sound. This is the fifth album release by Vocalist/ Guitarist JJ Grey and on this album he is joined on one track by Derek Trucks, who adds some tasty restrained slide guitar, while Reggae icon Toots Hibbert provides some silky vocals to “The Sweetest Thing’, this track being one of the standouts on the album with its Memphis style horns backing. While these ‘star’ guests add some polish to the album nothing can disguise who the true star is; JJ Grey leads the band from the front and besides his excellent musicianship he has written all the material on the album, for Blues purists you are unlikely to hear a better constructed song that the title track; ‘Georgia Warhorse’, definitely press the‘re-play’ button on this one. Highly recommended, there is no way you will not rave about this album once you have listened to it.

Adrian Blacklee

MARK ROBINSON

Quit Your Job – Play Guitar

Blind Chihuahua

On his liner notes Mark Robinson states that “It’s not just my new CD, it’s my life” and you can hear a man who has put his all into creating this album of standards and self-penned material. His voice is on the faintly hoarse side – which works really well on tracks like ‘Poor Boy’ –and his guitar playing is fairly generic but you should be listening for the heart and soul behind this of which there is no shortage. ‘Payday Giveaway’ by Bill Wilson has some fine guitar on it in a Roy Buchanan meets Steve Miller sort of style and I loved the piano on this track and then ‘Runaway Train’ gets all choogly and Lynrd Skynrd-ly. ‘Sleepwalk’ is absolutely my least favourite number –although my wife loved it! – as he delves into a slow and very ordinary version of this Farina brothers classic – Hank Marvin without the soul. ‘This Old heart’ brings the album back into focus with some ringing organ and fair vocals while ‘Memphis Won’t Leave Me Alone’ is a real countryBlues getaway number and ‘The Fixer’ brings it all right down with a story about the man who ‘Fixes’ it all for you – slow, soulful and dark. As a songwriter Mr Robinson is very good and his guitar playing is excellent; he writes in a number of different styles and he shows that he can play banjo and lap-steel as well as he can an electric – my only reservation is his voice because he just isn’t quite there. As you listen to this album you hear songs that would sound great sung by Omar Dykes or by Paul Rogers or by a dozen others and it is worth buying for the songs and the music but it comes up a tad short – almost a brilliant album.

Andy Snipper

ROB TOGNONI Rock and Roll Live Blues Boulevard

I hardly know where to start with this first hearing of Rob Tognoni, he blew me away totally. This is quintessential

raw rock, and to get a man in his 6th decade with hairs standing on end, and goose bumps with the guitar playing takes some doing! Tognoni and his bassist Frank Lennartz and drummer Mirko Kirch had me almost (but not quite), head banging to this double c.d. I listened to them while driving across the country roads to work before 7a.m. in rural Aberdeenshire and had the window down with the volume up enough to send sheep scarpering from it. This was spine shattering with all the subtlety of a pile driver, and I couldn’t get enough of it! Tognoni has been on the go for some time, and has real rock ability oozing out of every pore. None of these guys are exactly in their flush of youthfulness, but that experience is testament to their talent, no-one is that good without having lived the part. I have to resist the obvious references to the Tasmanian devil, since that is Tognoni’s background, but his energy in playing is akin to that marsupial and its voracious appetite. I have a real problem picking out a favourite track/s on this live recording; the whole performance is breath-taking in its intensity with ferocious dexterity on the guitar. The drums are always complimentary to the principal guitar sounds and they have echoes of Hendrix in places although Tognoni is very much his own man! Even his cover version of the Hendrix classic on side 2 track 1 “Hey Joe” is very much his effort and is only barely recognisable as a cover. Track 11 on side 1 “Itty Bitty Mama” probably wins my favourite rendering but only by a whisker on every other one! You know there is a tendency to drive to the music you’re listening to, well fortunately I drive a Prius Hybrid and they don’t go too fast as I’d have had difficulty in keeping it on the road with the pace of the music. So beware of what you’re driving when you get this solid gold piece of Rock.

Tom Walker

JOE LOUIS WALKER’S BLUES CONSPIRACY

Live On The Legendary Rhythm & Blues Cruise Stony Plain

Joe louis Walker has been on the blues scene now for almost 25 years and built a formidable reputation as a performer, writer and guitar player. This latest album finds Walker playing for a late night, boozed up and rowdy cruise crowd intent on having a good time. The show features a set of songs that Walker has recorded over the years plus a few blues standards and the results sometimes border on the chaotic but Walker’s band provide a consistent foundation behind a multitude of guests. Opener ‘Slow Down GTO’ features guest Mike Finnigan on keyboards but it’s Walker’s fiery slide guitar solo that sets this one alight. Next up is Johnny Winter keeping the slide guitar theme going on a rough & ready ‘Ain’t That Cold’.and it certainly sounds like one helluva party. Superb guest vocalist Curtis Salgado features on O.V. Wright’s classic gospel - tinged soul belter ‘You’re Gonn Make Me Cry’ with Walker and Finnigan adding some deep blue harmonies. This track weighs in at just over eight minutes and makes an incredible emotional

centrepiece of the album.Tommy Castro (guitar) and Deanna Bogart (piano and sax) join the fun for the jumpblues of ‘Eyes Like A Cat’. Kirk Fletcher from The Mannish Boys plays some fine guitar licks on the rocking ‘Ten More Shows To Play’ and there is some great harp work from Jason Ricci on the crowd pleasing standard ‘Born In Chicago’. Watermelon Slim contributes harmonica to the lengthy, cracking slow blues of ‘Sugar Mama’ before Duke Robillard and Todd Sharpville join the guitar spectacular ‘Tell Me Why’. The pace never slackens as Kenny Neal adds his Louisiana harmonica to ‘A Poor Man’s Plea’ and the album closes with Paul Nelson, Mitch Woods and Tab Benoit taking the stage for Walker’s steady rocking ‘’747’. So nothing new here in terms of artists or material but a satisfying run through of JLW’s back catalogue and a great time was had by all. Put me down for next year I’ve always fancied a cruise.

Dave Drury

JAMES NIXON

Live In Europe

Blue Label

James Nixon from the start brings the distinctive musicality of a gospel singer with a dose of warm chocolate and cream. The opening track ‘Trying to Hold On’ engages you and gets the foot a tapping with a great guitar sound, making sure that you are not going to have to listen to the whole CD holding on as one track gently leads to another. This is a live album with great snippets of dialogue from the man himself and appreciative comments from the audience. The guitar work is delivered with a faultless, deceptive ease with James Nixon (Lead Guitar) harmonising with Fred James on Rhythm guitar with the added layer of Billy Earheart (Organ). The album

is a delight with the careful blending of sounds, tones and textures with backing singers augmenting but never drowning out the sound. James Nixon has skilfully blended his years of playing and wooing audiences around the world a pinch of Hendrix rift, with full bodied gospel, soul and the blues running through the tracks ensuring a stability of sound.

The album ‘Live in Europe’; is a great example of a live album with the tunes running effortless into each other with what is a great set list with changes in timbre, gospel, soul all held together by R&B making this album a great example of Nashville talent and musicality. Fantastic album a gem for anyone’s collection.

Liz Aiken

JAY GAUNT

Harmonicopia

JBG Music

Jay Gaunt is a harp player born of the Blues Brothers generation – no doubt Jake and Elwood would be proud of the young man from New Jersey who pundits are tipping for the highest of accolades and longest of careers. Slickly produced by Charley Burch and Lawrence “Boo” Mitchell, this perky collection impresses without ever reaching inside your solar plexus and pulling your giblets out. Gaunt nevertheless reveals himself to be a versatile talent, though he would perhaps benefit from the roughness of a smokyroomed live album and a muddier sound – only the cover of Peter Green’s ‘Rattlesnake Shake’ gets down and dirty enough to satisfy lovers of grimy Blues. There are some other nice cover choices though, like the Gregg Allman/ Robert Kim Payne number ‘Midnight Rider’ which is nicely orchestrated and well arranged. The thing about a string of instrumentals without the added dimension of a vocal is that they can sometimes become indistinguishable, and in truth this suffers the same fate at times. Without question, there are some standouts and accomplished and skilled playing throughout, and Victor Wainwright pipes up with a velvety growling vocal in ‘Why Are People Like That, a lugubrious version of Muddy Waters’ ‘Louisiana Blues’ and Charley Burch’s ‘Devil Dealt The Blues’ not a minute too soon. Special mentions are due to the “Royal Horns” and “New Memphis Strings” for some jolly interventions and while ‘Wonder Boy’ and ‘Greensleeves’ are dreamy offerings, it may all be a little too varnished for some.

Richard Thomas

KENNY WAYNE SHEPHERD Live! In Chicago Roadrunner Records

Kenny Wayne Shepherd is a Louisiana Bluesmen with a good following in the US especially. “Live In Chicago’ is the culmination of a landmark tour in the US and was described by USA Today as ‘Air Guitar Nirvana’ –and indeed it is. The album kicks off with “Somehow, Somewhere, Someway’, a tight little rocker driven along in fine style by a good rhythm section and some tasty electric slide. Track two, ‘Kings Highway’ takes the pace down a touch and the third one, ‘True Lies’ continues in the same vein. The mood then changes with the moody, sultry ‘Deja Voodoo’, with a fine mix of guitar and piano. The stand out track for me is ‘Dance For Me Girl’. A relatively slow number with so much authority you feel you must sit still and not move until it finishes. This features some blistering slide guitar from Shepherd coupled with his gravely vocals.’ Eye To Eye’ is as good and features some lovely harp too. Listening to ‘Rocking Daddy’ reminded me very strongly of vintage Led Zeppelin. This

is a very enjoyable album with some great guitar work, excellent harp and gutsy vocals .It certainly rocks. I got little information from the promo copy I received by the website tells us that Kenny was joined by a host of Blues luminaries in the making of this album, including the legendary Hubert Sumlin.The production is excellent for a live recording and if the audience reaction is anything to go by, they loved it too!

Kevin Wharton

MELINDA

Don’t Be Sweet

Goldfeather Records

Melinda grew-up in the steel city of Pittsburgh, USA and began performing at the age of fifteen. Deeply influenced by Blues and rock, she was soon jamming in the many diverse Blues joints in Pittsburgh. She won the “World Scholarship” at Berklee College of Music, where she acquired an MA and was soon singing with rock group Mass Ave. Melinda on this five track EP though has returned to her Blues roots and the first thing you notice about it is her vocal. She has a dramatic contralto voice, powerful, rich and at times as strong as the steel produced in her home town. Her intonation is superb and she is able to transport from a gritty to more polished vocal as the music demands it of her. She’s an excellent Blues singer but also able to slip into rock, country and gospel style with consummate ease. The songs on the EP are all jointly self-penned, apart for Credence Clearwater Revival’s, ‘As Long As I Can See the Light’, which she adds a new dimension to. She has surrounded herself with co-songwriters and musicians that match her top class vocal ability and together produced an EP, which leaves you wanting more. ‘Hard Way’ commences the CD, a punchy and catchy Blues rocker, which has you foot tapping immediately. Here you get that first taste of Melinda’s talented vocal, velvet, steely and dramatic. Melinda then moves into the CCR number and lets you really see what she is capable of doing with those talented vocal chords, as she launches, into an RnB based number passionately infused country and gospel tones and colours. Melinda drives this song home with growing vocal zest to its gospel finale. This gal can sing and is a mean Blues Mama!

Carol Borrington

LARRY WILLIAMS

Here’s Larry Williams

The Specialty Rock’n’Roll recordings

Hoo Doo CD

In the historical cavalcade of rock and R&B wild men, Larry Williams was right up there at the front. Even before music, legend has it he worked as a pimp, before starting work as valet to another great R&B singer, Lloyd Price. Parallel to his musical career, Williams occupied himself as a drug dealer, an on-going misdemeanour which landed him in jail in 1960, seriously stalling his career. But all this naughtiness aside, Larry Williams’s songs have always had a sense of sheer fun and their rugged durability has attracted many acts to feature them in their repertoire. The Beatles, for example, couldn’t get enough

of his ‘Dizzy Miss Lizzie’ and ‘Slow Down’ and the originals are all here along with his biggest smashes, ‘Short Fat Fannie’ ‘Lawdy Miss Clawdy’ and ‘Bony Maronie’. A life long friend of fellow Specialty stable mate, the outrageous Little Richard, Williams was just about the nearest thing you could get to the gaudy Rev. Penniman, and by all accounts was a terrific live performer, a show-stopper on Alan Freed’s extravagant rock’n’roll shows. Sadly, his penchant for drug dealing didn’t wane, and he died of a gunshot wound to the head in 1980. Some maintain it was murder and mob-related, but no-one was ever arrested. ‘My Precious Lord’ was sung by Little Richard at Williams’s funeral in Los Angeles. If you love R&B excitement and fun, then this compilation, with excellent notes by Gary Blailock, is right up your street.

Roy Bainton

LITTLE WILLIE JOHN

Mr. Little Willie John plus Talk To Me

Hoo Doo CD

He may be overlooked today but here was a singer – and what an angelic voice – whose name is not out of place alongside Sam Cooke or Clyde McPhatter. His nickname fitted his age and height when he shot to fame – at just 18. Between 1953 to 1962 he had a pile of chart hits and his ability to put over the emotion in a song’s lyrics was legendary. This man had an impressive range and a heartfelt passion, and listening to him today is just as thrilling as it was way back then. This fine collection represents his first two albums, and among his bigger hits, the atmospheric ‘Fever’ is included in the four bonus tracks, making a generous 28 helpings of Little Willie. Of course, the sultry ‘Fever’ was avidly taken up later by Peggy Lee, and more recently by Madonna. Little Willie John brought a huge chunk of soul to the blues ballad, yet at the same time he could really rock, and his live shows must have been terrific. However, there was a sad end to his story. In 1965 he was jailed for manslaughter for ten years, and never saw freedom again, dying of a heart attack whilst still incarcerated in 1968. Equally at home with classic R&B, doo-wop or scintillating ballads, Little Willie John deserves to be remembered with affection. Listen to this and you’ll agree.

Roy Bainton

MITCH KASHMAR & THE PONTIAX

100 Miles To Go

Delta Groove

Led by vocalist and harp player Kashmar, the Pontiax were a Los Angeles based Blues band who in the late 1980s, hung around in the same circles as William Clark, Kim Wilson (both of whom provide quotations on this re-release), Rod Piazza and James Harman. Recorded in 1988, the tracks do not sound particularly dated, due to the timeless style of the music, which is harp led blues and rock n roll – thankfully no synths here. Indeed it is the high pitched harmonica which opens this album with the upbeat ‘Night Creeper’. Kashmar is clearly a keen student of Paul Butterfield as his playing forms the dominant lead instrument on tight

musical workouts like ‘Lip Service’ and the aptly titled ‘Harp of Plenty.’ Yet there’s more to the album, the rhythm & blues ‘Gonna Find Someone New’ is a fine change of pace and displays Kashmar’s fine vocals, with additional tenor sax and piano by Jim Calire supplementing the band’s sound. Those with a preference for blues guitar will relish the sharp playing of Bill Flores and Jon Lawson on ‘100 Miles To Go.’ The obligatory slow Blues comes with ‘Let It All Fall Dead,’ yet it is a cracker, with tasty guitar playing and a mood somewhere between BB King and Robert Cray. The two bonus tracks are pretty hot too, particularly ‘The Petroleum Blues’, which features fast paced saxophones that excitedly leading the song to its climax. Prior knowledge of the band is not a prerequisite to enjoying an album of this quality.

PAUL LAMB and the KINGSNAKES

Mind Games

Secret Records

Ltd

Duncan Beattie

The Harmonica player and band leader Paul Lamb leads his well drilled group through a collection of new songs, and covers on his new release – Mind Games. Well known for their live-shows, the album catches some of that energy in the grooves. Led by the distinctive Harmonica of Paul Lamb, the album also features telling contributions from Lamb’s son, Ryan on lead guitar, and some fine singing from Chad Strenz. The heavy lifting of providing new material is provided by most of the players, whilst the album closes with versions of Bob McGhee’s ‘The Blues had a Baby’ and Leadbelly’s ‘Midnight Special’, an acappella version featuring the Staples Singers, showing the collective is still in touch with their roots. The opening title track is a slinky 60’s type rave up, whilst ‘Come to the Conclusion’ is the group channelling their inner Johnny Lee Hooker, complete with dynamic breakdown in the middle. Other pieces such as ‘Depressing Recession’ are both timeless and sadly, timely, looking at the struggles of less prosperous times. This is the work of talented musicians, and writers who are veterans of the live and studio circuits, and although you may not be able to teach old dogs new tricks, these players still have enough curiosity.

Ben Macnair

LLOYD PRICE

The Exciting Lloyd Price + Mr. Personality Hoo Doo CD

These 24 tracks represent two albums made for the ABCParamount label from the beginning of Price’s career. To give the modern day music fan a true picture of how important Price was as a musician, I can do no better than to quote from Gary Blailock’s excellent notes; ‘That such a seminal figure as Price – who like Chuck Berry and Otis Redding is one of the giants of the rock’n’roll pantheon – is so little known today escapes understanding and forgiveness.’ Well said, Gary. Price was a giant indeed, who played several instruments and

brought a welcome touch of jazz into many of his R&B recordings. All his big hits are included here, including his superior original (which he wrote and produced at the age of 17) Lawdy Miss Clawdy, (Elvis recorded the song no less than 41 times), Personality and the original, un-expurgated version of his controversial dramatic song about a shooting, Stagger Lee. Still around today at a hearty 77, Price went beyond his late 1950s and 60s chart status into his other great love, business, and formed his own record company. Today he’s CEO of his Lawdy Miss Clawdy food production company, and you can see him in all his glory at www.lawdymissclawdy.com, where he’s even plugging his new book, ‘The True King of the 50s’ alongside his Sweet Potato Cookies. All that soul and food too – what a man.

Roy Bainton

MARK HUMMEL Retro-active Electro-Fi

This album sites testimonials from John Mayall and James Cotton. So it’s no surprise that It is a treasure chest of true Blues and rolling harmonica music. Sixteen high-octane numbers from the last decade, delivered by over sixteen of the best Blues musicians. Included in the ensemble are guest turns from Charlie Musselwhite, Steve Freund and Rusty Zinn. The whole album is a glorious vision of harmonica jive and vibe. Every track is good and it’s a tricky job to signpost highlights. The opener ‘Funky Way’ sets the bar high and it stays there. Fantastic horns and organ on ‘Never No More’, and vibrant kick drum on ‘Lord Oh Lord Blues’ grab attention on the first listen, yet on repeat it may be another track that pushes to the front. Of the guests, Rusty Zinn contributes guitar on more than half the songs, whilst Musselwhite and Freund are limited to one turn each. Freund shows great restraint playing guitar on ‘Before The Beginning’, proving less can be more, and Musselwhite shows versatility with mellow acoustic guitar on the album closer, ‘Can’t Be Successful’. Ultimately, it’s Hummel’s performance on vocals and harmonica that illuminates the album. He dedicates the album to seven Blues maestros that are no longer with us. They’d be proud that Hummel now carries their torch.

Gareth Hayes

MIKE HALLAL BAND

Hatchet Blues Pi Records

This four piece band hails from Lynn, Massachusetts and I believe this is their first studio album, following on from the 2008 release ‘Live At Lizard Lounge”. On first playing this album formed an initial and most inaccurate impression of a competent, but little more than solid Rock / Blues band. The “problem” was with the vocals, which have little range and seemed to portray few emotions. However, scratch beneath the surface, and both lyrically and sonically this is a fine piece of work. At the third play one even begins to appreciate the gruff and slightly menacing vocals, never more than in the title track. There is considerable variety in the styles and the band’s main influences seem to be dated squarely in the late 1960’s progressive rock era. To pull this off, without sounding clichéd is truly commendable. Hallal wrote most of the songs, and some of them are superb, like ‘World’s A Place’ whose lyrics were inspired by an extract from Barak Obama’s work “Dreams From My Father” - the music written by fellow band member and guitarist Chris Schluntz. Their covers, for example in the manner of Eric Clapton’s

‘Outside Woman Blues’ and Charlie Patton’s ‘Poor Me’ are sensitively executed, and suggest that this band are both musicologists and musicians. ‘Last Of The Great Train Robbers’ which features a different vocalist has more than an echo of Squeeze / Kinks quirky storytelling, and provides a lively and charmingly incongruous mid-point interlude in this one hour long album. The highlights from a Blues perspective are ‘Doctor Blues’ which appropriately captures all the pub-rock brashness of Dr Feelgood and the afore-mentioned moody ‘Hatchet Blues’, which features a fabulous heavy slide guitar solo.

