Blues Matters 58

BLUES MATTERS!

“The BLUES without the blinkers!”

ERJA LYYTINEN

JAMES HUNTER (UK)

BARRY GOLDBERG Pt 2 (USA)

HOKIE JOINT (UK)

SOUTHSIDE JOHNNY (USA)

MATT ANDERSEN (CAN)

GREGG WRIGHT (USA))

ERJA LYYTINEN (FIN)

PHILIP SAYCE (CAN)

HILL COUNTRY REVIEW (USA)

SPIKEDRIVERS (UK/USA)

WALTER ‘WOLFMAN’ WASHINGTON (USA)

HOKIE JOINT

BOB DYLAN

BLUES MATTERS!

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Contributing writers:

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

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Christine Moore, Liz Aiken, Annie Goodman, Vicky Martin, Paul Webster, others credited on page

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Kitty Rae

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© 2011 Blues Matters!

J.Pearce t/a Blues Matters. Original material in this magazine is © the authors. Reproduction may only be made with prior consent of the Editor and provided that acknowledgement is given of the source and copy is sent to the editorial address. Care is taken to ensure that the contents of this magazine are accurate but the publishers do not accept any responsibility for errors that may occur or views expressed editorially. All rights reserved. No parts of this magazine may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying recording or otherwise without prior permission of the editor. Submissions: Readers are invited to submit articles, letters and photographs for publication. The publishers reserve the right to amend any submissions and cannot accept responsibility for loss or damage. Please note: Once submitted material becomes the intellectual property of Blues Matters and can only later be withdrawn from publication at the expediency of Blues Matters. Advertisements: Whilst responsible care is taken in accepting advertisements if in doubt readers should make their own enquiries. The publisher cannot accept any responsibility for any resulting unsatisfactory transactions, nor shall they be liable for any loss or damage to any person acting on information contained in this publication. We will however investigate complaints.

Hey, HAPPY NEW YEAR to you all.

So can you still wear the same clothes you wore before Xmas or did you really let go and gorge and feast?

You know that some research came up with the really important information for us that we put some sort of food in our mouths every 14 minutes over the Xmas period! Bet that took some research time up that could have been better used on some worthwhile project.

There’s another great diversity of interviews and features for you again in this new issue; the latest UK act to cause a stir on the circuit is the energetic and striking Hokie Joint and we catch up with them talking about their latest album, 2011 looks set to be a great year for them to follow on from their appearance on Paul Jones radio show. We’ve got US touring favourite to these UK shores in Gregg Wright, Canada’s emerging Hill Country Revue, Phillip Sayce and the sizeable talents of Matt Andersen. We have the legend from NY that is Southside Johnny and from New Orleans Walter ‘Wolfman’ Washington and from deepest Essex James Hunter not forgetting the bright light of Finland Erja Lyytinen. What a selection, better than a box of chocolates!

The ‘NEW’ Blues Matters website is now active and will offer more options in the coming months. Podcasts, gig guides, subscriber extra’s, forums and more. We also have a new store which offers more payment options and easier access. If you have any gig dates for your band or a band that you like/represent, then please feel free to submit online as directed.

Now let’s see what 2011 brings and get out to some super gigs and do some dancing to get in shape again for the next Xmas shall we......yes Christmas takes some months of training to be ready for!!

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

Don’t forget your feedback to: editor@bluesmatters.com or use the ‘contact us’ page on the website.

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

James Hunter, Erja Lyytinen, Hokie Joint, Hill Country Revue Matt Andersen, Gregg Wright, Philip Sayce, Southside Johnny, The Spikedrivers, Walter ‘Wolfman’ Washington, Barry Goldberg pt2.

Carlisle, Colne, Franqueville and Ponderosa Stomp

Bill Sheffield & Dave Saunders, The Trevor Burton Band, Foghat, The Stumble, Buddy Whittington, The Bolaji Blues Band, Walter Trout/Danny Bryant, King King, The Producers, Southside Johnny & The Astbury Dukes, Doug Macleod, Reverend Peyton’s Big Damn Band, Simon McBride, The Black Keys, Ian Siegal w/ Ben Prestage, The Fortunate Sons, Paul Cox and Charlie Fabert, The Hillbillies From Outer Space.

Hokie Joint:-

This is one of the fastest rising bands on the UK circuit.

They are WOWING audiences all over the UK and Europe.

If you haven’t caught them yet then please get along to see them if they are in your area. We are sure you wont be disappointed !!