LEWIS HAMILTON & THE BOOGIE BROTHERS EP/Promo

Noggin

lewishamiltonandtheboogiebrothers.vpweb.co.uk

Hamilton hails from Perthshire and having cut his teeth in a local blues band, has now released his first EP vai his website and live shows. Sidestepping the common early exuberance to merely showcase guitar skills, Hamilton shows his class with a selection of very promising self compositions. ‘Crying Shame’ opens with some tastefully melodic blues licks, reminiscent of Santana or Green and is measured tale of reflection. The laidback feel continues on ‘Opposite Motion’ which illustrates well both Hamilton’s fine youthful vocals and his acoustic dexterity. ‘Life on The Road’ is built on a memorable guitar riff with a delightful Billy Gibbons style guitar solo before a sprightly rock ‘n’ roll take on ‘Folsom Prison Blues.’ This is a refreshing and extremely promising first release, indicating Hamilton is a young blues based player of clear distinction.

Duncan Beattie

T-BONE WALKER

Armadillo 2

Floating World Records

This double CD covers the period 1950-54 and comprises the complete Imperial recordings of 52 tracks, reissued by Floating World Records at the bargain price of under 20p per track. This recently founded independent record company based in North London is doing a great job with both new talent and reissues, specifically the high quality sound production. “Armadillo 2” will be pure gold to Walker’s legion of fans given this is an historic, creative period of his legacy to the blues. Although only 40 years of age at the time of these recordings, Walker’s glory days were about to come to an end due to deteriorating health and changes in black record buyers’ tastes. He continued to perform and record until his death in 1975 but never matched the Imperial era and the earlier Black and White sessions. T-Bone at his peak was a brilliant guitarist, bandleader and showman. He had a mellifluous voice and was equally adept at singing gentle, heart-felt blues as playing jumping instrumentals. All the familiar blues themes are covered, notably, ‘You can’t live with a woman; you sure can’t do without, and….my love is all played out.’ Presumably this is why he ended up penning ‘Alimony Blues.’ Every track is a highlight because it is a statement of Walker’s immense talent and versatility. He was an

PINK TURTLE Back Again

Fremeaux & Associes

inspiration to BB King and the childhood hero of Jimi Hendrix. The influence of the Texan bluesman might have started with ‘Stormy Monday’ but has never ended; indeed he permanently changed popular music. As Charles Shaar Murray observed, ‘Others who have drawn on the singleline, string-bending blues guitar school may look tall, but that’s because they are standing on T-Bone Walker’s shoulders.’

The Bishop

Upon first play I was flooded with thoughts of the Temperance Seven; such was the cleanliness of the vocal output and horn backings, plus that eccentricity that they exuded. Surprisingly then Pink Turtle are a French outfit. “Back Again” is a collection of well known songs but reproduced in a fashion that is totally off the wall. Being the number one jazz seller for the French label, they are joined by a number of special guests including J J Milteau. ‘Everybody’s Got To Learn Sometime’ sounds like a Latin safari through the beaches of South America and wouldn’t go amiss as background music in a lift or a hotel lounge although there is a beautiful flute solo within. ‘Money, Money, Money’ is a straight lift from the school of Stephan Grapelli playing and although I was never a fan of Grapelli, this does swing with verve. The Stones ‘Satisfaction’ is played in a Latin beat with flute accompaniment whilst ‘Roxanne’ by the Police starts with a Wes Montgomery styled guitar intro and has less swagger than the original, being made into a sugary jazz styled song. Peter Green’s ‘Black Magic Woman’ has interesting backing vocals and great sax solo midsong whilst Brian May’s ‘We Will Rock You’ is given a great jazz work over, opening with thundering double bass and overactive piano work, vocal’s being delivered as though through a loud hailer. Sadly, Michael Jackson’s ‘Billy Jean’ just doesn’t cut it, the French accented vocals becoming something of a comical element here, although the whole is rescued somewhat by a rousing harp solo by J J Milteau. ‘Hey Jude’ closes the album in a somewhat upbeat fashion, losing the charisma of the original. I’m still not sure about this at all, but it has been entertaining listening to it.

Merv Osborne

RAY CHARLES

The King Of Soul- Classic Hits

Jackpot Records

This CD contains 24 tracks of the music of the legendary Ray Charles and it runs to a marathon length of 76 minutes and features only one period of the great man’s career. There are also two bonus tracks included in the twenty-four, which are live performances of the classics ‘Drown In My Own Tears’ and ‘What’d I say’. It contains all Ray Charles Billboard Hits between 1953 and 1959. This recording thus covers one of the most productive and creative parts of Charles’ long career path. It was during this period that Ray Charles got his reputation for being one of the pioneers of soul music, which he produced by fusing Blues, gospel, RnB and jazz, to bring about this new embryo of successive genres. This was to begin the scene for Deep Southern soul, Motown and find itself further extended into funk, discos and many other modern sub-genre off-shoots, that we have become familiar with in the Twenty-First Century. The CD is accompanied by a

twelve page illustrated booklet. This is not only well written but gives an insight into the man himself by use of his own quotes. Ray Charles vocal and piano playing features on all the tracks and he is surrounded by a cast of multitalented instrumental and backing singers from the period. Songs included are ‘Hallelujah Love Her So’, ‘Don’t Let The Sun Catch You Cryin’, ’Let Good Time Roll’ and much more! The production is clean and well produced and it offers a comprehensive journey into a specific period in musical development and one man’s special contribution to it. This is certainly a collectors item but also one for those wishing to get into the music of Ray Charles.

THE FELIX CABRERA BAND WITH JIMMY VIVINO

Live at the Turning Point

Suitcase Sound Recordings

Carol Borrington

New York based Felix together with his band and Jimmy Vivino gives us a corking live album here. If you’re sitting indoors and want to get to a gig but can’t, then play this album, that was recorded at Piermont NY, instead. It’ll take you most of the way. Highlight for me was Cuban born Felix’ fat harmonica sound, redolent of the late great Paul Butterfield and outstanding throughout the album. There is some really nice liquid guitar from Vivino, recalling Santana at times; add a band that really sounds if they’re enjoying themselves and you have a winning mix. One very interesting track is the instrumental Eddie Harris tune ‘Listen Here’ which has some interesting key changes to make it stand out from the usual grove tune. When this track really picked up the whole ensemble again reminded me of Santana –This Latin tinge is also very evident on track 2 the self penned ‘Animalism’ and on the grooving ‘Self Argument In D Minor’ an earthy minor key tune with nice harmonica and keyboard solos, and a much more down to earth song than the title implied. The band covers several blues related styles but they bring it all home on the best and final slow blues track ‘Goin’ Down Slow, the ensemble interplay on this is really good, the only problem is that this track finished just a it was really cooking. It left me wanting more, and that sure is not a bad thing.

Vicky Martin

NICOLE FERMIE

Babel In Three Top Cat

The intriguing sounds on this CD lead me online to find out more about Miss Fermie. Her biog asks ‘Is the world crying out for a huge-sounding, guitar-wielding, rhythm-heavy, girl-fronted power trio?’ It doesn’t take long to give that question a resounding yes. Given that her mother travelled from her native India to become an opera singer, that Nicole learned piano at an early age, before choosing a Strat as her instrument of choice. She has provided backing vocals to well-known West Country band Goldfrapp, and with influences such as Parliament Funkadelic, Led Zeppelin and Jimi Hendrix, leads one to

expect a kaleidoscope of musical favours. That’s exactly what can be found on this album, from the Hendrix styled title track, with its soaring blues based guitar licks, to the confident strut of ‘What I Can’t Have.’ The confident purposeful guise of the opening track melts on the melancholic ‘Four Years Later’, in which Fermie’s tender but striking vocals come right to the fore. With the funky backing of the equally young Scott Baxter and Howard Gill on bass and drums respectively, “Babel In Three” displays Fermie’s song-writing, from which personal experience appears to be the main inspiration, her tasty guitar playing, and that voice. ‘Single Bed’ is an early attention grabber, with its funky groove, which Freddie King would certainly have loved to have called his own, while she bares her emotions on ‘Stay’. Quite simply “Babel In Three” is a refreshing release with enormous potential. While Fermie would not be simply classed as a blues artist, yet there is a very prominent blues backbone, and only the foolhardy would ignore an artist who appears to have all the key elements for mainstream success. For a quick taster, download her new free single ‘Bend Your Knees’.

Duncan Beattie

NIBS VAN DER SPUY

A House Across The River 2nd Feet

Here comes Nibs Van Der Spuy’s sixth solo album, ‘A House Across The River’ all the way from South Africa. Born in Benoni but living in Durban for the last 22 years, Nibs Van Der Spuy is not only an amazing musician when it comes to acoustic guitar, he also explores instruments from the four corners of the world to bring his music an ethereal quality. Here again, for his third international album release, you can’t help being moved by the beautifully African tinged melodies spiced up by influences from Nibs’ heroes, such as the Rolling Stones, the Beatles, Allman Brothers Band, Neil Young and Bob Dylan. There is a definite air from the late ‘60s and ‘70s drifting throughout these eleven tracks, you feel as if a troubadour is playing and charming you right in your own sitting-room, a cross between Tim Buckley and Nick Drake. Nibs worked again with his old friends, Gareth Gale on drums/percussions and Kieran Smith on bass and cello, confirming yet again his reputation as a ‘Nu Folk’ artist. Not only is he an amazing musician, he also writes beautiful lyrics, telling us about hope and faith, about following your dreams even if they don’t fit it in with everyday society. Really tempting! How can one resist the beautiful story of “Nieu Bethesda” and inspiring title track. Let’s not forget the two beautifully performed covers, “Cripples Cry”, a tribute to Tim Buckley and a brilliant version of the Allman Brothers Band’s “Little Martha”. An album for long candle-lit evenings with your friends and dearest ones, ending staring at the stars and hoping for a better world.

Frankie Bluesy Pfeiffer and Nat Harrap

NUNO MINDELIS

Free Blues

Beast Music

Born in Angola, living in Brazil, Nuno Mindelis may not be a household name amongst Blues lovers, yet he was voted best Blues Guitarist by the American Guitar Player magazine in 1998. This is his 7th CD and is all cover versions. That may be enough to turn people off this recording, but don’t let it, these covers are all different and worth listening to. It opens with Junior Wells ‘Messing With the Kid’. Which has a swamp Blues feel with a strong

yet not overpowering bassline and drum rhythm section and a vocal reminiscent of John Mayall though in a slightly lower register. George Harrison’s ‘While My Guitar Gently Weeps’ is given the full Blues guitar treatment elevating every emotional note in a sensually textured stream of empathy for the expression of feeling Nuno emanates from the strings, whilst his vocal is the texture of dark chocolate adding a bitter sweet flavour to the whole. ‘Rock Me Baby) is Nuno’s take on the BB King classic. It is slower and the guitaring has all the sensuality that the song deserves. It features the vocal of Mike Bowden, which has more polish than Nuno’s vocal whilst retaining the grit and depth of good Blues singers. The CD closes with Hendrix’s ‘Red House’. The guitaring takes you back to Chicago in the fifties, the vocal back to the talking Blues of the 20’s whilst the overall presentation is relevant to the first decade of this century. The vocal has an interesting quality as if you are listening to his thoughts and not his actual words. You won’t find any blistering fretboard runs on this CD but you will find some of the best Blues guitaring around and some original takes on some old standards it is definitely worth a listen.

W T FEASTER Wish You Well Independent

Carol Borrington

The opening track, ‘The Bird Has Flown’, sets the scene for this groundbreaking second studio album from the multi-talented singer/guitarist and rising star across the UK and USA, Travis Feaster. The lyrics are beautifully crafted, ex Double Trouble bandsman Reese Wynans’ Hammond B3 sounds magnificent and the sandpaper edged vocals of Feaster match perfectly the incendiary guitar solo. This pattern is maintained throughout the ten original compositions and only the pace varies, from the upbeat ‘Gunshy’ with its explosive B3 and guitar solos to the slower, reflective ‘Mr Maybe’. Travis had better like the title track because ‘Wish You Well’ will become his signature tune with its layered arrangement, haunting background vocals and that hallmark axe wizardry. ‘Cruise’ borders on hill-country blues, ‘Freedom’ is a bouncy, optimistic tune, and ‘Down At The Station’ the purest of pure blues highlighting WT’s sensitive but increasingly tough vocal style. ‘Goin’ Out That Way’ is a lush, mid-tempo guitar-driven piece framing some ethereal multi-tracked vocals. The soulful ballad ‘Break For You’ showcases the immense vocal talent of fellow Hoosier Tad Robinson. However, it is the astonishing empathy between Reese and Travis which stands out as they paint their tunes with splashes of complementary colours to produce this grand masterpiece. This CD represents a massive leap in the musical journey and maturity of W T Feaster from following in the shoes of the guitar greats before him to leading the way as a maestro in his own right.

The Bishop

ROSIE NIMMO Home Kick My Heels

The first track of this has Rosie singing over just a guitar in the simplest, most folksy, manner about the impossibility of going home – ‘Never Go Back’ is positively one of the most poignant and heart-wrenching songs I have heard in ages. The next track raises the tempo and actually makes her sound distinctly ordinary – an album of highs and lows! When she is singing in a higher pitch and creating a wistful demeanour she is utterly enchanting or when, as on ‘Life Can Pin You To The Wall’, she is talking from the heart and looking back with melancholy her ability to create a mood is remarkable. Unfortunately she just doesn’t do happy with the same levels of emotional impact. All of the songs on the album are worth listening to and the playing is generally very good but the real winners here are where she digs deep and makes the listener feel the pain or the hope she is feeling – intellectual challenges as on ‘Timeclock’ just don’t have that ‘special something’. It feels unfair to damn her with small praises but the difference in quality between ‘Precious Mistakes’ and the track I would lick as my favourite here – ‘Home’ is quite profound.

Andy Snipper

JIMMY HALL, RUFUS HUFF, SWAMP CABBAGE

Oklahoma Blues – A Tribute to JJ Cale

Blues Boulevard Records

From the first listen, this collection transcends the normal lame tribute concept (I can’t normally see the point or the value – re-paint the Mona Lisa, gimme a break, huh?), taking Cale’s trademark laid-back blues to other places, showing the original lazy, rootsy songs in a new light. Top-drawer musicians feature, including Northern Florida bayou rock guitar duo Swamp Cabbage with guest vocals from JJ Grey (from Jacksonville’s Mofro) and Jimmy Hall (from Wet Willie, veterans of the wonderful Capricorn Records label – ‘The South’s Gonna Do It Again’, indeed.) In the hands of Cabbage with Grey, ‘Money Talks’ is a steamy, slow-building, boondocks brooder, menacing, well-travelled vocals and stinging guitar with superb depth of production. The Cabbage with Hall turns ‘Don’t Cry Sister’ into a fulsome, bluesy ska-inflected killer. Rufus Huff doses ‘Crazy Mama’ with up-tempoed funky riffs and they treat ‘Cocaine’ like heavy-metal power thrash. ‘Down In Memphis’ has Doug Phelps and Larry Goad in full-on doo-wop meets human beat-box fusion; The Persuasions’ interpretation of ‘Travellin’ Light’ is an aerated country blues boogie, fiddle and guitar delightfully playing off each other. A second version of ‘Money Talks’ is a beaut, featuring stellar sessioneers Greg Skaff (guitars), Hall (vocals), Darryl Jones (bass), Charley Drayton (drums) and Mike Finnigan (his keyboards meandered all over Jimi’s Electric Ladyland album). A great idea, perfectly executed, and highly recommended.

Pete Innes THE MORLOCKS Play Chess Tango

Pitched between the arrogance of Dr Feelgood and the Kinks, and the volatility of Muddy Waters and Chuck Berry, The Morlocks continue to give us raucous bar-room rhythm and Blues. With Jagger-esque intonation, the vocals rip through the expected series of covers with a fever of enjoyment that helps to promote the rough edges.

The thunderous ‘Killing Floor’ may not be studio bright but does give the live feel of a dynamic band at their peak of togetherness. There’s a retro feel to the flow and the full-on approach make the covers sufficiently different from their originals to make them relevant and worthy in their own right. ‘Boom Boom’ and ‘Who Do You Love’ are all too often found in the display of covers but here The Morlocks do them great justice. It’s a machine gun album that doesn’t take prisoners and ‘Feel So Bad’ is delivered with punch and vigour. Punkish and paranoid, full of sweat and excess, this matey tribute to Chess Records is hard to beat.

Gareth Hayes

ROBERT PLANT

BAND OF JOY

Decca

From Timbuktu to Clarksdale, Robert Plant’s solo career conjures up the image of an intrepid explorer who travels to all corners of the earth in search of lost and new sounds as well as forgotten songs. On his latest album

Band of Joy, one gets the impression that Plant has spent the past few years, on an ongoing journey of the American highway, where he has gone off the beaten track to visit unknown juke joints and the shotgun homes of obscure songwriters in search of his next material.

Named after the first band he formed with the late John Bonham back in the sixties, Band of Joy seems to be the natural follow up to the multi Grammy award winning Raising Sand for which he teamed up with Blue Grass chanteuse and violinist Alison Krauss and the legendary producer T Bone Burnett. In the same vein, as its predecessor, he ventures to the same part of the world but this time to join forces with country music producer/ instrumentalist Buddy Miller, who also toured with him and Krauss on the Raising Sand tour. His backing band is made up of some of Nashville’s finest musicians. On this occasion, alt country artist Patty Griffin is the ethereal female singer who accompanies his vocals on a majority of the tracks. So what is different this time?

Sir Percy opens the album with a surprising choice of track from the Los Lobos’ back-catalogue, “Angel Dance.” This song is a striking opener with its’ jangling guitars and driving mandolin solo, which to some may seem reminiscent of the arrangements on Led Zeppelin III. Of course, a Robert Plant solo album is not complete without a visit to the Delta Mississippi and Blues fans will not be disappointed by the Lightin Hopkins influenced Central Two-O Nine and the chain gang style vocals set against the haunting Appalachian banjo in “Satan Your Kingdom Must Come Down.”

The album’s more sublime offerings take the form of two songs from the minimalist American rock band Low. Plant’s and Griffin’s mysterious and sultry sounding vocals on Silver Rider and Monkey combined with Miller choice of using swirling, drone guitars, pounding drums

with lashings of feedback, really make these songs stand out on the album. Other highlights include a rather passionate rendition of Richard Thompson’s “House of Cards,” and the Appalachian folk overtones on Miller and Plant’s reworking of the old American folk song, “Cindy I’ll Marry You One Day.” If there is to be a downside to the album, it’s the rather heavy sounding arrangements on the New Orleans rhythm and blues track “You Can’t Buy My Love,” which was originally covered by the Texan left handed guitar goddess Barbara Lynn back in the sixties. On a more poignant note, the album features Plant recording one of the last songs ever written by the late cult alt country singer Townes Van Zandt who died in 1997. Recorded in a straightforward country rock style, Plant and Miller provide an upbeat interpretation without taking away the pathos from Van Zandt’s reflections on life and death. Finally, the album closes on Plant adaptation’s of a 19th century poem about a Persian King which is set against an interesting off beat synthesized backing track.

So, apart from a few numbers, the album does not feature a huge amount of original material from the ex Led Zeppelin front man. However, it does showcase another one of his talents, as an excellent interpretive vocalist with an ear for a good tune. He revises a music tradition from a time when it was common practice for country and rhythm and blues artists to interpret each other’s work. Overall as a listener, I feel as though I have been given an interesting lesson in American roots music, perhaps more diverse than the one I received on Raising Sand. It also leaves me wondering, where is he going to take us next on this exciting musical journey and would he mind a traveling companion i.e. me?

Paromita Saha

RON HACKER Burnin’ Independent

The CD that came through my door was a home made one with a track listing messily cut out of something else, so I feared the worst! I was wrong, it was brilliant! Ron Hacker is established Bluesmen with a pedigree going back eight well received album. He has an authentic Blues upbringing including the lack of family and a slightly wayward youth. Credentials established! This 12 track album sets off with a song called ‘32/20’, a funky upbeat song which gets us into the class electric slide that Hacker excels in. The second track, ‘Peach Tree Blues’ shows off some fine acoustic slide and gives range to Hacker’s surprisingly deep bass voice. For my money, this is the best one on the album. ‘Keep Your Hands Off Her’ made me think of Bo Carter’s dirty Blues songs brought up to date and “Welfare Store’ is an example of what good twelve bar can sound like and sounds like early Stones!. The title track, which is last on the album is a nice guitar piece which is spoiled a bit by some intrusive drumming. In all this is a good album. Ron Hacker is clearly a talented guitar player and his voice is made for Blues. The selection of songs on the album is good and varied and it is well worth a listen.

Kevin Wharton

PAINT IT BLUE

Paint It Blue www.myspace.com/paintitblueuk

PAINT IT BLUE a five piece band who describe themselves Blues / Psychedelic / Rock have penned nine of the tracks on this exciting self titled debut album. Hannah Robinson not only wrote many of the tracks

her voice is strong with the ability deliver each phrase with a soulful timbre. This is a band that has strength and depth the dynamic young trio up front of Hannah Robinson, (vocals, guitar and percussion), Peter “Pedro” Quintin (Guitar) and Ed Fish (Harmonica) are supported by a distinctive and mature rhythm section - Ian Walker (Bass) and Marcin Dyba (Drums). PAINT IT BLUE have combined their individual influences including Sam Cooke, Peter Green, Pete Townshend Junior Wells Tony Royster Jr. and Steve Gadd to mould their own unique sound. Hannah’s voice shines through solid musicianship like a sunbeam on a grey and windy day with tracks such as ‘Can’t Help But Smile’ and ‘Outside Women’s Blues’ promoting British blues and they are never afraid to add a twist of innovation, the band is not tied by their apron strings to Blues standards, yet at all times they keep faith to a quintessentially blues sound. This quality first album augers well for this young band from Bournemouth, let’s hope they are heard across the nation very soon and until this happens this CD is a great taster of their sound.

THE RUSS TIPPINS BAND Electrickery Arty Music

Liz Aiken

The Russ Tippins Band is a relatively new name to the Blues rock scene, having first got together at the tail end of 2009. They’ve been gigging around the North East of England since then, and decided to head into the studio to record a demo. After writing and recording the songs, they were so impressed with the results that they decided to put them out as an album. And “Electrickery” is the punningly titled result. On the live scene they have to mix up covers and originals, but in the studio they’ve stuck to their own material, with the exception of the opening number, which is their version of the Jimi Hendrix chestnut ‘Freedom’, from his posthumous album “The Cry Of Love”. Probably not the smartest move for a band trying to make their way with their own songs, it might have been better tucked away at the end of the record. However, it does go to show what excellent musicians the trio of guitarist/vocalist Russ Tippins and rhythm section John Dawson and Ian Halford, are. Then it’s on to the real meat of the album, with the first of the originals, ‘Little Josephine’. And from this point on, the band are in fine fettle, as they serve up some classic seventies rock, all tempered with a healthy dose of the Blues. As befits a man who used to earn his living in a Led Zeppelin tribute band, Russ Tippins is a superb guitarist who manages to stamp some of his own style on enjoyable compositions like ‘Number Thirteen’, ‘This Building’s On Fire’ and ‘Indy Boogie’. He’s a dab hand at singing as well, and it’s all underpinned with a rock solid backbeat from Dawson and Halford, who’ve been working together for a good few years, and have an innate understanding of what to play and when. The album has a lively, in your face production, which belies its origins as a demo recording, and if you like your Blues to come with a heady cocktail of classic seventies rock, then

the Russ Tippins Band will be right up your street.

Stuart A Hamilton

PETE CAGE Tough Talk Goofin’ Records

Pete Gage, one of the ex Dr Feelgood frontmen (Lee Brilleaux’s successor), has just released “Tough Talk” is his third album under his name, produced in Finland with the Finnish band, Doctor’s Order. This album was born from Doctor’s Order’s bass player, Teppo Nättilä, who suggested to Pete to record a new album together with his friend, producer/drummer, Juha Takanen in his own studio in the city of Vantaa. An impressive piano player undoubtedly influenced by his father’s fondness for the likes of Duke Ellington, Count Basie and Louis Armstrong, Pete Gage demonstrates his talent as lead singer, delivering each track with his powerful, husky voice. On ‘Bad Feelings’ and ‘Under My Skin’, Pete also shows he is a mean harmonica player. Having written eleven of the fifteen tracks, he leads the proceedings throughout this lively album, supported by some classy guest appearances by Gypie Mayo (Wilko Johnson’s worthy replacement in Dr Feelgood) on six of the songs. The flavour is mostly boogie and blues with a touch of New Orleans and a little country, courtesy of Gypie Mayo, with a hint of rock’n’roll here and there to spice it all up. From the covers, we must mention the classic ‘Midnight Hour Blues’ by Leroy Carr, brilliantly interpreted by Pete and Gypie. From the first track, you won’t be able to resist the urge to go and get your neighbours round to boogie all night long.

Frankie Bluesy Pfeiffer and Nat Harrap

R.L.BURNSIDE

Rollin’ & Tumblin’ Wolf

If ever I feel a little jaded with modern electric blues and the latest new kid on the block then this is the stuff to get a shot of. A quick spin through this raw, rough and ready, intense, driving music from “The King Of Hill Country Blues” should be enough to blow the cobwebs away. This fine album contains 19 recordings from the 1970’s and 80’s featuring Burnside playing mainly solo at informal, impromptu occasions outside of a formal recording studio and the results offer intimate recordings of a master at his peak. Opening track ‘Fireman Ring The Bell’ is closely related to Muddy’s ‘Rollin’ & Tumblin’’ and features Burnside’s driving, percussive and highly rhythmic guitar playing and exciting, fierce, gut-bucket vocals. ‘Walkin’ Blues’ features Burnside’s trademark whining slide guitar and the hard-driving ‘Goin’ Down South’ has a rap-like spoken narrative as we hear R. L.’s grandchildren playing and dancing in the background. His main influences, particularly Miississippi Fred Mcdowell, can be heard directly in his style and choice of repertoire like ‘Poor Boy’. Most of this material has been heard and released before in many different guises but R.L.’s intricate, but propulsive, guitar technique allied to his no-nonsense vocal delivery make for a compelling listen. There is a menacing take on Howling Wolf’s ‘44 Pistol’s’ and during ‘Long Haired Doney’ R.L. plays a syncopated rhythm on the body of his acoustic guitar. ‘See My Jumper Hangin’ On The Line’ features accompaniment from Calvin Jackson on drums and Daniel Burnside on bass and Hooker’s ‘Boogie Chillen’ is accompanied by R.L.’s

furious foot stomping. There is a bonus interview track where R.L. outlines some of his traditions and influences. This is wonderful stuff and if you don’t already have R.L. Burnside in your collection then this album would be a good place to start.

Dave Drury

RORY BLOCK and STEFAN GROSSMAN

Country Blues Guitar

Acoustic Music CD

Among the great names associated with the archiving and preservation of true blues music, such as Alan Lomax, Dick Waterman or Paul Oliver, Stefan Grossman deserves a whole wing of the music library to himself. Not only is he one hell of a guitar player – he is also steeped in the tradition of exposing and encouraging this fabulous, lilting form of old country blues by promoting its many skilled exponents through books, recordings and DVDs.

If you’re in love with the acoustic blues guitar, then this CD is the engagement ring leading to your marriage. This represents two albums with a generous 32 tracks, featuring tunes mostly by Stefan, with vocals and second guitar by the sweet-voiced Rory Block. One of the albums is the 1964 ‘How To Play Blues Guitar’ and, sheer magic – the CD contains a 31 page PDF file with all the music, tabulation and keys, with some stunning photos. All the familiar country guitar tunes are here – Walking Blues, Stagolee, Police Dog Blues … in fact this is a sheer delight, something you can sit down with, get your own axe out and have a go. Thank you yet again, Mr. Grossman. Keep up the good work.

Roy Bainton

2000, after fathering 57 (yes, fifty seven!) children. Way to go, Jay.

Roy Bainton

SNOWY WHITE BLUES PROJECT In Our Time… Live SWBPIL

In terms of recognition Snowy White’s is one of England’s most under-rated guitarists. His time in Thin Lizzy has been downplayed in recent years, yet while Lynott’s creative song-writing was in decline one only needs to hear the title track of “Renegade” to hear his superb melodic guitar playing. There’s no place for any work from Lizzy or Pink Floyd on this album, nor his hit ‘Bird Of Paradise,’ rather it is a collection of true blues based originals and classics. Yet fans of twin lead guitars should take note as White and Matt Taylor swap guitar licks a plenty on this laid back collection of live tracks. From Ledbelly’s ‘Good Morning to the superb self-penned ‘Red Wine Blues.’ It’s not hard to imagine the audience at De Boerdeeij swinging the jazz tinged ‘Lonely Man’s Blues’. Taylor’s own compositions get an outing, notably the deep Blues of ‘In Our Time Of Living’ and ‘I Want To Thank You’. ‘Rolling With My Baby’ sees the band, completed by Ruud Weber Jr on bass and Roy Martin on drums work up a storm. White was occasional sidesman to the great Peter Green and there are hints of the latter’s melodic brilliance in White’s playing, not just in the covers of ‘Long Gray Mare’ and ‘World Keeps on Turning.’ A brace of acoustic numbers include an upbeat reading of Skip James’ ‘I’m So Glad’ and Terry and McGee’s ‘Walk On’ which engages the crowd in a sing along. This CD is a great indication of an engaging and varied live repertoire and had this reviewer checking up on White’s forthcoming tour dates.

Duncan Beattie

SCREAMIN’ JAY HAWKINS

At Home With Hoo Doo CD

On reflection, if I wanted to be ‘at home’ with anybody, it wouldn’t be Screamin’ Jay Hawkins. That’s not to say he wasn’t a fine artist, an original with an immediately recognisable style all his very own. One simply gets the impression with the bloke that what you see/hear is what you get – a very scary, unpredictable man who’d be more at home crawling around a graveyard than serving sherry and canapés. These 23 classic tracks are from his Epic and Okeh labels hey day. ‘At Home With’, the first 12 tracks, are his 1958 breakthrough album. Everyone knows Hawkins from his unforgettable hit ‘I Put A Spell On You’ and here you have the original plus an alternate take. Some of these numbers are hilarious. His ‘Alligator Wine’ is two skulls short of a voodoo ceremony, and there are two takes of this, plus double helpings of ‘There’s Something Wrong With You’, and ‘Little Demon’. The thorough liner notes by Jim Jarmusch are complimented by the original 1958 LP sleeve notes, where you’ll learn that before music, he was also a demon boxer, a winner of the Golden Gloves in 1947. What more can you say about an R&B artist who came on stage in a coffin, wore a bone through his nose and was accompanied by a cigarettesmoking skull on a stick? Brilliant. He died in France in

SAM MITCHELL

Bottleneck/ Slide Guitar Acoustic Music

This mainly instrumental CD was originally released in 1976 on Stefan Grossman’s Kicking Mule label, and has understandably been reissued several times since; it was the debut set from this Liverpool born guitarist who made his recording debut in 1969, worked with artists as diverse as Rod Stewart, Charlie Musselwhite, The Who, Ralph McTell, Marc Bolan and Mark Knopfler, and who died of emphysema in 2006. This album was really his calling card – his father had played Hawaiian guitar with the veteran UK dance band of Felix Mendelssohn, and that undoubtedly influenced his decision to include some sounds of the south sea islands here (try ‘Laguna Luna’ – and don’t forget that back then, this kind of material was virtually unheard of in Blues circles). He cited Robert Johnson as his prime inspiration though and two beautifully sung and played Johnson numbers are included, plus plenty of hard Delta items and material from the likes of Kokomo Arnold and Blind Willie Johnson. There are some electric items too – ‘Livingston Blues’ is an impressive Earl Hooker tribute - all underlining what a great loss this man’s death was. For those who want to emulate his playing, guitar tablature is available as a pdf on this CD.

Norman Darwen

SID SINGS

Notes From The Underground Faversham Recordings

“Notes From The Underground” is the first album for this trio made up of Nikki Brooks on bass and vocals, Sandy

Michie on guitars, banjo and jaw harp and Nick Marangoni on drums and percussions. The album of the title is intriguing, a reference maybe to the novel by the Russian master of despair, Dostoevsky, a rejection of all society’s rules a century before Sid Vicious, and Sid is still singing, isn’t he? And with the help of sultry Nikki, her voice likened to that of Debbie Harry, Sid will be singing for a long time. Having recently performed at the well-known French Blues Festival of Cognac in July, is proof that the trio is going from strength to strength. From the first track, ‘Killer Love’ to the last, ‘Strange Days’, the twelve tracks explore and cross the various paths of rock, punk and blues to bring together their very own sound, punctuated by Nikki’s teasing and sexy voice and interpretation. Not only are they talented musicians, they are also great songwriters, as demonstrated by the twelve songs they wrote for this album, taking inspiration from the likes of Robert Johnson, Seasick, White Stripes and The Sex Pistols. Here you have a hotter Blues rock, adding spice to the current delights in the Blues kitchen.

Frankie Bluesy Pfeiffer and

Nat Harrap

VARIOUS Constant Sorrow

Bluegrass from Roots to Flower

This three-album collection explores the Bluegrass explosion from the late 20s to the late 1950s. The first CD is a basic overview of white early settlers urban music in America covering the era 1920 to1940. Think of Steinbeck’s ‘The Grapes Of Wrath’ or ‘Of Mice And Men’; think of the duelling banjos in the film ‘Deliverance’ - the music is raw but interesting. The second CD is from 1940 to the mid 50s and the music and musicians are becoming recognisable with such notables as Bill Munroe, Roy Hall and the Blue Ridge Entertainers. Listening to this you

can hear the influences that Hank Williams would have been inspired by whilst he was growing up. The final CD is the one most people will begin to identify with. Most of the songs have since been made famous by other artists either by plagiarising the lyrics or copying the style. Just listen to ‘Orange Blossom Special’ and you can hear Chas McDevitt or Lonnie Donegan and the skiffle board craze of the early 60s. At over 3 hours long and over 80 songs this is obviously for the enthusiasts but an inexpensive journey through the Bluegrass history. After listening to this you might want to buy a Stetson hat, a banjo, a pair of cowboy boots or NOT!

Bob Bonsey

THE SNAKES

Sometime Soon Independent Release

I know one shouldn’t go by the packaging or the name, but I was expecting some kind of edge, venom or aggression from a band called The Snakes, however I couldn’t have been more wrong. Sounding like a cross between Stephen Stills Manassas and The Flying Burrito Brothers, it is easy to mistake The Snakes for a true American Band. However this band is British and flies a flag for the country rock/Blues genre. The opening track ‘Interview’ is rather a cumbersome ditty that trundles along in slow vein, getting nowhere fast and not auguring well for the remainder to come. ‘What Have I done For You’ is a much livelier, uptempo affair sounding somewhat like an early track from the band America. What is delightful here is the flamenco style guitar solo, segueing into a more earthy Mexican style. Giving a nod to the Blues, ‘Refrigerator Blues’ twins a staggering shuffle with swirling harmonica, all topped with a Wolf styled vocal. The music then reverts to its “ohso-nice” Country style complete with a Roger Whittaker whistling insert in ‘Cumberland Breeze’. ‘Jesus In A Box’ is another rhythmic upsurge, with the vocals sounding very much like Capt Beefheart in his prime and a somewhat more rash and lively backing. ‘Tin Foil Town’ is more than a nod to Steve Earle with its full blown backing. Overall however, I wanted the band to grab the music and really shake it, putting some edge on the vocals as in ‘Jesus’ and take the instrumentation into a less safe arena, after all, the quality of the songwriting is very good. Seemingly the Snakes must be doing something right, as I understand both Bob Harris & Mark Lamarr are big fans.

Merv Osborne

T.ROGERS

Wear Your Soul

www.trogers.hu

T Rogers is a six piece Hungarian band producing a sound that is individual with the title of the album neatly describing the very essence of this CD, for once the title track ‘Wear Your Soul’ did not disappoint in either of its guises electric or as an acoustic track to complete this accomplished album. There is a natural organic feeling to the bands interpretation of the Blues before the songs were recorded they were bold ideas this allowed each musician space to shape and mould the songs giving the album the fluidity of an accomplished jam session. In other bands this could have led to a battle of ego’s but this is not apparent anywhere on the CD, each musician is confident in their own skills whilst sharing the delight in producing memorable music together. ‘TROGERS’ delivers blues rock without the need for long ego driven solo’s but by producing a complete sound carefully blending to

ensure interesting textures of sound blues, rock and a little bit funky. Each track has its own distinctive rhythm with instruments sometimes taking the lead but never dominating as demonstrated on ‘Going’ Home Train’; the lyrics are suitably bluesy and the lasting memory of the album for me is the phrase ‘Blues is a beautiful disease’. Hopeful this band will find its way out of Hungary bringing with them an enthusiasm for the blues and the joy of producing great sound.

Liz Aiken

THE LOZ NETTO BAND

Bridge of Dreams

Feral Boy Records

I didn’t know Loz Netto from Adam, but listening to this c.d I now have respect for a man who has taken everything that life has thrown at him, and still comes out fighting. I could come out with all sort of clichés about the musician having actually felt the blues (and there’s no doubt he has), but for someone to be able to produce this quality after the punches (some of them have been “low blows”) he’s taken from life is the mark of a real fighter! Enough of the boxing analogies, the combination of the man himself, Nigel Ball and Rob Kenny have produced a sparkling album which crosses some genres but is essentially a Rock and Blues production. Netto’s own composition “Bridge of Dreams” opens the album with dexterity of playing that sets a very high standard for himself. Unsurprisingly, he maintains it throughout and it is perfectly complimented with the Bass fretwork of Ball and the sympathetic drum playing of Kenny! Netto has a blues voice to die for and “Dixie Chicken” on track 4 is raw and gutsy both vocally and musically. “Wild” is a perfect example on the penultimate track, of sharp lyrics superb guitar playing and percussion in total harmony. This is top stuff from start to finish; I’ll be looking out for more from this slick moving fighter. I couldn’t resist the last boxing cliché – Sorry!!

Tom Walker

THE JOLLY BOYS

Great Expectations

Wall of Sound

At first sight this has no place in a Blues magazine and unless you are an aficionado of reggae and roots you will cross the streets before giving this a listen – reggae covers of modern(ish) pop classics by a bunch of hotel entertainers in their 70’s; you have got to be kidding. Luckily I am into reggae and I have been hearing about the legendary Jolly Boys for years and from the first notes of ‘Passenger’ – the Iggy Pop classic(!) – I was completely enraptured. The Jolly Boys have been around since the late ‘40’s when they morphed out of a group called ‘The Navy Island Swamp Boys’ and the style of music is called ‘Mento’ – the real forerunner of Ska and reggae and played on acoustic instruments like banjo and the Rhumba, a kind of Cahon – think a Jamaican equivalent of Appalachian folk – and these guys are the kings of Mento. Albert Minott is the lead vocalist, strong Jamaican accent

and deep and resonant sound to his voice ably backed up by ‘Powda’ Bennet and featuring Donal Waugh on banjo as the lead instrument. They make all the songs their own – you will never listen to The Doors ‘Riders On The Storm’ in the same way ever again – but never lose sight of the original number. ‘I Fought The Law’ keeps the same call and response verse/chorus as the Clash gave it but their Roots stylings relocate it to ‘The Islands’ effortlessly while ‘Ring Of Fire’ is less pious and more a warning than the original. ‘Perfect Day’ is even sadder than the original courtesy of a lonely whistle and ‘Blue Monday’sounds like it was always a reggae number. Incredibly ‘You Can’t Always Get What You Want’ seems to change the least but ‘Nightclubbing’ – the Grace Jones number – now sounds like the aftermath of some serious clubbing. There really is some very fine playing here and their take on the classics is wonderful – not an album for every day but an occasional delight.

Andy Snipper

TED CROOK AND THE BLUES HIGHWAY

Route 61

www.myspace.com/tedcrookandtheblueshighway

Recorded at Llanwrda Carmarthenshire, Ted Crook’s combo is at home, relaxed with this eleven-track selection of classic Blues and roots material that they clearly know and love like their own babies. It’s a recipe that cant’s fail – amplified harp (Crook) as a lead instrument, drums (Doc), ‘lectric guitar (Tiny Phillips) and ‘lectric bass (Stiff) played all over the fret boards, confident vocals (Crook, Stiff) – and their choice of material is pretty damned nifty too. ‘Pretty Boy’ rocks from the get-go, a harp-led boogie with bubbling bass and an understated meandering guitar solo. Leiber and Stoller’s ‘Kansas City’ (hey, hey, hey, hey!) gets a jazzy re-shape. No surprise that the good ol’ ‘Mystery Train’ is still sixteen coaches long, locomoted here by tasteful guitar picking à la Les Paul – was this the birth of skiffle? Rod Piazza’s ‘Somebody’ is a fluid, walking-bass, ‘Dragnet’ / ‘Peter Gunn’ groove, and. Smiley Lewis’ ‘Real Gone Lover’ is arse-kicking rockabilly wildness. By the time we get to The Wolf’s ‘Smokestack Lightning’ you know full well that this is a credible bluesrock conglomeration – I bet they are the canine’s cohones live.