Erja Lyytinen

PhilipSayce

Walter‘Wolfman’Washington

James Hunter

Gregg Wright

1. “SO MANY ROADS” - OTIS RUSH

This has everything I love in Blues! Gritty and dirty with a ton of Soul! Otis Rush is outrageous! In the mid-’50’s, he’s already playing stuff guys won’t be doing for another ten years! Hell, the Fender Stratocaster was only two years old when he recorded this! How’d he get to be such a badass, so quick? Sounds like it was recorded at the “Rib Grease & Cigarette Smoke Lounge.” My # 1!

2. “LIVE WIRE/BLUES POWER” - ALBERT KING

Man, Albert musta shell shocked the little San Francisco hippie kids with his Grizzly Bear persona and outer space guitar bends. His tone & playing on here are killin’! I love how he lulls you to sleep with his down home stage patter. This is the set-up for whoever’s listening, to have their head suddenly chopped off like it’s the French Revolution. Except in this case, the guillotine is Albert’s Flying “V”. A masterpiece!

3. “DON’T THROW YOUR LOVE ON ME SO STRONG” - JOHNNY MORRISETTE

The very first Blues record I ever bought. Again, dirty, gritty, and soulful with great guitar. It sounds like it was recorded at the “Take Your Life In Your Hands Lounge” and Johnny Morrisette surely musta been crazy, with all that screamin, laughin’ & hollerin.’ My Mom thought I’d completely lost my mind on this one . . . “That’s kinda grown up for a nine year old boy, don’t you think?” This was on Sam Cooke’s custom label.

4. “DON’T ANSWER THE DOOR” - B.B. KING

People tend to forget that B.B. wasn’t always the grandfatherly Blues Patriarch we know today. Back in the day, he used that Gibson 335 like a switchblade. He’d cut your heart out, and he plays his ass off here. Most great Blues songs have a bit of humor alongside the tragedy. I still chuckle when he tells his Mrs. “I don’t want the doctor at my house Baby, you just suffer ‘til I get home!” Outrageous!

5. “HOUND DOG” - BIG MAMA THORNTON

As funky and gritty as it gets! No disrespect to Elvis, but this makes his “Hound Dog” sound like mere child’s play! Big Mama shows she’s as badass and dangerous as any Blues Alpha male. This track also features a young Buddy Guy playing like he’s scared Big Mama might kick his ass if he don’t get to playin’ some serious stuff, quick! Classic!

6. “WHO’s KNOCKIN’?” - ZAC HARMON

Zac Harmon is the best of the modern Bluesmen. His approach and sound are contemporary, but you cannot miss the power of his Mississippi roots. You can smell the butter beans cookin’ when he sings and plays! Again, this song has drama and humor juxtaposed, which always creates a nice bit of tension and tends to bring a song to life. Great performance of a great song! You go, Brother!

7. “LONESOME WHISTLE BLUES” - FREDDIE KING

I used to open shows for Freddie King back in the ‘70’s. What an education! The man was like a walking barrel of TNT. “Lonesome Whistle Blues” to me, epitomizes everything that was Freddie. Smooth vocals and mean, nasty guitar coupled with the shuffle groove from Hell. A great Blues guitarist who I miss a whole lot. A killa!

8. “THE SKY IS CRYING” - ELMORE JAMES

Elmore James has that rough edged sound that I love so much. He was the absolute King of electric slide guitar. His vocals are pretty awesome as well. Combine all that with a muscular, toe-tappin’ groove and presto . . . instant classic!

9. “HUSH HUSH” - JIMMY REED

What can you say about Jimmy Reed? This is the stuff the adults in every Black community in America played at parties and family gatherings when I was a kid. After a few drinks, ol’ Uncle Elroy and Aunt Louise would start dancin’ to all those old Blues records. Especially this one! And here I thought they was Church goin’ folk, up here drinkin’ & dancin’ all suggestively! Maybe there’s somethin’ to this “Devil’s Music” thing? I love it!

10. “MY BABE” - LITTLE WALTER

If you can’t tap your toes to this song, I’m fairly certain you are clinically dead! This is one of the rawest, baddest grooves in Blues.

Never mind that Little Walter is completely redefining the way a harp is played. I mean he’s playing the thing like it’s a horn. His solo on here has yet to be topped, in my opinion. He is John Coltrane on harmonica. Willie Dixon’s bass keeps it all tightly together. Great song!

Photo by Liz Aiken

Hey at Blues Matters

Yes it does damn right there. I must admit to being a little surprised at your last issue including an interview with a band led by someone who actually writes for you but I’ll tell you what, it was fun to read. I saw this band Elephant Shelf for the first time at Butlins 2010 on the Jaks stage in cold Skegness and was on the verge of walking out but being held up talking to my friend was a good thing as their set permeated my senses and got my foot tapping before I realised it. We thoroughly enjoyed them as it seemed did most of the crowd as we watched heads bobbing up and down to the rhythms and textures they emitted from the stage. Their music speaks for itself as it should be allowed to do. They entertained us!

Vera Porter, Sunderland.

Dear Blues Matters

The Greyhound, Beeston. 21 January, 8.30pm Concorde Club, Eastleigh, 24 January 7.30pm

I do not usually write letters to magazines which I read but on this occasion feel that I must express my concern at the direction the likes of Maverick have made to go purely digital. I have regularly purchased their magazine for a very long time now but will not be able to continue as they take this step. Whilst I applauded your decision to also make a digital version available I take the print version so that I can carry it around and read it on my travels which does on occasion open new conversations with some people who sit next to me on the bus or tube. I also ‘collect’ my Blues Matters for reference. Choice is imperative for us all and they have taken this away from their readers and I think will suffer for it. Whatever you do at Blues Matters PLEASE do not stop printing this most excellent of magazines I implore you!!!

The Scotia Bar, Glasgow, 25 January 7.30pm New Crawdaddy Blues Club, Billericay, 27 January 8pm

BJ’s Blues Club at the Hop Pocket, Chorley, 29 January 7.30pm

Simon Ridge, Ealing, London.

BM says: This is something that the modern day brings to us and also the economic climate right now. Most publications, even the National daily’s are feeling the pinch and we are no different. We have experienced cost increases for print, postage and packing but have not put up our prices which would make obvious sense but would take the cover price too high in our minds. In most cases also advertising costs are going up in one direction but what you can now charge is going down as businesses are forced to tighten their budgets. Publications have limited opportunities for income that mainly come down to; advertising income, subscriptions and if big enough or lucky enough sponsorships. In our niche markets ourselves and Maverick and the like are limited usually to those distributors, record labels, artists or others interested parties advertising and members’ subscription. More so these days subscriptions become ever more important with situations like the closure of Borders affecting so many publications on street sales. HMV do not seem co-ordinated enough to centrally order magazines across their stores nationally and instead leave each individual store to order themselves which results in unpredictability for the distributors and regular availability for the readers to buy in store. We dare say all this has all had an impact on Maverick’s decision to go digital only and in one go saves them all the cost of printing and supplying hard copy plus postage and packing costs, a considerable sum. In the niche markets we are in we could all do with more members to show they care about the music they enjoy and actually support by subscribing to magazines like ourselves and Maverick as all we do goes round in circles doesn’t it for everyone’s benefit; the artists need the publicity and reviews as do their record labels and distributors otherwise the public as yourself cannot find out who is doing what out there or discover new talent/recordings to listen to, festivals to go to etc. Of course if more people had subscribed in the first place instead of buying occasionally then maybe Maverick would still be in print.

The editor of Maverick was consulted on this response.

Dear Blues Matters

Reference the reviews of Norton Grange Boogaloo weekend in issue 57, whilst admitting a bias to my good friend and fellow Plymothian Mike Owens who like me is a regular attender, I think the two items are complementary and show the strength of the weekends. Whilst Dave is in a small minority focused in part on participating in the jams, Mike always watches the jams and is a consummate dancer. I for reasons beyond my control concentrate on the diurnal activity. As for opinions on artists, they are diverse and part of the rich pageant of the Blues. One comment to make is that the main stage acts are not just about the dancers but sometimes just appreciation of the music. Boogaloo weekends are a fundamental mainstay of the UK scene and are unique in offering friendly sociable surroundings in which Blues lovers and musicians can profitably co-exist in a comfortable cocoon for what always seems to be too short a time. If you have not tried one yet, please do, you will meet new friends and certainly not regret the experience. If you are lucky like Mike and I they will become an essential part of your life both socially and musically.

Bob Chaffey

HAPPENIN’

SALT - the London based blues rock band

Salt have reformed for selected dates in 2011, with its original line-up of Stevie Smith (Ruthless Blues / Bad Manners) - vocals / harp, Mick Clarke (Killing Floor, British Blues All Stars, Mick Clarke Band) - guitar, Stuart Mac McDonald (Paul Rodgers, Killing Floor, Jellybread) - bass, plus Chris Sharley (Sassafrass, Bad Influence, Mick Clarke Band) - drums. The band was a big hit on the English club and college circuit in the 70s and played at the Reading Festival in 1977 as well as opening for Muddy Waters at his major London concert that year.

MATT ANDERSEN - will be performing at the Glastonbury Festival

It has been officially announced that Canadian Blues Icon and Multi award winner Matt Andersen will be performing at the Glastonbury Festival - the biggest festival in the world! Matt will be on The Bourbon Street Blues and Jazz Stage on June, Thursday 23 and again on Sunday, June 26. Throughout the past couple years Matt has been touring the globe to capacity crowds and has been touted in the press as being the next big thing in the blues in Canada since the late Great Jeff Healey.