Pete Innes

THE ALLIGATORS All3gators

Fairview Studio

The Alligators in the form of Mike Ollerenshaw, Mark Sedgwick and Tony Underwood have put together a short but vibrant rendition of blues music with their offering “All3gators”! The sound has a blues feel to it, both vocally and with the guitar playing. The drums and percussion of Sedgwick are blended just enough to add to the overall blues feel to this disc which is only slightly sullied by the duration. It is a bit on the short side to showcase their undoubted ability as musicians. Track 3 “Just Got Back From Love” has Tony Underwood at his finest. I really liked the guitar playing on track 5 “Too Sharp(For The Knife Box)”, but if I were to be critical the lyrics were a bit anodyne and when both Ollerenshaw and Underwood sung together it was less than inspiring. Individually they can sound good, but together “nada” to the joint effort. I like them as a group and although they’re not going to burst the charts wide open, they will provide you with a good gig when they’re live in Yorkshire, and this c.d. is proof of their overall capability as blues musicians. Just

don’t hang too much on the vocals when they’re doing a duet.

Tom Walker

THE BLUE HEARTS

Jukebox of Maladies

Big Cactus Records

With already three albums under the belt, the Brighton band is back with a fourth album, “Jukebox of Maladies” and thirteen tracks showcasing a new line-up and a new sound. Five years after the release of “Dark Side of Town”, Bob Powell & co. are back with a new sound, punchier than ever, they call ‘Neon Rock’, a throwback to the best of classic rock rhythms with a hint of irony in the air. Surely life can’t be that hard. The first track, ‘Silver Dollar Girl’, encapsulates the whole album with a powerful rock sound, ‘70s guitar licks, the gritty lead voice and warm female vocals. Lead singer, Bob Powell sucks us into his world of hardship with his deep, husky voice, taking you on a long and hard journey. Just listen to the lap steel lament of ‘You Never Let Me Bleed’, beautifully crafted with great lyrics, and what about “Ballad Of A Bad Boy” and “Snake Oil Sam”, two tracks moody and dirty enough for any Bluesman to be proud of. This latest album is pure Rock‘N’Roll with a twist, a spark which leaves you want us for more. Don’t make us wait another five years for the next one!

BLUES BUDDHA

I Like It A Lot

Stoopid Daddy Records

Classy MOR / AOR

Frankie Bluesy Pfeiffer and Nat Harrap

New York Blues from Blues Buddha – writer and singer Tommy Dudley in collaboration with Scott Staton on guitars and keyboards and a host of très talented players. Dudley’s husky, genial vocals hit the spot perfectly. Rounded, feel-good up-tempo jazzy ‘Like I Do’ sets the bar high from the start and it’s all good thereafter. ‘Break My Heart’, with a keyboards-led shuffle-beat, is quite simply a great tune like…well, you know, just a great tune and ‘Better At Hello’ conjures up Jerry Lee Lewis getting the electric Blues to a ‘That’s Life’ (Sinatra) backdrop. The slinky New Orleans styled ‘Morning Song’ takes us, full of dread, to a place we’ve all been before… oh my God, what have I done? Morning after the night before nightmare, and if you love your 12-bar Blues as much as I do, you’ll rave over ‘Low Cotton’, a sweet barroom boogie that is distantly related to ‘On The Road Again’. Buddha is a big guy with a big voice, from the Big Apple – maravilloso!

Pete Innes

RICK HOLMSTROM, JOHN “JUKE” LOGAN & STEPHEN HODGES

Twist ‘O’ Lettz

Mocombo Records

This is straightforward rhythm and blues music which had me in raptures as a child of the era. I was lucky enough to have been in my late teens and early twenties during that period. Although restrained by the limits of the forces

(in terms of hair and dress code etc) in the periphery of London, it was good to have been party to the Stones and John Mayall Blues breakers music before the style was homogenised with technology. Logan actually sounds like a young Jagger with some of his singing, and the harmonica playing is better than anything the redoubtable Mick ever produced. In Track 9 “I’d like to see” you could be transported back to the 1960’s with the Stones and, Track 7 “Jukestaposition” is an absolute cracker of a track with everything you could want of R&B. My only criticism of the whole disc is possibly the mixing, since some of the overlaying of drums from Stephen Hodges was “drumming” out the guitar playing on a couple of tracks! But on other tracks, the reverse was the case and the excellent drumming he (Hodges) does produce was subdued by the others. The c.d sleeve tells you this has been a recording concept, where everything was in one room in the studio. The result is not, what I feel sure Holmstrom aimed for with the “concept”, and it detracts from the otherwise classic R&B sound produced by these guys. That is possibly being a bit picky, but in the 21st century you can reproduce the music of the 60’s with playing such as these guys have at their fingertips with a bit of sensitivity with the control board.

Tom Walker

VARIOUS ARTISTS

Hot Feet

Fantastic Voyage

A three part history lesson and a historical celebration of “US dance culture from the Jazz Age to the post-war R&B scene”. You’ll need a long afternoon for the 70 tracks chronicling the Charleston onwards - Blues fans note that the emphasis is “dance”, and so you won’t find any familiar string bending. The most recent track appears to be ‘We’re Gonna Rock, We’re Gonna Roll’ by the Wild Bill Moore Sextet, and though former boxer Wild Bill played sax on Marvin Gaye’s ‘Mercy Mercy Me’, his prime was in the late forties, the track in question is said by many to mark the start of Rock n’ Roll. Blues fans may skip to the third disc in hope of finding something approaching contemporary, but Glenn Miller and the Andrews Sisters are as close as you’ll get, and this will be a painful journey if you aren’t historically biased or light on you loafers. Even Ellington, Count Basie and Woody Herman didn’t elevate me ; a comprehensive musical narrative chronicle of how America’s sound changed over the middle decades of the century yes, but it couldn’t trigger in me the essential nostalgia gene that is almost its only draw. Judging by the text on the Promo copy, elderly retro fans will need their grandchildren to read the track listing – microscopic fancy fonts weren’t going to succeed where some perfectly good old tunes failed. As euphemisms go, “one for fans only” hits the spot. We all know what it means.

Richard Thomas WAREHOUSE * REPUBLIC Demo CD

Red Stag Management

This is a ten minute three track Demo CD by an under 24 years old, four piece band from the London area. ‘Let It Roll’ has a jumbly rhythm and pleasant tinkling guitar riff and a nasal Steve Harley like vocal. ‘Revolver’ has a rippling throbbing drum riff, jangling guitar and punkish vocal. ‘American Girl’ is the best of the bunch with an interesting story line about downtrodden Susie’s efforts to survive life’s vicissitudes. Despite the label this is

Rock n’ Roll certainly not Blues but credit to the bands sentiments of trying to be a live music antidote to the X Factor syndrome. Sadly though I find it hard to empathise with the nasal monotone and strongly accented estuary vocal. Whilst most vocalists invariably carry an inflexion betraying their roots, I find a strong accent very off-putting and normally mean’s that they are really talking and not singing. There is potential here though and I wish them luck though with their original material particularly along the lines of the last track.

Bob Chaffey

THE WRIGHTS

Red And Yellow, Blue And Green

Independent Release

The Wrights are a husband and wife duo, Adam and Shannon, from Georgia, USA. This release comprises nine original songs the strength of which is in the vocal interplay between the two of them. There is very little here that can be described as Blues, for their forte is the Country genre, with clean sounding acoustic guitars and plenty of harmonies. Although ‘I Cry’ comes across sounding a little like a swamp-Blues with its distorted guitar riff, thumping bass line and Shannon giving her voice an edge that isn’t found anywhere else on the album and ‘Teardrop Express’ reminds us of a railroad Blues with a great rhythm. There can be no question as to the musical ability of this pair and there is no information on the CD packaging as to who plays which instrument and whether there are any backing musicians appearing. Their vocal ability is without question and the songs are pleasant without being memorable, and whilst there is little here to satisfy Blues fans, Country buffs would no doubt appreciate it.

JOE SATRIANI Black Swans & Wormhole Wizards Epic

Merv Osborne

What the hell is a review of the man who practically invented ‘Shredding’ and who is on record as being faster than any other guitarist alive doing in the pages of Blues Matters! You are probably asking yourself. Simple – at heart he is a Blues player and there are moments in ‘Black Swans And Wormhole Wizards’ where you imagine you can hear just where Jimi Hendrix might have taken the guitar – this album is brilliant. All instrumental and featuring tracks with titles like ‘Premonition’ or ‘Solitude’ you might think that this was a guitar-wank of monumental size but he escapes that by playing with real verve and enjoyment. On a number like ‘Phyrric Victoria’ he hits all the standard rock clichés without ever sounding hackneyed or derivative – Jeff Campitelli holding the rhythm brilliantly on drums and new men Mike Keneally (ex Zappa & Vai) on keyboards and Allen Whitman on bass – while on ‘Light Years Away’ he squares up to the sort of riff Ritchie Blackmore would be proud of and then

develops the piece into a Blues-tinged flight across the galaxy. The whole album is loaded with references to the great moments and images of Rock & Blues and when he does get into some ‘diddling’ it is entirely in keeping with the tone and direction of the music – not sols for their own salke but part of the music and essential. He even shows that he can slow things down – the aforementioned ‘Solitude’ is pure in tone and sounds – for all its 58 seconds – like a man enjoying the peace that solitude can bring. The following track, ‘Littleworth Lane’, is a delicious slow dream in the Roy Buchanan mode and with ‘Two Sides To Every Story’ ha even shows that he can do jazz (of sorts). Satriani is much more than just a shredder or ‘diddler’, he really does have soul and he really can do Blues. This is one album that is wedded to my player and might take some moving.

Andy Snipper

JUSTIN RUTLEDGE

The Early Widows Six Shooter Records. Recently having toured with fellow Six Shooter stable mate Amelia Curran to showcase his 4th album, Justin Rutledge is a rootsy artist fully committed to his trade. Like the fellow Canadian and equally thoughtful Curran, he does not make frivolous records, so those hoping for levity will be disappointed. With the deft lyrical touch you would expect from an English language scholar (“…past the bedrooms where the wounded girls recline...” is a haunting highlight in ‘Jack Of Diamonds’) this is clean shaven and emotive, delivered with a breathless vocal, benefiting from Hawksley Workman’s unfussy and appropriate production. ‘Be A Man’ is a strong opener which builds nicely with the fine accompanying musicianship which is a feature throughout and the collection is heavily influenced by Michael Ondaatje’s novel ‘Divisadero’. Rutledge confirms himself as a consistently accomplished songwriter capable of creating substantial melodies and hooks ; highlights include ‘Islands’ - a mournful reflection followed by something altogether more raunchy in ‘The Heart of A River” which appeals for “metropolitan migration”. Other standouts include ‘Mrs Montgomery’- a more upbeat straw-chewing country number with some splendid harmonies and pedal steel. The memorable and funereal-paced ‘Carry On’ is too long at over 9 minutes but remains a haunting high spot nevertheless. The slightly incomprehensible press blurb unnecessarily points to the intimate, spiritual nature of the material; however many adjectives are employed and deep meanings identified, a good song is a good song. There are 10 here, all expertly played. Smooth, serious easy listening.

Richard Thomas

JOOLS HOLLAND & HIS RHYTHM & BLUES ORCHESTRA ‘ROCKINGHORSE’ Rhino

This is one real ‘good-time’ album. Jools and his galaxy of excellent musicians take the listener on a musical tour that covers the whole range of sounds and style associated with R&B. Jump, Jive, Jitterbug, Rock ‘n’ Roll, Rock ‘n’ Soul – they’re all here. Jools also tips his hat to Reggae rhythm with a quirky arrangement of Louis Armstrong’s ‘Wonderful World’. The arrangements are interesting throughout and also, to my ears, slightly less complex than on some of Jools’ previous albums. The standard of tracks is excellent throughout, in particular the jump piano style opener ‘Whirlaway’ through to track 8, a

bluesy arrangement of Glenn Miller’s ‘A String of Pearls’. ‘Got My Mojo Working’ is also intriguing with almost a rockabilly feel to it The philosophy behind the record is simple – it’s foot tapping good-time all the way with something to appeal to most ages - I can see it selling a lot and getting played at a lot of Christmas time parties. There are some mega names on here – Booker T., Allen Toussaint, David Sanborn among many; and there are outstanding performances by Ruby Turner ‘Roll Out of This Hole’, Louis Marshall on ‘Father Time’. With 19 tracks and around 80 minutes this has to be a winner. Buy this if you want a good time party record, a good driving record and…if you like Chas & Dave, because they are on here as well. Oh yes, if you like it I imagine you’ll enjoy Jools latest tour, he’s on in the UK from 21 October and he’ll be playing a lot from this record – simple enough, it’s all there to be enjoyed. www.joolsholland.com

YANN LEM

Entre Blues et Granit

ABS

Vicky Martin

This is the third album for this Blues bard from Brittany, a beautiful gem cut from the rock and hewn from a Blues quarry. From the first track, ‘Dobro Blues’, you’re hit by the rollercoaster that is Yann Lem who doesn’t mince his words when he sings the Blues. With ‘Un Blues sur la 12’, he takes you down the main no. 12 road to Brittany to meet this sexy, long haired woman riding her old Harley. This album will definitely take the wax out of the ears and with ‘Pas encore mort’, you’re certainly not yet dead, engulfed by this sensational slow Blues which will see tears of both happiness and sadness running down your face. Michel Herblin’s harmonica is as light as a sea breeze and Yann’s guitar playing would bring the most ferocious of hard rockers on their knees. Just listen to ‘Vagabond en sursis’ hammering the fate of this vagabond whose life rhymes with Blues. After a flabbergasting ‘Baba Boogie’, you then enter the world of Celtic legends with this wild story of ‘AR Korriganed Blues’. A simply exceptional track because sometimes words are just too much. We don’t need to tell you that ‘Totale Pollution’ is a cry from the heart more powerful than all those documentaries you watch on TV, that ‘Blues déprime’ will swallow you up to take you down to the bluesiest moods. We don’t need to tell you that this album is magic and just as powerful as Merlin the sorcerer.

Frankie Bluesy Pfeiffer and Nat Harrap

JOE FILLISKO AND ERIC NODEN IC Special Independent

The opening, title track is the ultimate in harp blasting imitation of a fast, lonesome train slowing down to a standstill. The transport theme continues with ‘Gridlock Blues’ with Filisko and Noden giving vent to their frustrations with modern day traffic jams of ‘nothing but brake lights.’ The mood lightens considerably with ‘Now She’s Gone’ a bluegrass, hillbilly song with purring harp and accentuated finger picking guitar style. My favourite is Eric’s ‘Made Me Lonesome’ with its haunting sound, thoughtful lyrics and intricate guitar. Harmonica aficionados will recognise Chicago Joe’s tongue blocks on the full chromatic scale which makes for a fat, distinctive sound on tracks such as ‘’Me and Sonny’ and ‘Angry Woman.’. This is an incredibly hard technique but as Joe modestly declares, ‘I am no stranger to practice.’

Filisko is equally acclaimed as a teacher and a musician as his tutees on European Blues Weeks will testify. As ex Riverside harpist Dennis Rigg observes, ‘Joe is a truly modest, hard working and humble man who gives his time generously to those of us interested in learning the instrument.’ In a world dominated by Musselwhite, Oscher and Wilson it is refreshing to hear such astonishingly good harp from a relatively unknown artist in the UK. Whilst there is more blues harp on disc than ever before, “IC Special” stands apart because of the beautiful melodic sound, foot tapping tunes, original lyrics and Eric’s incredible vocal and acoustic guitar skills. Highly recommended so check out www.rootsduo.com for video extracts.

LARRY MILLER

Unfinished Business Independent

The Bishop

‘Best album yet from the most entertaining Rock/bluesman around’ Larry launched this album to a mega crowd at London’s Bush Hall; it was a high tempo hot-rocking night, typical of the exciting shows that Larry is celebrated for. Naturally on such an occasion the show was filled with songs from the album and they worked really well which is one good reason for me to recommend ‘Unfinished Business’ to readers. It’s a significant album for Larry and demonstrates his maturing as an artiste – every aspect of his music is enhanced here, better songs and arrangements and a better recorded sound. The addition of keyboards on the album a role filled by Ian Salisbury on live shows that has added a new depth and coloration to Larry’s music and gives a tantalizing glimpse of future developments. The influences that permeate Larry’s music are clear, Roy Buchanan, Rory Gallagher, Hendrix and a host of others – they all add up to one mega guitar player with a really good product; the album opens with a butt-kicking Johnny Winter inspired mid-tempo shuffle ‘Mad Dog’, and its raunchy; ‘As Blue As It Gets’ opens with tasty acoustic resonator, it’s a stop-time mid tempo rocker; ‘I’m A Bluesman’ Larry sings – and unleashes a Hendrix inspired solo with a run up straight out of ‘Manic Depression’, the resonator dips in and out and the album heats up nicely. What follows is the epic ‘Cruel Old World’ a minor key blues ballad influenced tune with lashings of guitar – ‘Ain’t it a cruel old world and a mean old life?’ ’I’ve lived here to long in a world so cold’, sings Larry and bends the hell out of those strings. Well it’s a sad old tune but Larry seems to be having a whale of a time as he instrumentally pays homage to Roy Buchanan and Gary Moore. The album peaks with ‘Unfinished Business’, this track sounded great with my stereo turned up to 11, I listened from two rooms away, doors open, and it really has the big stadium sound, great stuff. The programming is good as Larry then draws us right in with an acoustic song that talks of his own faith ‘Covering Me’. It’s a nice hiatus before Larry’s big rock ballad ‘Delilah’, good song this one; and then to the best track ‘Gambler’s Hill’ –this one really does rocks

and it sums up Larry: because Larry you may sing ‘I’m a bluesman’, but in truth you’re a rocker – and one of the very best around. So readers if want a really exciting album that rocks and contains some excellent songs- then look no further – Larry Miller is your man and ‘Unfinished Business’ is your album. www.larrymiller.co.uk

Vicky Martin

MATT ANDERSEN

Live From The Phoenix Theatre

Busted Flat Records

Canada is producing some of the best new Blues blood around these days and Matt Andersen is leading an ever larger pack, which is showing the world you don’t have to be born in the Delta to make good Blues music. This live recording was released after his win at the International Blues Challenge in Memphis in 2010. Recorded in a former church, which survived the 1877, Great Fire of Saint John in New Brunswick, and Matt’s concert there restoked that long extinguished fire. Matt’s songwriting tends towards the modern Blues approach, less ‘she done me wrong’ and more ‘I did her wrong’ style. The performance opens with ‘Better Man Blues’ a solo acoustic in classic AAB lyrical style. Matt’s vocal has an unusual quality of polished grit with excellent intonation yet delivering that emotive connection of classic Blues singers. ‘One Size Never Fits’ follows, beginning with up tempo fingerpicked intro leading to driven strummed chords. Matt takes the question of his size (about 400 pounds) and turns it into a positive for romantic encounters with classic Blues irony. There are three new songs on the CD. ‘To Leave What Should Be Left Alone’ begins with a gentle fingerpicked vibrato and string-bending riff, leading into a vocal, which has good range and sustain. ’Devils Bride’ opens with driven strummed acoustic and powerful bassline, supplemented by Mike Stevens wicked, tremoloed harp lines, before Matt’s growling vocal drives home a ‘she done me wrong’ style lyric. The CD concludes with ‘Round And Round’ an up tempo non-Blues number with very affirmative lyrics which invites and receives good audience participation. A well produced CD that will encourage more people to go to Matt’s gigs and look at others from the north-western side of the pond.

MOSE ALLISON

The Collection

Floating World

Carol Borrington

Mississippi-born singer/ pianist/ composer Mose Allison straddles the line between jazz and blues with his own personal hybrid form, and he was a huge influence on the sixties blues booms. Georgie Fame took a huge amount, and John Mayall’s Bluesbreakers’ “Beano” album includes a version of his ‘Parchman Farm’. The second disc of this two-CD release reissues his mostly instrumental and very bluesy debut album from 1957 (Mose feels this established the template for his style and I won’t disagree) and “The Transfiguration Of Hiram Brown” from two years later, but I suspect for many readers the real meat of this release lies in the first CD, which concentrates on Mose’s vocals – cool and sophisticated, but with a tinge of a rural background, as he works through 20 titles which include songs from Willie Dixon, Ray Charles, Sonny Boy Williamson, Big Joe Williams and others, plus many originals (with his trademark dry and often very pointed wit); the latter include his own versions of ‘Parchman Farm’ and ‘Young Man Blues’ which The Who famously

covered on their “Live At Leeds” album. I wrote “cool” earlier – sorry, I actually meant “ultra-cool”.

Norman Darwen

SISTERS IN GREASE Sisters In Grease

This duo of Andy Carvalho and Mike C were formed in 2008 and launched at the Great British Rhythm and Blues Festival. On the CD liner notes it only gives initials of their surnames as if to somehow preserve some mystery about them. They are named after a self penned song title on this CD. In fact, with the exception of one track all the songs are self-penned. Since being formed they have completed a number of festivals and support slots and have now released this CD at a fringe gig at this year’s Colne Great British R & B festival. The CD opens with ‘Five More Wishes’ which begins with harmonica and guitar ostinato leading into Andy’s vocal which has an interesting lilt to his intonation as he sings classic Blues hope over adversity lyrics. The only cover on the CD is Memphis Minnie and Joe McCoy’s ‘When The Levee Breaks’ It is slightly re-worked lyrically here without affecting the sentiment. It starts with wailing and vibrato harmonica from Mike leading to Andy’s strummed guitar accompaniment to his vocals which have a growling quality which changes to almost sneering when he sings “Oh cryin won’t help you and prayin won’t do you no good”. The interspersed vocal styling provides a dramatic counterfoil for strummed guitar underpin. The title track follows and is twin acoustic guitar, fingerpicked and slide on what is not truly a Blues song but contains the hook line “The answers never clear, when your mothers insane and your sisters in grease” Hopefully the answer will come soon. The CD concludes with ‘Timbuktu’, which has a strong Americana feel at the start that is almost emphasised by the growling vocal before it moves more musically staccato to give a feel of Jump Blues.

SIMON McBRIDE

Since Then

Nugene

It’s album number two from Belfast based blues rocker Simon McBride, following on from Rich Man Following. Since then he’s been road dogging it, including touring Joe Satriani, leading up to his new album

Carol Borrington

Since Then. And it’s a good one. Across 14 self penned tunes, Mr McBride shows that he is still developing as a guitarist and, especially, as a vocalist. His singing here has improved dramatically over his debut, and he was no slouch first time around. Straight from the opening, rocky, ‘Take My Hand’ he gives every indication that he could end up a major name in the blues world. He can also handle acoustic blues as on ‘Save Me’ and slow blues on ‘Down To The Wire’ with equal aplomb. There’s even the possibility of some radio / Later...With Jools Holland play, with the commercial sound of ‘Dead Man Walking’. Guitar freaks will find plenty to keep them happy here, but, equally, those of us who look for melody, tone and style in our blues will find an awful lot to love here.

Stuart A Hamilton

Dark Angel

CrossBorder

This is a fine album indeed. Roadhouse takes the gloves off and gives us a real rock feast with some excellent side dishes of country and Latin as well. They’ve made several albums and good ones too, but this is ‘the’ one; the best. Gary Boner certainly understands programming. The album kicks in lifts off and moves into top gear - the opener ‘Too Tired to Pray’ is a cracker – it’s got it all. Its FM friendly, but not ‘too’ friendly and has shades of ZZ Top, the girls are in their best form ever, they must have worked hard at those vocals, and Danny Boy Gwylm on guitar has to be one of the most tasteful players around, he lays great slide and regular guitar on this opener and manages to be tasteful and kicking the same time – ‘Too Tired to Pray’, remember that one! It rocks and boy does it roll as well. A neat piece of programming and we’re into Country –‘Rainmaker’ – ‘Rainmaker’s coming’ goes the chorus, it’s catchy, it’s a song for driving, and, being replete with Danny’s excellent country licks – is very good – Roots and Country radio stations; get this one programmed in. So to the album’s noire epic, the Title track – Gary paints a sound picture; a dark lonely road at late twilight, death and destruction all around, (so it’s definitely South London), there’s fear, anxiety and distrust with only a dark angel to look to for hope. There are lashings of electric guitar and some acoustic nicely placed in the mix. It’s good, very good indeed. Fourth is the Bo Diddley inspired voodoo tinged ‘Swamp Girl’ leading to Track 5 ‘Tornado’a country based rock song. Moving to the close of the album ‘So over You’, a Santana-ish /Latin flavoured tune is the most commercial track on this set. The penultimate track is ‘Working Class Gospel Drinking Blues’; and you can’t miss with a title like that – it’s good and has a catchy chorus slightly redolent of a Pink Floyd tune. A re-recording of a Roadhouse classic ‘Tellin’ Lies’ closes a work of great quality with Danny’s guitar a real standout. www. roadhousegb.co.uk

Julian Jarrett

ROBI ZONCA

Tube Jam Records

Robi Zonca’s latest release – So Good finds the singer and guitarist on fine form. Across the 11 tracks, nine originals and two covers, he and his band tackle a number of genres, from the blues, jazz, funk and pop, with the cover versions finding themselves in good company. Eric Clapton’s ‘Give me Strength’ features an emotive vocal performance, and it is drenched in reverb enhanced lap steel guitar, whilst Ray Charles’s ‘Don’t let the Sun catch you crying’ has Luther Kent’s impressively soulful vocals, and a fine BB King style guitar break from Zonca. As well as Robi Zonca’s performances, a strong brass section adds life to the blues/pop crossover tracks ‘So Good’ and ‘Feel like Dancing’, and the reprise of the later track features outstanding trumpet playing from Fabrizio Bosso. Tight rhythm guitar riffs, bass and drums all help to add to the mix, whilst strong backing and harmony vocals add to what is a classy, highly listenable and original album from a talented musician, singer and writer. It is well worth investigation for anyone looking for creditable new music.

Ben Macna

GOT LIVE

ARTISTS KEEPING THE BLUES ALIVE

MISSISSIPPI ‘MUD’ MORGANFIELD, LIL JIMMY REED AND PAPA MOJO @Dukes Corner, Dundee Blues Bonanza, 23/07/2010

This was the first night of the 16th Dundee Blues Bonanza and the large crowd showed the international stage had caught the attention of many who would not normally be attracted to a Blues concert. The venue was packed with a diverse make up of people from those who’d had the date marked on the calendar for months and those who just decided to pass by. Either way they got a great night’s entertainment. First up was one of Scotland’s most senior Blues bands Papa Mojo. The three piece came to the stage to play Jimmy Witherspoon’s ‘Times Are Getting Tougher’. ‘Broke N Hungry’ and ‘Had Possession Over Judgement Day’ warmed the crowd up well and they joined in the chant ‘John The Revelator.’ After a short period local act Wolftrain featuring the Johnson brothers Robin and Ivor took to the stage to played ‘Sweet Home Chicago’ and introduce the man they were backing that evening, Leon Atkins, better known as Lil Jimmy Reed. The opening numbers were two made famous from the man whom he takes his name, ‘Honest I Do’ and ‘Big Boss Man’. Next up was an impassioned version of ‘It’s My Own Fault,’ and it was apparent that though he shares the same name and similar set up to the Chess icon, this Jimmy Reed is both a more versatile guitarist and his vocals more powerful. Robin Johnson provided superb backing on keys to ‘Stormy Monday’ before Reed’s self-penned tribute to his home state ‘Alabama´s The Place To Be’. This was deep blues played as it was before the advent of rock n roll and few can perform it in such a compelling manner as Reed, his guitar playing was a delight. His bright red shirt had turned purple by the encore of ‘Baby What You Want Me To Do’ leaving the venue to great applause. The delay in setting up for Mud Morganfield built up the anticipation within the crowd. Backing band The Dirty Aces featuring Giles Robson took to the stage for a couple of powerful workouts, the first a guitar led shuffle, the second a harp driven boogie before they introduced the man we’d been waiting to see. Coming on to the introduction of ‘Walking Thru The Park’ it was immediately clear that Morganfield displayed similar characteristics to his father Muddy Waters, and then when he sang it was apparent he sounded just like him too. The set was geared to Muddy’s Chicago years with all the clear favourites, yet also some unsung gems like ‘Can’t Get No Grindin’ and ‘Forty Days’. Morganfield is not a guitar player and while the Dirty Aces featuring Bob Hall on piano were a high powered and tight blues band, their playing was certainly more modern in approach than Muddy’s original band. Whether this matters is questionable as it was very pleasing to see such a large and diverse crowd enjoying this style of music. Mud introduced ‘Same Thing’ as his favourite song by his father before a powerful ending to the evening in ‘Mannish Boy’ and ‘Got My Mojo Working’. Morganfield objective is to spread the music of his father and he certainly did ensure that it was either rediscovered or encountered for the first time for many that evening.

Duncan Beattie

BLACK COUNTRY COMMUNION –THE SECRET GIG @John Henry Studio,London.20/09/10

Small is beautiful might be the best description of this event in the confines of a recording studio in Camden, on a pleasant, but cool September evening. For the hundred-and-sixty privileged spectators present, from the top of the music media, friends of the band and a number competition winners something that could prove to be huge when finally launched on the Blues Rock public, found its genesis. This was the first live performance of Black Country Communion’s debut CD and from the first note brought roars of approval from the assembled. The gig must have been one of the best kept, well publicised, secrets in music, but not for long as it was being recorded for launch on the world in general by Planet Rock. Black Country Communion hit the stage looking like the kings of Blues-rock they are, in the form of Glenn Hughes, Joe Bonamassa, Derek Sherinian and Jason Bonham. Glenn Hughes referred to them as The Old Man, The Kid, The Mexican and The Redneck during the show but whatever you want to call them along with immediate chart hit of the album ‘Black Country’, they are also one of the most exciting bands to hit the circuit since the hey-day of Rock Blues in the 60s and 70s. They kicked off with the title track of the album “Black Country” immediately revealing that the years had not done anything to reduce the vocal quality and power of Glenn Hughes and that he remained the consummate front man and an impressive bass player. Joe Bonamassa, in his as yet short career, is already a legend among young and old alike as a Blues guitarist but this gig really stretched him to a higher dimension. Still in his traditional suit but with a mean look on his unshaven face, he put his axe through a series of Blues Rock gymnastics as a true master of his craft. Jason Bonham was

Photo by Liz Aiken

MARCUS BONFANTI BAND @The Guitar Bar, Hotel

Deux, Nottingham. 08/10/10

On a chill and damp October night, the musically decorative and conducive setting of The Guitar Bar offered not only the comfort of warmth, but a night of top quality music laced with a lot of Bonfanti style humour. Slight change that night, the familiar face of bassist Scott Wiber was present with Marcus but drummer, Alex Reeves was missing. Nothing to fear, among this band of contemporary Blues musicians, mainly spawned by LIPA, that have formed into a sort of Blues co-operative, Craig Connet, Sandie Thom’s drummer had stepped forward to take-over the engine house! Marcus, looking every bit as if he had stepped out of the American Wild West long hair falling over his face, regaled the crowd with his deep, grit laden vocal, allied to Scott’s percussive bass riffs and Craig’s rich textured and energetic drumming in a musical feast of plenty. Every song exquisite in its execution but with a number standing out above the rest, like the Blues gospel steeped ballad ‘Hard Times’, which saw Marcus not only sounding if he was standing in a Southern Baptist church but almost looking like one of the wild charismatic Old Testament prophets, as he drove home the lyric, with all the zest and deep baritone power of a classical trained singer. Tailored all together by Scot and Craig underscoring Marcus’ vocal and guitar riffs with equal élan, giving the whole thing, a primeval spiritual dimension. ‘Devil Girl’, moved the band into Swamp Blues mode. Marcus’ vocal and guitar pushing home the lyrics in a flurry of passion. One interesting number and typical of the innovation and creativity of Marcus, was a cover of Professor Longhair’s, 1949 signature song, ‘Mardi Gras In New Orleans’. Originally written for the piano, Marcus decided to see what it would sound like when transferred to slide guitar. This resulted in an impressive display of blues, jazz, RnB slide, beautifully capped off with equal interpretative bass and drums, that saw Craig metaphorically dancing round his kit, as if actually marching in the very festival itself. Cracker of a gig!

Carol Borrington

ROADHOUSE @ Glastonbury Festival, Bourbon Street Jazz & Blues Stage

the best example of genetics any biologist could offer as an example. All the skill and power of his father, but with his own unique style holding things tight, providing fills to die for. Last but not least, Derek Sherinian majestically holding the middle ground between Hughes and Bonamassa. They performed eight songs in total each of them full of precision technique, musical passion and mostly, pure talent. Black Country Communion are planning to tour in the very near future, buy your tickets as soon as possible because once they launch on the outside, tickets will sell like hot-cakes, this band is class!

Carol Borrington

The effervescent Gary Boner led Roadhouse on to the brand new Jazz & Blues stage for what proved a triumphant Glastonbury debut. They went on stage at 11.30pm, just as Stevie Wonder was finishing on the Pyramid stage and the crowd began streaming in to watch Gary & Co. The organizers had succeeded in creating a quite magical feel in the venue, think Louisiana and you’ll catch some of the flavour. It certainly inspired the band to great heights. They kicked in with old fave ‘Blues Highway’ and things rapidly heated up, they segued into ‘Too Tired to Pray’ from the new album and the crowds were still streaming in; into ‘Swamp Girl’ and the band was storming, band and audience rocking as one. By the third tune Gary and co had conquered. They were completely in charge and they raised the game again as the Roadhouse sultry sex-machine clicked into gear; Susie D with ‘Lying Game’, Mandy G with ‘House of the Rising Sun’ raised the roof; finally Kelly Marie Hobbs brought it all home with ‘The Big Easy’. As that finished the crowd were chanting ‘Kelly-Kelly’ and the chanting continued until the end of the set; this was the day of England’s World Cup disaster against Germany and it felt as if Gary & Co had finally really given the people something to cheer. This is a real British ‘band of the people’ and, unlike England, every one of Gary’s team was on top form when it really counted! The band rocked on with a long-long version of ‘Roadhouse Blues’ and closed with ‘Telling Lies’, the crowd roared for an encore and they got a high octane rendering of ‘Preacher Man’. The show closed to a huge roar from the 600 inside and 1000 plus outside and both band and crowd were ecstatic. Congratulations to promoter Andy Fielding for putting together a great venue and for bring the real thing to Glastonbury and congratulations to Gary and co for rising to the occasion with true aplomb.

Roland Jarman

Photo by Christine Moore

Photo by Christine Moore

ELEPHANT SHELF @ Blues at the Farm Billericay. August 21 2010

Blues at the Farm in Billericay Essex is a very popular gig on the blues & roots circuit. It’s unusual being on a Saturday afternoon and is run by a team of five guys who do a great job in providing PA, lighting It is well supported and regularly features some of the best names on the Blues & roots circuit. This was the strangely named Elephant Shelf’s debut gig at the venue and they got a storming reception. The band is a five-piece who are breaking onto the main circuit. The line-up is Vicky Martin lead singer and plays slide and regular guitar, Diana Stone fiddle and piano, ‘Little’ Rosie Swan does backing lead vocals and percussion. The rhythm section comprises Robbie Charles on bass and Terry McInerny on drums and it really swings. Elephant Shelf is a well kept secret at the moment but hopefully not for long, I’m sure that they will do very well as they get established on the ‘circuit’. They are original and exciting and the fiddle helps and the blend of Vicky & Rosie’s voices is really good. They also have a third strong voice with Diana Stone. What really stood out for me was the quality of their songs. After opening with ‘Eyesight to the Blind’, the humorous ‘Hoochie Coochie Tran’ and a swing arrangement of ‘Route 66’ they switched to their own material. The songs are very good, full of hooks, humorous lyrics and ‘swing’. Standout tunes were ‘Miscommunication Blues’, ‘Devil on the Street’, ‘Mean Girl’, and ‘Morning Letter’, ‘Hot Chat Line’ was a highly original groove tune; but every song was a winner. It was all presented with humour and the music had real edge. The lyrics in were both original and funny. They must be unique because I’ve never heard ‘tights and shoes’, ‘the Cosa-Nostra’, ‘rabbit hutches’, ‘paint stripper’, ‘the Mother-in-law’, ‘loo rolls’ among many other things get mentioned in Blues songs before. All these things were mentioned here and it worked well. They got a tumultuous and deserved reception. Good players, excellent vocals and quality songs – this was a well presented and entertaining afternoon. I recommend the venue and the band.

Julian Jarrett

SWAMPCANDY @Milkwoodjam, Swansea. 17/08/2010

‘Swampcandy’, is a duo from Maryland, Rueben Dobbs (Guitar and vocals) and Joey Mitchell (Bass drum & Upright Bass) are from Maryland and you would not be surprised if the delivered conventional blues. From the first note you knew you were not in for a gentle evening, yes, they were delivering the Blues bringing the spirit of field hollers, Alan Lomax recordings and Robert Johnson flew into the room, with this fusion foot tamping sound these were no covers but re-arrangements that kept the integrity but made you listen to well known blues anthems. The highlight of the evening was Son House – “Death Letter” dedicated to a friend who had died in an accident; Mississippi Fred McDowells, “Highway 61” and his own “Cynical Girl”. The evening combined a balanced mix of covers given the Swampcandy treatment and songs written by Rueben; his vocals had depth and good slide guitar supported by enthusiastic bass playing and a guest blues harp player Lee provided two entertaining sets from this little known performer in the U.K. – look out for him when he tours again, Swampcandy would be a great festival performer providing his distinctive swampy fusion blues.

Liz Aiken

DR FEELGOOD @ Komedia, Brighton September 16th 2010

I must confess that I have reached 61 years of age without seeing Dr Feelgood, in whatever incarnation - that is until this summer at the inaugural Lavelanet Guitar Festival in SW France, in July. The band’s slick, tight and energetic set blew the crowd away on this occasion and had the couple of hundred French punters joining in, stamping and calling for more. Now resident back here in Brighton, I was drawn, along with a couple of hundred others, to the Komedia, a venue I had not visited before. To be brutally honest, all that was great about the performance in France seemed to be lacking here; perhaps it was the venue, which is also a comedy and alternative theatre club, perhaps it was the doubtful sound quality which allowed the guitar solos to be inaudible at times (a crime with a guitarist of the quality of Steve Walwyn) or maybe a hard touring schedule was catching up with the band - perhaps a combination of all three but they simply did not do themselves justice. The set opened well enough with strong audience support for “Hoochie Coochie Man”, “I Can Tell” and “Roxette” but it was a very static Robert Kane fronting the band, with little of the chest-thumping and strutting that marked his show-stealing performance in July. Steve’s sublime guitar solo on “Down by the Jetty Blues” surely must put him in line for a blues guitarist award and when he was joined by Dr Feelgood “old boy” Gordon Russell, the poorly monitored sound levels ruined what should have been a special reunion. Numbers like “Down at the Doctors” and “You Don’t Love Me” were somewhat muted, although the faithful audience participation boosted the decibel levels and helped make up for a certain lack of atmosphere. Disappointingly, the band was obliged to finish their set after only an hour and I suspect they were just getting into their stride as they closed with a rousing “Route 66”. Sad to have caught them on an “off” night - they are better than this.

Clive Rawlins

GLENN HUGHES Live @ Islington Academy 05/10/2010

PETE HARRIS & HUGH BUDDEN

GREGG WRIGHT BAND

Skopje Blues & Soul Festival 2010

Glenn Hughes legendary status as ‘The Voice Of Rock’ has been built up over nearly 40 years or so performing with the likes of Deep Purple, Black Sabbath, Trapeze and now Black Country Communion but his reputation as a solo performer has never really been as strong and last night’s performance at London’s Islington Academy only went part of the way to addressing the situation. Hughes voice was great, as you might expect, and his bass playing was better than he is sometimes given credit for but the overall performance was ….. ordinary. He has surrounded himself with some very capable Scandinavian performers – Soren Anderson on guitar, Anders Olinder on keyboards and Pontus Engborg on drums – but these guys are not superstars and to be honest probably never will be and Hughes needed some strong and challenging guys around him to bring out his best and to force him away from the slightly one-paced plod that parts of the show turned into. There were highlights of course; a powerful and multi-layered ‘Medusa’ was superb and wrung some real emotion and vocal dexterity from him; ‘Orion’ again brought the variety out of Hughes voice and the encore ‘Burn’ was simply superb, fast, power packed and with Hughes voice teetering on the edge of breakdown. But for much of the set he was happy to play the rock-god and the band simply weren’t confident enough, or possibly good enough, to up the tempo and force Hughes away from the Sabbath riffs. Hughes needs a Tony Iommi or a Derek Sherinian to bring out his best ‘stuff’ and while the crowd – absolutely jam packed I must note – went away pretty happily I saw him do better at High Voltage and at the ‘Black Country Communion’ secret gig a couple of weeks back. He is at his best doing material from Deep Purple or Trapeze but there wasn’t enough of it.

Andy Snipper

Ringwood Folk Club 8/10/10 Blues from The Deep South - well Hampshire actually. These guys are regulars on the south coast blues scene in various guises and tonight featured their acoustic duo show with Harris on guitar and vocals and Budden on harmonica and occasional vocals. Both men are hugely experienced with Budden being in The Producers for many years and Harris playing with Bob Pearce and many visiting American blues artists. After a few floor singers the guys kicked off with Kim Wilson’s ‘Looking For Trouble’ featuring sturdy vocals from Harris and lively harp fills and a solo from Budden. Willie Dixon’s standard ‘My Babe’ featured good interplay between guitar and harp and the appreciative audience were now nicely warmed up. The pace dropped for ‘Honest I Do’ with Budden adding some typically high register Jimmy Reed style harp fills - these harp players love those squeaky notes! Harris now switched to mandolin for a colourful rendition of Statesboro Blues with Hugh on harp and maraccas. In honour of this being a folk club Pete sang Mississippi John Hurt’s beautiful song ‘Angels’ which he delivered in sparkling style and got a richly deserved huge round of applause. The mood then brightened further as the audience joined in heartily with that old piece of likeable nonsense ‘Diddy Wah Diddy’. The first set closed with Sonny & Brownie’s ‘Living With The Blues’ and a lively cover of Leadbelly’s ‘On A Monday’. The beards replenished their pints of real ale and I won a bottle of dodgy looking Macedonian Rose in the raffle before the guys came back with ‘Candy Farm Blues’ and the crowd pleasing standard ‘Good Morning Little Schoolgirl’. Hugh then took the spotlight for a fierce and emotional cover of Sonny Boy’s ‘Cross Your Heart’ which featured superb harp work. Suitably emboldened he followed this with the rocking ‘You’ve Got To Learn To Treat Me Right’. The show closed as Pete took up his slide guitar and both men romped through ‘Stranger Blues’ before cries of “one more” brought them back for an energetic ‘Six Days On The Road’. This was an excellent evening of top class acoustic blues and if you get the chance to see these guys then you should take it and purchase a CD on your way home.

Dave Drury

Macedonia is a small country but is definitely on blues map thanks to Skopje Blues & Soul Festival, just check a list of people who played in Skopje in the last 14 years: Temptations, C.J. Chenier & Red Hot Louisiana Band, B.B. King, U.P. Wilson, Michael Hill’s Blues Mob, Phil Guy, Derek Trucks, Louisiana Red, Mick Taylor, Eric Sardinas, Alvin Youngblood Hart, Derek Trucks, David Honeyboy Edwards, Mighty Sam McClain, Melvin Taylor & The Slack Band, Ronny Jordan, Bernard Allison, Nine Below Zero, Vargas Blues Band, Jimmy D. Lane, Sherman Robertson, Jan Akkerman, Lucky Peterson, Lance Lopez, Matt Schofield Trio and more! Local music fans were treated to two nights of great blues with Gregg Wright and his band topping the bill and closing the proceedings. Actually he started his England and Wales tour in Skopje, Macedonia, the only stop outside! What a musician and what credentials he has. He played 55 concerts

as Michael Jackson’s guitarist on his legendary Victory Tour in the eighties! Not to mention work with Mick Fleetwood, Gap Band, Spencer Davis and many more or his session work or sharing the stage with the likes of Albert and Freddie King in earlier stages of his career. His gig was absolutely a scorcher; no wonder people in the know dubbed him as king of rocking guitar! His standard set included numerous classics between with time span between Albert King and Jimi Hendrix plus his own material which is on the same level as other people’s material he did. Spirits of Albert and Jimi were haunting the stage and blues fans were mesmerized! He mixed songs from his latest CD aptly titled “King Of The Rocking Blues” like G’on Wit’Cha Bad Self, Bayou Moon and great slow blues Cry

Myself A River with Catfish, Born Under A Bad Sign and few more classics. Jimi’s fans were in frenzy after his rendition of Voodoo Chile! For at least a couple of numbers Gregg Invited on stage our young blues guitar prodigy Igor Stanoevski and both jammed like hell! Backed by tight British rhythm section Gregg Wright fired from all arms and easily confirmed his high ranking within the blues and rock community, a gig to remember. Hopefully his tour in England and Wales was equally successful!

LARRY MILLER CD LAUNCH GIG @The Bush Hall Shepherd’s Bush London 30 June 2010

Vasja Ivanofski

Larry seems to be on a roll at the moment, things in general are looking up and this important gig, the launch of Larry’s new album ‘Unfinished Business’ was no exception. Bush Hall is a beautiful venue, a lovely Georgian building with high ceilings, and ornate decorations; there is even the odd cherub dotted around the walls. It’s immaculate, and if you don’t like cherubs you could buy a can of spray at the bar...with a capacity of around 300 it is a challenge to fill it and Larry did well, with over 200 on a steaming hot night. The opening of the show was the most energetic I’ve seen from Larry as he whooped and hollered, ducked and dived and bestrode the stage. ‘Rebekka’, ‘Missy Mango’ and a track from the new album ‘Mad Dog’ were dynamite. If it had been a football match Larry would probably have been four nil up after twenty minutes and the referee might have stopped the fight. So Larry calmed things down - the epic ‘Cruel Old World’ with it’s Roy Buchanan inspired coda, ‘As Blue as it Gets’ and ‘Shame on You’ from the new album all sounded really good, although I did detect just a slight shimmer of nerves with the new material. That will obviously go as the material gets played in. We had just the one cover ‘Messing with the Kid’ and then more from the new album; ‘Delilah’, ‘Still Ain’t Done’ and ‘Gambler’s Hill’. In between we had more favourite Larry tunes and the show closed with his anthemic ‘Calling all the Angels’. The show closed, the audience went bananas, and Larry & Co leapt down from the stage to sell albums, mingle, and sign autographs. All in all this was a very successful launch for the album and a good evening. For me, it was a tad loud, and I find Larry’s guitar sound is richer when miked from a smaller rig as on a recent gig, but that’s just me. A super evening, but just one question - why didn’t we get the title track of the album ‘Unfinished Business’? It’s a great tune and deserves to be heard, over to you Larry.

Vicky Martin

ROBIN TROWER @ The Darwin Suite, The Assembly Rooms, Derby.17/09/10

The sixties generation were often told by their parents that their music was a ‘nine day wonder’, especially as many of them were covering music of outrageous old Blues musicians who had been around in their parents own teens! So it is an absolute pleasure to see that many of those 60s musicians have gone through the decades, blossomed, matured and stand as mentors in their own right to the generations below. No more so than this concert, which saw a 60s virtuoso and veteran take Chantel McGregor onboard as his support act and as usual Chantel rose to the occasion both vocally and instrumentally as she put her axe through its paces. Displaying technique beyond her years and the equal of any of her generation presently out on the circuit. Yet maybe the most pleasing aspect was standing observing in the crowd and watching Chantel

Photo by Liz Aiken

SEAN WEBSTER BAND

intricately studying Robin Trower’s own technique, at times her fingers unconsciously mirroring his as pupil studied at the feet of the master! Robin’s own performance was all you would have expected. Belonging to that school of ‘less is more’ when playing, he wove sensational musical patterns through well sustained bends, classic vibrato fluid fret work and most of all, a passion for music, that you only get with the best. The set opened with ‘Confessin Midnight and from the first note it was clear that Robin had surrounded himself with three musicians that shared his thirst and passion to perform with Davey’s distinct grit vocal pushing out the lyric. Glen’s percussive bass riffs filling the middle as well as providing the rhythm and Pete holding the whole tight at the back in the engine house of the band, the drums. Moving into “Lady Love” and with the inclusion of the new “Find Me” the band slipped seamlessly through their set with time flying by until suddenly it was gone and they had reached the end of show. This was met by raucous demands for an encore, the assembled not wanting to let them go without distilling every possible note out of the band to take home as a cherished memory!

Carol Borrington.

@Millers’ Snooker Club, Sutton-in-Ashfield, Nottinghamshire. One of the most emotive forces on this planet is music, it can make you laugh or it can make you cry. It is as old as humanity itself and those who convey music to the rest of us, are born with a very special gift. It is then always extra sad when one of that number leaves us. Sean’s concert at Millers had been booked sometime in advance of course, but on the previous weekend tragedy hit at Newark, when Kevin Thorpe died of a heart attack after coming off stage. The tragic moment occurred while Sean, the following act was singing, ‘I’d Rather Go Blind’. Both Sean and Kevin were Nottinghamshire musicians, Kevin was often heard to be teasing the younger, Sean by calling him his son. It was thought fitting by Millers as Nottingham’s main Blues Venue, that during Sean’s gig, tribute would be paid to Kevin. As local Blues columnist for Nottingham and BM team member, I was asked to say a few words on behalf of all assembled. My words however could not honour him as well as through the medium that had been his life’s substance, music. Sean therefore opened the set with four solo acoustic songs, three of his own and the fourth written by Kevin that they had recently played together. This was one of the most beautiful and touching moments, the only sound echoing round the club was the occasional clink of glasses and deep sighs of emotion. If you ever want to get to the essence of the Blues for a definition, it was to be heard there in that room in the vocal and guitar of Sean as he paid tribute to a lost friend and colleague and in the utter non verbal expression of the punters who stood, head down as in church, engulfed in the sheer emotion of the moment. There is an old cliché in show business, that had Kevin been standing in that room he would have been the first to tell everyone, “The Show Must Go On”, the punter is always waiting. With true troupe mentality the second set of the show saw Phil Wilson on drums and Tom Latham on bass join Sean on stage, pick-up music’s baton and run with, in an ace performance vocally and instrumentally of what the true art of music is about. One song stood out that night above all others, it wasn’t on the set-list on the floor, but it was fighting to get out in the soul music of the ether. Sean sang, “I’d Rather Go Blind”, if those three guys perform that song a million times in the future, never again will it sound so beautiful! That was truly the Blues!

MARTIN HARLEY BAND @ Round Midnight Islington 22 July 2010

Carol Borrington

So I moseyed on down to Round Midnight for the first anniversary of Michael Berk’s fine venue and enjoyed a wonderful evening. It’s rare for me to be blown away by gigs twice within the space of a week but it’s just happened; first with Dale Storr at High Barn and then this - Martin Harley’s stunning band. The line-up is Martin on lap-slide and vocals and also regular and open tuned guitars - Pete Swatton - drums and percussion; Jay Carter on string bass. It’s been a hard ten year road for this band and it is obvious from the music that they’ve paid the dues and stayed the course. This really was something else - the music really lifted me- it was exciting, edgy, refreshing, personable; I could easily run out of superlatives. Martin’s lap-slide was breathtaking with its subtle use of feedback and delay and he made extensive use of glissando to slide from the very lowest to the very highest with great effect. There were two things especially noteworthy about the music; first was how Martin used the glissandos to build tremendous tension and release into the music; he has a gift of building tension, holding you there and then releasing it. It was something he repeated with variations again and again during the evening. Equally notable was the intuitive interplay between the instruments, add the harmony vocals that Pete and Jay contributed and you have a true ensemble. They played several tracks from their recent album ‘Drumrolls for Somersaults’, including the hot picking Western Swing flavoured ‘Honey Bee’, ‘Love in the Afternoon’, and older favourites such as the manouche tinged ‘Money Don’t Matter’. Every tune was good with rootsy influences ranging far and wide , but best of all on the night were three cover tunes: ‘Irene Goodnight’, the Leadbelly classic featured gorgeously sensitive lap slide, then the best version of ‘Crossroads’ that I’ve heard in years. He took that overplayed tune, turned it inside out and upside down, changed it around, and produced a true gem. The show closed with a lap-slide version of ‘Voodoo Chile’, again this electro acoustic version was really different. Martin ended the show on Voodoo Chile with repeated glisses that dissolved into a howl of feedback. The packed house was ecstatic and Michael Berk’s venue had been gifted a memorable first birthday.

Vicky Martin

Photo by Christine Moore

RHYTHM & BLUES AT NORTON GRANGE, Isle of Wight 8th to 11th October 2010

This is the fifth year that I have been back to another Boogaloo Blues weekend at Warners Norton Grange resort, despite having promised myself that I would try a different venue this year. Opening up the first nights events were Cryin’ Out Loud who opened up with Chuck Berrys Nadine and never stopped again! This was the first time that I have seen dancers packing the floor for the first number, and pretty much staying there for the whole set. They are certainly one of the best opening acts that I have seen here and the audience loved them. Bob Hokum was MC for the weekend and playing his CDs during the break while the next band set up, and top of the bill that evening was Earl Green and the Right Time, opening up with the four guys from the Right Time doing an intro number very much in the style of the BB King Orchestra, with Earl Green coming on afterwards This was again the first time that I had seen them perform, and Earl comes across as a very smooth almost jazz entertainer, and they certainly went down well with the crowd. As usual on a Friday evening, I was too tired to get to the jam session, so I promised myself that I would play before the weekend was out. Saturday afternoons is always reserved for the acoustic sessions, and as these were all going to be played by the bands that we had already seen or were to see that evening, I gave them a miss. The evening opened with Sean Webster, and all that I can say is WOW! Once again we had a salutary lesson in just how powerful and effective a trio can be, and the whole evening was made even more impressive by the fact that Sean hadn’t met the drummer until that afternoon, and his Bass player was suffering from lack of sleep! None of this made any difference though, as they played up a storm, and were for me the highlight of the weekend. After that Connie Lush and Blues Shouter had a hard task on their hands, and coming on stage looking like a New Orleans Funeral director, she certainly made a good start. Now here I have to say that talented though she may be, Connie doesn’t do very much for me, and I have yet to stay to the end of one of her sets, and tonight was no exception, so I left her singing while I grabbed a front row seat in the bar ready for that night’s jam session. Unfortunately, I was up against some damn fine competition and couldn’t stay awake till my turn, so retired to my bed at around half past one, not having played again. Sunday afternoon sessions were in the main room for a change and were opened by Rik Martin who I managed to miss and then Stompin’ Dave who was the unexpected smash hit of last year’s acoustic sets, back this year in the big hall, and as Dave said “Perhaps we’ll be on the stage next year!” If you have never seen this man, look out for him and make a point of telling all your friends, he is one of the most unusual, talented accomplished multi instrumentalists that I have seen, and to top it all, he is very very funny. He played acoustic guitar, banjo, violin, piano, harmonica and tap danced on his stomp box whilst playing and singing, often with the instrument behind his head, and in one case between his legs! He was supported by Dave Saunders on electric bass, acoustic guitar and broomstick bass, and once again this year, got a standing ovation from the audience. The evening opened up with The Rik Martin band, which has Rik on lead guitar and vocals with his wife on drums and vocals, and very good she was too, the familiar face and figure of Barry from Trafficker on bass duties. What can I say about them that won’t sound like a criticism, OK nothing, it is a criticism, though they are a very technically accomplished band, their playing was faultless, there were virtually no dancers on the floor for most of their set; how can you dance to a guitar solo! That didn’t seem to bother the audience too much, if I am honest though, as they got great applause, and I noticed several people going up to Rik to congratulate him on his playing, but as I have always said, if you go to one of these weekends, you cannot realistically expect to come away raving about every act, and anything better than 50% has to be a bonus. The closing act of the weekend certainly comes into that category, as it was Jeremiah Marques with The Blue Aces, a band that I have seen at Boogaloo weekends before, but never on this form! They were storming, and Jeremiah is such a charismatic front man, that the dance floor was crowded for most of the set. I had to tear myself away to get into the bar for a seat at the jam sessions, but I needn’t have rushed as Jeremiah had stated that he wasn’t going to stop playing and singing until he had been told to get off the stage, and it was nearly half an hour after the appointed finish time, before he finally finished. Great, great show! Patience was rewarded in the end, as I finally got to play at around 2 o clock on Monday morning, and played The Thrill is gone, almost halfway through before realising that my Les Paul was out of tune! Fortunately I was ably covered by the very talented Bob Hokum who played a stonking Strat guitar break that more than made up for me. I managed to get through another number before Tim Aves put me and the audience out of their misery by swapping guitar players! So endeth another great Boogaloo weekend, I think that I really must try another venue next year!

Dave Stone

BOOGALOO BLUES WEEKENDER @ the Isle of Wight 8th – 10th October

The sun shone on the blessed that forgathered at Norton Grange for the sell out weekend of blues lined up by Boogaloo Promotions’ Monica Madgwick. As usual, Monica organised a line up of bands across the genre to send everyone home happy on the Monday morn.

Friday night and the dance floor was soon occupied as Cryin’ Out Loud opened proceedings with a mix of covers and self penned material in their irreverent rocking Blues style. As regular punters know, and there is a substantial core of them, dancing is part of the weekend for many. This is of course entirely consistent with the root raison d’etre of Blues. Earl Green and The Right Time were up next taking us to the midnight hour. Earl is a pedigree blues man whose soulful, smooth style was exemplified in his set. That this gentleman of the blues ‘enjoys‘ his music was obviously endorsed in his participation in the traditional jam session that followed.

With the bar area full to bursting, an entertaining mix of able guests and performers headed up by Tim Aves took us in to the early hours. These relaxed sessions often show a different aspect of some performers with the pressure to ‘perform’ lifted and as a consequence the odd magic moment happens with the musical cross pollination of band members. This was the case on Saturday night for example, when Connie Lush responded to the request to jam with Sean Webster on a repeat of his iconic version of ‘I’d rather go blind girl’. At times leaning back to back, they wrung the number out to dry to their own obvious enjoyment and to the acclaim of audience. One for memory vault.

The afternoon acoustic sets have been expanded of late, giving us a more intimate facet of performers’ range of technique

Photo by Christine Moore

and repertoire. Saturday afternoon saw the return of stripped down versions of Cryin’ and Earl Green. The encores for the former pushing them perilously close to their ferry departure. Bob Hokum, a man of many parts this weekend as he was also DJ, MC and jammer, gave us an eclectic sample of his wares in consummate style and technique. Sean Webster hot foot off the ferry, closed the session using the opportunity to feature the ballad content of his songbook. Sean was back to open the Saturday evening without his regular drummer and bass. Jam’s skins man Paul Lester stepped up with bassman whose name I didn’t catch to seamlessly assist in another warmly received performance. Sean’s has happily recovered from his recent wrist break as we had witnessed the month before at Boogaloo’s Prestatyn Festival. There, you could of heard a pin drop with his rendition of ’I’d rather go blind girl’ but the quiet passage of the reprise was marred at Norton by a noisy AGM of the SIPS (Self Important Party) in the adjacent bar. Sean’s set as usual displayed his unique use of volume in his arrangements with much light and shade to compliment his playing. He told me his recent move to Holland is already paying dividends but that he’s still only a Eurostar ride away for his UK gigs. A new album is way overdue from this man.

Blues Shouter followed and blues legend Connie Lush needs no introduction from me suffice to say this trouper lived up to her energetic reputation despite a cold, climaxing with the aforementioned jam.

There was on Sunday afternoon, following Rik Martin’s solo spot, a full house awaiting the return performance of Dorset’s Stompin’ Dave Allen AKA Dr. Stomp. He went down so well last year, that he returned by popular acclaim. This time he was aided and abetted by Dave Saunders, Producers’ bass man who also doubled on tea chest bass! Dave’s energetic set covered the gamut of southern states music. Dr Stomp has been reviewed in this magazine before and he’s simply unique with a capital ‘U’. Playing guitar, five-string banjo, fiddle, keyboards, harmonica, vocals plus tap dancing on a sound box, often three options at a time, interspersed with comic repartee, he closed to a standing ovation. When will he add jugs to his act I wonder?

Jermiah Marques brought the acoustic sets to a laid back conclusion with a relaxed blues set peppered with richly flavoured Carribean folk songs.

The Surrey based Rik Martin Band kicked off Sunday night and quickly established their justified elevation to an evening spot following Monica’s Sunday afternoon successful ‘try out’ at Cricket St Thomas last year. Backed by Ross Ewart on guitar and Barry Pethers on bass a driving set of established blues evolved despite Rik’s sore throat and drummer/wife Helen’s recovering broken foot. Rik’s endurance was tested having performed a well-received acoustic root set in the afternoon and was still going strong in the jams.

Jeremiah Marques and The Blue Aces closed up proceedings on Sunday Night with a bittersweet set. Sadly his long-time friend, keyboard/guitarist Pete Nash recently succumbed to cancer. He’s taken harp man Laurie Garman aboard to fill the void and Jeremiah dedicated several numbers in Pete’s memory.

On Sunday evening I spoke with a happy punter beating out the rhythm on a bar table who said he had simply booked into the Grange for a leisure weekend. “I didn’t know this sort of thing existed”, he beamed, “It’s been fabulous so I have booked into Cricket St Thomas for next month”. Amen to that brother and welcome to the next meeting!

Mike Owens

Two very different perspectives of the same weekend.

Were you there? Which one do you agree with? Why not write in to the Feedback page to editor@bluesmatters.com as we value your opinion.

The Wonderful Connie Lush

Photo by Christine Moore

LITTLE WALTER

Wednesday 1st September One Mayfair, London

BAND OF JOY secret gig

On a rather balmy early September evening, a crowd of music industry types and journalists are gathering on the pavement of North Audley Street off London’s main thorough-fair Bond Street. Before them, stand the grand doors to what used to be early 19th century church. Now plugged as a West End exclusive venue called, No 1 Mayfair, this former House of the Holy, is tonight’s setting for Robert Plant’s live performance of his new album, Band of Joy to the very difficult to please British music industry and press. It’s the night before his major London gig at the Forum, and the packed venue is buzzing as everyone waits with baited breath to hear his new material. I literally find myself squashed between a pillar and a post but somehow manage to get a good view of the stage. The lights dim, and a sprightly older male with a mane of white golden hair jumps on stage. Plant is accompanied by his latest band which consists of legendary Nashville producer /guitarist Buddy Miller, and the willowy looking country singer Patty Griffin. Clad in a floaty chiffon dress and suede cowboy boots, Griffin places herself at the front of the stage next to Plant. While his producer/guitarist Buddy Miller wearing his signature weathered hat, stands on the other side of ex Led Zeppelin front man. The crowd’s welcoming applause gradually fades, as the memorizing sounds of the swirling drone guitars and accompanying soft pounding drums echo across the venue. Plant and Griffin take to their mics and sing the opening lines to “Monkey,” a song from the minimalist Mormon rock band Low. A beautiful but eerie sounding steel guitar solo creeps up behind the song’s seductive chorus line “tonight you will be mine,” which Plant and Griffin sing in their hush like voices. The song finishes, and Plant welcomes the audience to this House of the Holy, which he dryly adds is available for hire for weddings and conferences. In keeping with the theme of religion, Plant quips he has been christened in a new way. Equipped with a new assortment of songs and musicians, it comes as no surprise that the ex Led Zeppelin front man feels like he is going through bit of a renaissance. British folk singer Richard Thompson’s House of Cards is the next song in the set. The highlight of this song is its powerful chorus line and the exquisite dancing mandolin played by Nashville multi instrumentalist Darrell Scott.

Halfway during the set, he takes time out to introduce one of the album’s more historical tracks to the audience. Plucked out by Miller and Plant from some obscure back catalogue, “Cindy, I’ll Marry You Someday,” is steeped in American folklore. The track opens with an Appalachian rustic sounding banjo and develops into a musical jamboree of mandolins and guitar. At this point, Plant engages in his signature handclap and shuffle, which always gets an outing at his gigs. At the end of the performance, he jokingly comments on the song’s facetiousness. A particular highlight of tonight’s set is his performance of the haunting song, “Satan Your Kingdom Must Come Down.” With it’s chain gang style chorus harmonized by Plant and his band, the song beautifully moves into the album’s only fully pledged Blues track, “Central Two – O-Nine.” The crowd pleaser tonight is the album’s opening track and single, Angel Dance. A Los Lobos original from back in 1991, the song gets an excellent treatment with its jangling guitars and a mandolin riffs. An uplifting yet poignant rendition of “Harm’s Swift Way,” which was an unfinished song penned by alt country singer Townes Van Zandt just before he died, concludes the evening. Plant does not appear for an encore, no doubt preferring to rest his vocal chords for the following night at The Forum. Tonight, the great beast otherwise known, as Led Zeppelin did not rear its head as it has done in his previous gigs, where he would often include crowd pleasers “Whole Lotta Love,” and “When The Levee Breaks.” But that’s a good thing, as despite the shortness and sweetness of tonight’s gig, I leave exceptionally satisfied but craving to hear more of the other musical delights he is keeping up his sleeve.

Paromita Saha

NOW BEFORE WE FORGET

Kevin Wharton explores the life of this ground breaking and explosive genius

To say that Little Walter fundamentally changed what many Blues fans thought was possible on blues harmonica is almost an understatement. Little Walter’s music earned him a spot in The Rock and Roll Hall of Fame in 2008 making him the only artist ever to be inducted specifically for his work as a harmonica player. Plagued with a hot temper, and a fondness for drink, Muddy Waters said “Little Walter was dead ten years before he died,” Little Walter is widely credited by Blues historians as being primarily responsible for establishing the standard vocabulary for modern Blues harmonica players

Little Walter was born Marion Walter Jacobs on May 1st 1930 in Marksville, Louisiana and raised in nearby Alexandria. He quit school at 12, left Louisiana, and supported himself busking on the streets of New Orleans, Memphis, Helena, Arkansas and St. Louis, sharpening his musical skills with the likes of Sunnyland Slim, Sonny Boy Williamson II, and Honeyboy Edwards . He met Rice Miller, who along with Walter Horton, gave him pointers on the harp. The following year, his evolution began when he started to listen to the records of jump saxophonist Louis Jordan and learn his harmonica solos note for note.

He left for Chicago in 1945, where he found work as a guitarist but started to make a name for his already blossoming harmonica work. Soon after arriving in Chicago he featured in his first recording, an unreleased demo on which Walter played guitar backing Chicago Bluesman Floyd Jones. Little Walter was never backward in coming forward and grew frustrated with having his harmonica drowned out by the new style electric guitarists. His solution was a simple: He cupped a small microphone in his hands along with his harmonica, and plugged the microphone into a public address or guitar amplifier Not unusual now but it meant he could compete with any guitarist’s volume. Unlike other contemporary blues harp players, such as Sonny Boy Williamson who had also begun using this method, Little Walter pushed his amplifiers beyond their limitations, developing radical new effects previously unheard from a harmonica. Author Madison Deniro wrote that Little Walter “was the first musician of any kind to purposely use electronic distortion.”

Little Walter’s first released recordings were made in 1947 for Bernard Abram’s’ Ora-Nelle label, operating from the back room of Abrams’ Maxwell Radio and Records store in the heart of Maxwell Street. Shortly after this Little Walter joined Muddy Waters’ band, and by 1950, he was playing on Muddy’s Chess Records recordings. In fact, for years after leaving

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Muddy’s band in 1952, Little Walter continued to play on his recording sessions, and his harmonica is featured on most of Muddy’s classic recordings from the 1950s. What is not so well known is that as a guitarist, Little Walter recorded three songs with Muddy Waters and Baby Face Leroy Foster as well as backing Chess pianist Eddie Ware; and doing some early Chess sessions with Jimmy Rogers.

Little Walter was subsumed in Muddy’s band but stepped back out in front once and for all when he recorded as a bandleader for the Chess subsidiary, Checker Records in 1952. His debut song, “Juke” became his first hit on the Billboard magazine R&B charts, spending eight weeks at number one. Juke was and is still the only harmonica instrumental ever to reach number one in the R&B charts. Three of Walter’s other harmonica instrumentals also reached the Billboard top 10: “Off the Wall”, “Roller Coaster”, and “Sad Hours”.”Juke” was the biggest hit to date for Chess and its affiliated labels, and one of the biggest national hits of the year, securing Little Walter’s position at Chess for the next decade. He went on to record 14 more top-ten hits in the Billboard charts before 1958, including another number one, “My Babe” in 1955. This huge commercial success was never achieved by Muddy Waters, or fellow Chess Bluesmen Howlin’ Wolf and Sonny Boy Williamson II. Most of Little Walter’s 50s singles featured a vocal performance on one side, and an instrumental on the other and were originals which he or Willie Dixon wrote or adapted from earlier Blues tunes. In addition to working as band leader Little Walter did sessions on harmonica for stars such as Memphis Minnie, Bo Diddley, Otis Rush, and Robert Nighthawk. No one would claim that Little Walter handled fame and fortune well! He was prone to heavy drinking and violence. “He was hellacious when he drank,” according to Lazy Lester Johnson. The only one who could control him was Muddy Waters. His problems naturally led to a decline in his career. At gigs, as well as offstage, he would sometimes wave a pistol around, and had trouble keeping a band together. This painful fall is recorded well in “Cadillac Records”, the 2008 American biopic written and directed by Darnell Martin which charts the rise and fall of the Chess label. This was compounded when rock ‘n roll came along in the mid-1950s and sales of Blues records plummeted. Nevertheless, Little Walter did two European tours in 1964 and 1967. The 1967 European tour, as part of the American Folk Blues Festival, resulted in the only existing film footage of Little Walter performing. In it he is backing Hound Dog Taylor and Koko Taylor on a TV program in Copenhagen. This was released on DVD in 2004. A further recently discovered recording of a TV appearance in Germany during this tour, with Little Walter performing his songs “My Babe” and “Mean Old World”, was released on DVD in January 2009.

In 1967 Little Walter was involved in a brawl during the interval of a performance at a nightclub in Chicago. Although he sustained relatively minor injuries they compounded the damage he had suffered in previous fights, and he died in his sleep early the following morning. His death certificate records the cause of death as coronary thrombosis. No external injuries were noted on the death certificate. Little Walter was buried at St. Mary’s Cemetery in Evergreen Park, Illinois on February 22, 1968. He was only 37 years old. The MCA/Chess recording released in 1988, under the title ‘The Essential’ is a good point to start you Little Walter collection as it showcases the entire breadth of Little Walter’s solo career with a selection of 46 tracks from the 19652 ‘Juke’. Listening to the progression shows the essential role of Little Walter in the modern Blues harp.

HEGEMONY of the BLUES

LITTLE WALTER

Part 2 : British and American Blues –

We

by Kevin Wharton

are all equal but some are more equal than others.....

Richard Thomas

This is the third element in a four part quest to get to the bottom of what, or who, controls Blues and its culture, and what message we are being given. As we search for the driving forces behind the concept of the Blues ancient and modern, our identikit is building. I have concluded that though the Blues may have a black face and body, the strings that control it are probably white. Though it gathered momentum through the 30’s and 40’s with a dominant female thrust, the depression ended this and once again gender politics has shaped it as masculine. None of it of course, is as clear as the binary opposites of black and white, male or female and this continues as a personal take. Our series continues now with perhaps the clearest cut, and in my opinion, least contentious jigsaw piece; what accent does it speak with, this photo fit Blues embodiment? Few would doubt that Blues has Stateside roots and a Transatlantic twang, but does it have any trace of Received Pronunciation to make it more of an Anglo-American affair, like Bush/ Blair or the King and Mrs Simpson? The history part of this is known to most with an enduring interest in the Blues, so I won’t go into the egg-sucking details for our grandparents, but let’s swish the basics around our palate by way of introducing my main hypothesis. The Blues in the form we know it probably came to Britain in the kit bags of the black GI’s who were stationed here during WW2. This introduction was further enhanced by merchant seaman and traders who offered another angle of introduction. As the country rebuilt and repaired following the war, a new sense of hope prevailed and the austerity of constricted spending and limited supply gave way to new concepts like disposable income, and soon, the teenager. Blues was already familiar to jazz buffs with some crossing over of artists, but it was perhaps the skiffle movement that gathered the kindling and lit the fire – they strayed into Blues territory and helped to establish the sound.

It was all still very underground though – perhaps something of a subculture, mixed in as it was with rock and roll –another American import. In Sarah Thornton’s ‘The Media Development of “Subcultures” or the Sensational Story of “Acid House”’ (in Popular Culture: A Reader : Sage) she describes in detail the UK Rave scene and cites the main antagonist of subculture as the media, who continually threaten to release the new material to the world at large. There appears to have been no such elist protection of the new Blues material; those who liked the new sound appeared to proliferate it to anyone who would listen.

Enter, stage left, a fuzzy haired Paris born chain smoking son of an Austrian father and Greek mother, who had already lived in Switzerland and Africa by the time he settled in London aged 12. As Bruce Eder says in the All Music Guide, without Alexis Korner, “there still might have been a British blues scene in the early 1960s, but chances are that it would have been very different from the one that spawned the Rolling Stones, nurtured the early talents of Eric Clapton, and made it possible for figures such as John Mayall to reach an audience”. Originally a post war jazz player with Chris Barber, Korner landed on the Blues map when he hooked up with Cyril Davies in the mid fifties, and as they pioneered their way around the country, the consensus view seems to be that they began the British Blues movement. As Roy Carr put it in the New Musical Express “...without a doubt, it was Alexis, together with the late Cyril Davies who was directly responsible for nurturing the way in which most progressive blues and pop in this country has developed ..... it can virtually all be genetically traced back to them”.

Korner and Davies set about bringing American artists to the UK and the whole movement gained momentum. They were unlikely pair. In The Observer in February 2008, critic Miranda Sawyer quotes Charlie Watts as describing Korner as “very bohemian, with an iguana on the kitchen table”, while Davies was altogether more earthy – a “rough diamond”. Certainly airs and graces seemed thin on the ground. According to Sawyer, when asked by a young Mick Jagger to teach him to play the harmonica, Davies succinctly condensed the complicated art into a helpful and pithy first lesson. “You f*****g suck it and you f*****g blow it and f*****g sound comes out.” And there was us thinking it was difficult.

Korner and Davies formed Blues Incorporated, and later John Mayall formed his Bluesbreakers, offering budding players the opportunity to partake of the musical equivalent of an Oxbridge or Ivy League education. For Mayall, the awakening was what he had craved for the new sound - “It caused such a stir,” he recalls in an article printed in the New Zealand Herald in April 2010, “...and for me, who understood the music and played it all along, it gave me the opportunity to come down to London and join in. They were exciting times, with this explosion of a new type of music on the scene.”

]

Ken

Stones

Jagger/Jones/Richards all put in a shift with Blues Incorporated, as did Long John Baldry, who was described in his Telegraph obituary as “...the vocalist at the forefront of the 1960s British blues scene who discovered Rod Stewart on a railway platform” - surely better than your usual Thamselink lost property.

If you add the names from this finishing school the alumni of John Mayall – big hitters like Fleetwood, Green, Clapton, Taylor and Dunbar et al - then we have thrown a Blues blanket over an unsurpassable generation of talent from any genre, in any age. But you know this – we are getting into egg sucking territory.

My point approaches. In his article entitled “Bringing Back The True Blues” in The Independent in 2007, David Sinclair observes that Californian guitarist Stephen Dale Petit “......was so in thrall to the guitar playing of Clapton and the other stars of the 1960s British blues boom that he moved to England in the 1990s and has been here ever since.” Few would question the contribution that the British have made to worldwide Blues culture. Certainly, Petit is in little doubt, and he continues in his own words.....”...the British contribution to blues, as we sit here in 2007, is equal in my eyes to what Robert Johnson did, Blind Lemon Jefferson, Son House, Charlie Patton, all of those guys all the way through to Muddy Waters......You start with skiffle. The British were fiends for it. And you had for whatever reason musicians in Britain who were as fired up about the Blues as you could be about anything. I don’t know how to define it. This mysterious Surrey delta where you get all these guitar players. The inventiveness of the British mind. There is a huge, natural, instinctive inventiveness.” In the pages of this very magazine indeed, Petit said that “I think it is a certainty that without the British Blues Boom the music (Blues) would not have anything remotely like the profile it does.”

Here was one American that delighted in the British take and rightly makes oblique reference to the song writing creativity of Green, Mayall and others. Undoubtedly, like the Japanese did with the internal combustion engine, the British took a good idea and improved it, or at least fashioned an interesting variation. My assertion is that in gravitating here from the U.S., Petit is in the minority and is swimming against the metaphoric tide. Doesn’t every young blues player with a Howling Wolf album, a mail order guitar and indulgent parents start by singing just like their hero – in a transatlantic accent? My theory (there to be shot at of course) is that despite the occasional American making a reverse physical or imagined journey, British Blues “fiends” aspire to a spiritual replanting across the Atlantic. As a diverting aside, a friend once demonstrated at a live gig what the Blues sounded like by singing in a plumy English accent - it was as incongruous as beetroot ice-cream and lipstick on a baby. Petit’s mention of Surrey gives me a smooth transition into the second part of my point, which underlines one made in the first of these articles about hegemony. I quoted then a Times article in September 1998 which asked whether white musicians “who grew up in the affluent suburbs of Macclesfield and Surbiton” could replicate music with the aura of “poor black sharecroppers in the Mississippi Delta”. Surrey sure seems to be where it’s at, but surely this is the most compelling half of the argument – Blues passion was born out of misery, out of slavery and out of hope of redemption. Can Surrey boy have the same scarred heart and authentic passion that is the very fibre of the music? I say not so much.

Academically, I feel there is support of this view. German philosopher, sociologist and sometime part of the influential Frankfurt School of Cultural Criticism Walter Benjamin talks of the “decay of aura” – how art (used here in its widest interpretation) replicated from the original loses something of the passion, the sense of occasional – the “specialness”. Macclesfield or Surbiton Blues has its own innate special qualities, and if I did not believe this to be true I would not be reading this magazine, let alone writing for it. Green, Mayall and Clapton got my interest to begin with, and they will always keep it. My point is that all eyes have always gazed backwards to the cotton fields, to the delta, and to the authentic home of Blues music.

To conclude, Blues may have its own self constructed British heritage but it will always speak with an American accent, and there is a certain amount of justice in the fact. Our hegemonic Bluesman is a man, he is black but is dominated by whiteness, and now he has a voice. In our final part, we will explore what he may be saying.......

Scott Dick Heckstall-Smith, Ronnie Jones, Art Woods (bother of Ronnie), Charlie Watts, Graham Burbridge, Paul Jones, Manfred Mann Spike Heatley, Jack Bruce, Ian Stewart, Steve Marriott, and the

triumvirate of

Eddie Tatton

Kev!- Having shared the stage with Kev many times I have so many happy memories to draw upon as I remember priceless times on the road. Not just playing some of the sublime songs he had created which never failed to raise the goose bumps, but also the little moments that maybe the audience couldn’t see or were aware of like the look in his eye as we counted in the Memphis Horns for Mr Pitiful onstage at the Edinburgh Festival, which Kev sang the vocal, true to the Otis Redding original. Precious things money can’t buy!

To get to the point of just being on that stage would have taken months of planning, phone calls and distress for the man, which he never shared with us. He took all the knocks, setbacks and grief which only his family would have seen, while we got to share the accolades and the fun onstage! Now he’s gone I realise I never really thanked him. I’m left empty at the thought of not sharing the stage with him one last time as we were due to play together as I guested with his new band Tipping Point, a project he was extremely excited about and which showed his songwriting talents to the full! Kev loved playing live so please accept my warmest thanks to anyone who booked us, came out to see us and witness his incredible gift and talent. You made him so happy! Surely one of the UK’s best Blues songwriters, I hope history could show that one day. It was an honour and a pleasure, mate! Thank you Kev Thorpe RIP.

Sean Webster

Dale Storr

1953 - 2010

I’ve known Kevin for years, but it was only the last 4 or 5 years that we became close. I’ve spent many a night going over his new songs with him over at Retford and Ollerton, then for a few pints of Guinness after. He was a constant source of inspiration and encouragement for me. He was instrumental in me pursuing my solo music career and I found that he always pushed others rather than concentrating on his own musical endeavours. We grew really close when he recorded my debut solo EP. Apart from all the music stuff he was just plain and simple a bloody nice bloke. I miss him phoning me just for chats to catch up. He was so witty and a natural comedian that if I was down about something he would instantly put his slant on it and cheer me up and make me see things completely different. His advice on all things music was spot on but he had great observations on life too. I still can’t get my head around the fact that he’s gone. We’ve just been recording our band EP at his studio in Retford of which his daughter Emma is keeping open, and you just expect Kev to pop around the corner and come out with a joke, or pitch in a little tip or suggestion for whatever your doing. Because his advice and support of others was so strong you sometimes forgot what an amazing talent he was. His songs were something else and one song in particular moved me to tears when I heard it. I really do miss him and my musical world at least will never feel the same now he’s not in it. God bless you Kev, see you later mate.

Tipping Point

Kevin Thorpe.... well where do I start? I have known Kev for 20 years. He was always around. I would travel whenever possible to watch his various band line ups through the years. As I grew older Kev and I would share a beer or 2 whilst talking about putting together an acoustic duo!! The closest we ever got to that was Kevs last acoustic gig which was covering for me at Maryport Festival as I had broken my wrist and was unable to play!! We did a few numbers together and had good fun. I guess now we’ll never do a full acoustic duo gig together and I’m really sad about that.

I was also privileged to see him 10 minutes before he collapsed at The Newark Blues Festival. He was high in spirits, and looking forward to seeing the rest of the evening.

Contrary to common belief, Kev didn’t mentor me, nor was I his protege. I guess I did look up to him in the beginning, but he was much more important than a mentor.....he was my friend, and I will miss him.

When our great friend, mentor and soulmate, Kevin Thorpe , stepped off the stage at Newark Blues Festival, he was absolutely buzzing with excitement. Not only had we managed to get through our first major blues festival without incident, but the audience loved it, and told him so. It had been a bit of a gamble for us, but one that had paid off. You see, it had been decided from the very start that Tipping Point was going to be different from any other band. Over the last few years Kevin had noticed that there didn’t seem to be many “songs” being played any more. He believed that musical and performance styles had instead been developing to emphasise the art of virtuoso playing, at the expense of lyrical and melodic content. Tipping Point was formed with the intention of playing hard hitting British blues, whilst maintaining the elements of good song writing, melody, poetry and emotion, and not focusing too much on lengthy instrumental passages (although it was perfectly fine to be let off the lead from time to time when required).

We didn’t know how things would turn out, but Kevin had complete faith in the music, and in us. It’s fitting therefore, that when his time came he was surrounded by the people who loved him most, and he’d been doing the very thing that he was born to do.

Obviously we have been talking constantly about the band since that day, and we’ve had amazing support from Kevin’s first lady Linda and his daughter Emma, who have encouraged us to carry on and bring Tipping Point’s music out into the world. It’s been a difficult time for all of us, but Kevin’s excitement, friendship and passion for the band and the music was just too great for us to stop. The new album, “Antedote”, featuring Kevin’s final recordings will be launched at a special concert at The Boardwalk in Sheffield on 2 December 2010, and Tipping Point will begin live work again by opening the Carlisle Blues Festival on 12 November 2010, joined by the wonderful Dale Storr.

Nigel Lobley, Dominic Hollands & Paul Mallatratt

Photo Tony Winfield

Exile on Main Street

Re-mastered and all that : Vicky Martin

Rolling Stones – the dice are still tumbling

As it says in the blues ‘I woke up this morning and I read that daily news’. Lo and behold, it’s October 2010 and who is on the front pages? No less than Keith Richards. Several papers carry special features on Keith’s about to be published autobiography and its ‘startling’ revelations about his relationship with Mick Jagger. Its right in line with what I’ve noticed recently; the song continues ‘most every day there’s somethin’ ‘bout the blues’ and almost every day there is some news in the press about those Rolling Stones; the guys who, way back, introduced me to the blues. It’s staggering that by 2012 the Stones will have rolled for fifty years. Staggering to think that whether it be Keith or Mick, Ronnie or Charlie they still have such fascination and allure to make the news ‘most every day’

It was in such a blaze of publicity that the re-mastered version of ‘Exile on Main Street’ arrived. It went straight to number one in the charts making yet more news. This album has long divided critics and fans; it is widely regarded as the jewel in the crown of their canon, and described by some as the ‘greatest rock and roll record ever’. The list of plaudits is endless but it was not quite like that for me – I bought it on the original day of its release, I craved a news Stones album after the string of wonderful releases that had preceded it. I was disappointed, I found the sound muddy, and the vocals way back in the mix; it lacked something. I sold my copy; purchased it again ten years later and it still didn’t click with me. So I was intrigued to get the new version almost forty years later. I’ve listened again, the sound is much better, and I think I’ve finally got what it’s about.

The album followed an unprecedented stream of classic albums and a huge growth in worldwide fame and notoriety. It followed their moving from the UK and settling in France and consciously or unconsciously this album is like a homecoming or settling down. I mean this in the following sense – there is little of the restless searching and developing for new sounds that characterized previous work. Instead, here on ‘Exile’, the Stones come to rest for a while; and they rest in all of the classic sounds, aura and styles that formed the basis of their music.

Some examples of this – there is the classic sound type that formed the Chess catalogue – it’s there on ‘Shake Your Hips’, ‘Casino Boogie’, ‘Ventilator Blues’, ‘Stop Breaking Down’. There’s the essence of the sound that typified Buddy Holly, early Everly Brothers, that ‘simple garage country sound’; listen to ‘Sweet Black Angel’, ‘Sweet Virginia’, ‘Torn and Frayed’. There is, to me, the timeless aura of the Speciality Records sound on ‘Rip this Joint’. This is of course an objective view – but the archetypal sounds and influences lie there clearly on the surface right through the album – the horn sounds of classic rock ‘n’ roll and to a lesser extent Stax. Of course there’s the Stones sounding like the Stones – the opener ‘Rocks Off’ is typical and closest to the sound of the first album. Listen to it all and you’ll hear many more examples.

The idea of their capturing the classic aura of these sounds is highlighted by the fact that the record is often described as ‘shambolic’. But it isn’t shambolic- what the Stones do is to capture the absolute feel of those classics – this means the structure, feel and the beginnings and endings. It’s all exactly as a record on one of the classic American labels would have been. Played live, recorded live, and mixed as it was.

Listen very closely to the Stones’ rhythm section on here – Charlie Watts and Bill Wyman – you’ll hear the model of what made the Stones work, the swing that colours every track – that made them sound like a typical American rhythm section – the drums falling milliseconds either side on the line – the bass a fraction away –all locked to the vocal. You can find a technical explanation of this by the Stone’s producer Don Was in ‘According to the Rolling Stones’ published by Phoenix in

2003. Shambolic – never, this is the magic element that lies right at the heart of what made the Stones get and you get it very clearly in this record. Listen, bands, producers, you’ll never ever in a million years get it with a click track.

So nearly forty years on I reckon this is a pretty good record, it’s to be savoured slowly so you can drink in all of the rock ‘n’ roll flavours. There are a couple of classics of course ‘Tumbling Dice’, ‘All Down the Line’, but hey, they’ve given us so many great songs just relax and enjoy. And the new tracks? Well ‘Plundered My Soul’ is a bit of a killer and there are lots of good moments, but when you’ve written the seminal book on rock and roll once you can’t re-write it, so again, just enjoy it.

Just over two years I ago I went to see the Stones at the O2, the first gig of a short residency close to the end of their ‘Bigger Bang’ tour. About 50 minutes into the show Keith Richards put his guitar down took out a ciggy and lit up. He stood there and for a moment it was as if time stopped, he puffed and a few wisps of smoke twirled through the air. He smiled, the audience smiled, there was a smattering of applause and chuckling. The very next day that image was on the front page of the evening Standard; the headline ‘STONE DEFIES SMOKING BAN’. It seems a very minor event yet to me it was an iconic moment. The smoking ban brought forth mixed reactions; to many, especially musos like me, it was a relief not to be wheezing from smoke filled lungs after every gig, to many it was also yet another aspect of the erosion of our freedoms. To be told ‘you can’t smoke in a pub’ with yet more Council jobsworths patrolling us irritated many. Keith Richards’ simple action came within days of the ban becoming law and for me it encapsulated what to many of us, the Stones have always been about. Richards is recorded as saying that he’d been fortunate in his work never to ‘have to say ‘Sir’, to anybody’. Few of us can say that; we have to work and toil from 18 to 65, pay taxes, struggle…its similar in varying degrees for each and every one of us.

In a sense the Stones have always been rebellion for us – the one’s who’ve always been able to cock a snook at the establishment, put two fingers up to authority – never been brought down – and goodness knows the establishment tried for a few years. Some may argue that Mick Jagger sold out in accepting his Knighthood; it reportedly caused a huge row between him and Keith; but equally it may say to us that ‘Rock ‘n’ Roll’ won in the end, ‘they’ had to accept it. As I’ve said, in 2012 the Stones will have been rolling for fifty years-it amazes me to think about that- if someone had said in 1967 ‘These boys will still be rocking after fifty years we’d said ‘What the?’’. So they’re still here and on the evidence of the gig I saw, as good, if not better than ever…

In 1972, after all the stress and struggle that had gone before, the Stones settled and recorded ‘Exile on Main Street’ – it rested in all of the classic sounds and said ‘We’re still here!’ and they are still here, so buy Exile, celebrate and enjoy.

Scotland is more recognised for its traditional folk music, yet on further examination Scotland has produced a long list of Blues performers over the years. From pioneers Alex Harvey and Tam White, to superb singers Frankie Miller and Maggie Bell, guitarists Les Harvey, Big George Watt to bands like Blues ‘N’ Trouble and the Nimmo Brothers, the country has produced a large number of artists. Some experienced notable success, were highly influential or sadly cut down in their prime. The first chapter looks at the acts that emerged from Scotland in the 1950 to 1970s, before the second examines the acts that appeared since the 1980s and the current blues scene.

The first notable blues acts in Scotland emerged during the late 1950s, when the big band scene was ending and skiffle bands were established. Glasgow born Lonnie Donegan was banjo player for Chris Barber’s traditional jazz band before forming his own skiffle band inspired by American Blues and folk artists like Josh White and Woody Guthrie. His first single was a fast paced version of Led Belly’s ‘Rock Island Line’. Others to emerge from this scene were Alex Harvey, Miller Anderson and Billy Allardyce. Allardyce, who runs the on-line Blindmans Blues Forum, recalls the problem they encountered was finding appropriate material to play. A typical set would include Led Belly, Big Bill Broonzy plus gospel and country songs heard via the Armed Forces Network.

Alex Harvey emerged through skiffle but then created the Alex Harvey Soul Band in 1960. They recorded their first album for Polydor in 1963. “Alex Harvey And His Soul Band” is considered to be Scotland’s first rock album and includes spirited recordings of Muddy Waters’ songs. His follow-up was a surprisingly sparse acoustic album recorded with his younger brother Les Harvey called “The Blues”. The younger Harvey had been playing guitar since the age of 7 and was soon to make his own impact. Likewise Tam White’s first professional appearance was with a skiffle group, but was introduced to the blues by American servicemen in Edinburgh. In 1964, he formed The Boston Dexters and who were lured to London and became the house band at the Pontiac Club, Purley beside John Mayall’s Bluesbreakers featuring Eric Clapton. The band signed a contract with Columbia Records, yet they tried to fit them into the Beatles mould and their single very much unlike their usual material, ‘I’ve Got Something to Tell You’ promptly flopped.

Yet as the blues boom begun to take hold, original American blues musicians were brought to Scotland. Howlin’ Wolf who had been booked in Edinburgh was famously persuaded to also play in Aberdeen having been told it was only 20 miles further north! The Maryland club in Glasgow had booked traditional jazz bands and through personal contact with Chris Barber was instrumental in bringing Champion Jack Dupree, “Big Boy” Arthur Crudup, Muddy Waters and others to Scotland. Esteemed harp player Fraser Speirs worked in the club and found this was a fantastic learning experience for young blues musicians, who honed their craft from such artists, leading to better Scottish bands. Speirs recalls seven piece The Blues Council as being one of the finest Rhythm & Blues bands of that era. Parlophone issued their dynamic debut single ‘Baby Don’t Look Down’ to extensive local airplay. The band included Les Harvey on guitar, saxophonist Bill Patrick, pianist John McGinnis, bassist James Griffen and singer Fraser Calder. Tragically the band’s tour bus crashed in March 1965 killing Calder and Giffen, and the band disbanded.

While the elder Harvey went on to join the musical Hair and then form the Sensational Alex Harvey Band, he introduced Les to singer Maggie Bell who had performed in clubs from the age of 17. She had fallen in love with their soul & blues record collection. Les Harvey and Bell formed the band Power and after a year performing to US soldiers in Germany, they returned to Glasgow where McGinnis and bassist Jimmy Dewar joined them. The latter had worked with Lulu and as Bell states was “a fantastic singer and a true unsung hero.” Their plans were delayed when Harvey was asked to tour the US with Scottish band Cartoone, where they were supported by John Lee Hooker (despite playing his repertoire!). He returned full of confidence. On his return Peter Grant and Mel London travelled to Glasgow and persuaded them to relocate to London. With ex John Mayall drummer Collin Allen added, they signed for Polydor as Stone The Crowes. As Bell recalls the band they were given time to develop, and compose for the first time for their debut. Bell’s favourite ‘Ode To John Law’ was to follow before McGinnis and Dewar left the band, with Dewar form a partnership with Robin Trower. Stone The Crowes still appeared destined for huge success touring the UK and USA, featuring on high profile support slots for Bachman Turner Overdrive and Joe Cocker and released “Teenage Kicks.” However tragedy was to befall when Harvey was fatally electrocuted on stage in Swansea. Although the band tried to continue without him, one of Scotland’s finest blues bands split in their prime.

This was an era which rock journalist David Hepworth referred to as the period of “the tartan soul wars” when Scottish acts were leading the export of blues back to America. Of prominence was Frankie Miller. Brought up in Glasgow Miller had developed a love for artists such as Soloman Burke, Albert King and Otis Redding. Miller had performed with Dewar in Glasgow as a teenager, before moving to London where he signed for Crysalis, where he recorded “Once In A Blue Moon”. Despite recording his second album “High Life” with Allen Toussaint in New Orleans during 1974, he was appearing on

Tam White

stage with artists like Procol Harum and Ten Years After. It was at a performance by the former that Ray Minhinnet first met Miller as Miller literally ‘crashed into the dressing room’. Miller, Minhinnet and James Hall formed Full House. Together they re-recorded all of Miller’s best songs and toured solidly for 18 months in a very successful partnership. ‘Be Good To Yourself’ was a top 5 hit single and the band headlined venues such as the Victoria Theatre and Roundhouse in London. Minhinnet believes that without a doubt Miller was the best ever British singer. Miller’s impassioned stage performances on many occasions raised the hairs on his neck and brought tears to his eyes. Miller never received the recognition his talent deserved and sadly suffered a near fatal brain haemorrhage in 1997. While he is unlikely to record again, Minhinnet believes the time is due for Miller to be awarded a lifetime achievement award.

There were other Scottish Blues acts to head southwards. In the late 1960s drummer Allardyce had formed a five piece blues band Just Us with guitarist Stefan Kocemba in Edinburgh. They had toured Scotland extensively, spent much of 1969 in Europe and on return to the UK signed to Concord Records. They renamed themselves Gully Foyle with the addition of 16 year old Glaswegian singer Jim Diamond. Diamond had passed an audition after answering a Melody Maker ad. The band relocated to London on the condition that young Diamond stayed at Frankie Miller’s home. Like many acts signed to a major label they came under immense pressure from their management to revamp their repertoire with more non blues material. This led to differences within the band as some wanted the prestige of being of a major label and international management while Kocemba and Allardyce just wanted to play blues. They compromised and played a sort of “bastard child” of blues, now known as blues rock. They gigged frequently for the BBC Radio One Road shows, hung around the “in” places and lived in St John’s Wood yet the discontentment remained and the band folded. Allardyce and Kocemba returned and later formed one of the hardest working blues bands in Scotland for 18 years; the 5 piece Chicago styled Barrelhouse Blues Band. Meantime Jim Diamond joined up with Alexis Korner before his own commercial success in the 1980s.

Tam White also became disillusioned, despite a late 1970s top 40 hit; ‘What In the World’s Come Over You’ where he became the first person to sing live on Top of the Pops. Then in the early 1980s, he reformed the Boston Dexters with guitarist Jim Condie. Later White performed and recorded with Boz Burrell with residencies at Ronnie Scott’s jazz club. Harmonica player Fraser Speirs played over the decades with Tam White’s Shoestring, whose releases included the 1997 album “The Real Deal.” Speirs fondly recalls their Turkish tour in 2003 where White was treated as a pop star due to his appearance in the film “Braveheart.” Sadly White passed away early into the research for this feature. As Ian McLaren of blues band Wang Dang Delta stated “He was a one off. I saw him in so many environments over the years and each time I was captivated by his ability to engage with an audience”. Speirs has contributed to over 100 album recordings, his favourite blues recording being “Let’s Go To Town” recorded with Edinburgh’s Allan Jones; and toured with many major artists, most recently Paolo Nutini.

The six-piece horn driven outfit from Tayside, Wolftrain may not have ventured as far. Yet led by brothers Robin & Ivor Johnston, they have mentored many young musicians, much like a Scottish version of the Bluesbreakers. Likewise Les Honeyman inspired a new set of emerging musicians including McLaren, who recalled: “Tales of his musical exploits were legendary in Perthshire. The Sunday session was a wild affair with a band numbering around 12 or 13 most weeks fronted by Honeyman and the irrepressible Taff Jeffrey on vocals and congas”.

Honeyman had played bass guitar on Matt McGinn’s 1967 album “Take Me Back To The Jungle” along with a young Dick Gaughan, won the Melody Maker Folk/Rock Competition in the early 1970s, and played extensively in Scandinavia. A typical Les Honeyman set might have included ‘Key to the Highway’, ‘Goodnight Irene’, ‘San Francisco Bay Blues’, as well as numerous Memphis Jug Band and Taj Mahal classics and a liberal helping of spellbinding clawhammer and ragtime guitar picking. Honeyman died suddenly following a gig in Aberdeen back in 1993 and press tributes at the time marked his contribution to the local, national and international music scene. An obituary written by Roy Deane, rock music archivist stated he “stood with greatness, or at least wealth and recognition within his grasp and shrugged it off”.

This chapter ends with the story of the inception a new successful Scottish blues band, as taken up by John Bruce:

“Around 1980 I was very heavily into Blues... I’d been to see Buddy Guy, John Lee Hooker, Bobby Bland, B.B. & Albert King, Sonny Terry, etc. I worked in a record shop and there was lots of interest in obtaining Blues records, I was asked on a daily basis for American imports (Yazoo, Arhoolie, etc.), so I decided to open my very own specialist blues record shop. This was 1982 & I sold loads through the shop & by mail order. A customer told me about a guy who was great on the harp and played in Bathgate on a Sunday. I decided to go along & see him… this of course was Tim Elliott who was dynamite on the harp and also one of the most convincing vocalists I’d heard! His band, however were not blues players, they were a bit like Thin Lizzy, good, but wrong behind Tim. At this time I had my own band with Jim Brown. We mainly played originals, and Tim called me one day to ask if I wanted a gig because his band had left him!! I said yes, but only if he came along and played with us....which he did and it seemed to be the perfect match. Blues ‘N’ Trouble were now up and running...”

Arthur Crump

Stone The Crows

Interviews with;

FIND OUT WHAT’S COMING IN THE NEXT ISSUES…….

FIND OUT WHAT’S COMING IN THE NEXT ISSUE…….

Deborah Bonham (we are going to talk to Deborah about her new album), Foghat (constant Blues boogie boys), Gregg Wright, Hill Country Revue, Hokie Joint (fast upcoming UK Blues band that go out to kick ass every time), Barry Goldberg Pt2 This man has been around a long time being a founder of Electirc Flag, playing with Mike Bloomfield, Hendrix, Dylan and many more and now he is putting together a new US ‘supergroup’ and working on a Blues film.

More Interviews coming up:

Matt Andersen (Canadian award winner), Matt Schoffield, Phillip Sayce, Snowy White, Southside Johnny, Spikedrivers, Clare Free Band (back in the Blues at last), John O’Leary (UK harp master), Keith Thompson (known more in Europe than at home in UK), Harry Shapiro (renowned writer on Clapton, Hendrix, Bruce), Mississippi Fred McDowell, Walter ‘Wolfman’ Washington, King Pleasure & The Biscuit Boys, Paul Jones (Blues radio master), Michael Burks and more.........

There’ll be features on varied Blues topics including; Swamp/Zydeco/Cajun Blues, Jive Blues, Ladies in the Blues, Blues on Radio, Early Blues on the London Scene, Canadian Blues Scene and more............

Do keep a check on our web site too as there will be more material available there in the coming months including Podcasts featuring interviews, music etc with some as leads/tasters to future magazine content.

Michael Burks

Matt Schofield

Jo Jo Burgess

SnowyWhite

Clare Free

walter trout

ben poole fredy hollis oli brown band

midus guerreiro aynsley lister band