Matt has just finished his European tour. Matt has a NEW Christmas album which came out to coincide with the tour and you can order it by going to www.bustedflatrecords.com along with his entire catalogue.

ROD STEWART - and the Blues?

British rocker ROD STEWART dreams of paying homage to his favourite country music and Blues stars - by making albums dedicated to the genres. The Maggie May hit maker has been inspired by Blues singers and country music legends like Johnny Cash throughout his career and he’s debating which genre to tackle for his next release. He says, “I’ve been thinking about it - either that (country music) or a blues album. I do love country. “I haven’t put pen to paper yet... It’s just that God has given me a gift and it lends itself to any sort of music really.”

BLUES BROTHERS - aim for success

By Paul Clifford

BLUES musician from South Tyneside is in the running for a place on the bill of a prestigious international music festival. Lee Bates, from South Shields, will pack up his guitar and travel to Chorley, Manchester, in January for the first heat of a National battle of the bands competition. If he makes it through, he could be taking to the stage at the Harvest Jazz and Blues Festival in Canada next September. Influenced by his blues-loving dad, Jimmy, the 35-year-old first picked up a guitar at the age of 14 – but it was out of tune for the first two years, before he got his first tuner! He will perform at the battle of the bands at BJ’s Blues Club, Manchester, on January 29, with long-time sparring partner, harmonica player Billy Newton.

He said: “We think this competition is a great way to raise the profile of the blues in this country. It’s a vital music form, not a museum piece.” He added: “This music was created to be entertaining. It’s music to be enjoyed, not endured, and this competition can help us prove that.” Lee regularly plays at the Boldon Blues Lounge, a monthly session at Boldon Cricket Club, with Billy, and said: “He is one of the best in the country.”It’s a classic set-up – the slide guitar and harmonica, and we’ve done all the unpleasant gigs in bad pubs. Now we mostly do festivals. You get a much better reception.”

If Lee and Billy make it through, they will battle it out with other regional winners in London, in March, in front of a panel of blues experts.

Should they be successful there, next stop is the Canadian festival in September. Musicians who have played the festival over the years include Buddy Guy, John Hiatt, and Maria Muldaur.

THE BLUES FOUNDATION - has selected the location of its first permanent home. The organization hopes to move into its new home in Downtown Memphis in March 2011 after more than 30 years of temporary spaces. The establishment of a permanent home will centralize the Foundation’s educational, audio-visual and retail opportunities, in addition to housing its staff and operations. The move will fulfill a dream that dates back to the Foundations founding in 1980 and will serve the mission of Blues music preservation, celebration and education and meet the demand for a space for Blues music fans to visit, interact, learn and listen.

In order to expose blues music to even more people, we need a place that’s open to the public and encourages visitors. For far too long, our visibility has been through our events or our website. Online presence allows us to reach members, prospects and fans easily and efficiently, but it’s no substitute for the real thing. We need a brick-and-mortar home that respects the past but has a contemporary feel that leaves people knowing the music is alive today.

We want to thank all the former board members and foundation members for helping with their support over the past 30 years to make this happen today. This is not the end of anything but a beginning and with the new building comes even

From left, Billy Newton and Lee Bates are hoping for international recognition with their brand of blues music.

more expectations that we continue to do all we can, to help and support the blues. -- Blues Foundation board President Bill Wax, Program Director and Host of B.B. King’s Bluesville on SiriusXM.

The new location at 421 South Main Street will feature 4000 square feet of public showroom, which in addition to housing staff, will present its Hall of Fame inductees through exhibits of memorabilia, artwork, and audio-visual presentations that will be both educational and entertaining. Items for sale in its retail store will similarly focus on Hall of Fame recordings and literature as well as Blues Foundation-branded merchandise.

The move will place The Blues Foundation in the South Main Arts District of Memphis, a historic area on the south edge of downtown. It will neighbour the Folk Alliance International, Memphis Music Foundation, the Memphis chapter of the National Academy of Recording Arts and Sciences (NARAS), and the National Civil Rights Museum, among other Memphis destinations for art, history, and culture.

People of all ages, races, cultures and socioeconomic backgrounds travel to Memphis from around the world for one primary purpose: Blues music. We’re so excited that now there will be a visible center for them to visit while they’re here.Blues Foundation board member - Kevin Kane, President and CEO, Memphis Convention and Visitor’s Bureau. The Blues Foundation’s relocation to a permanent home also signifies the organization becoming a more vital part of the growth industry that is Blues music in the Delta: an ever-expanding Blues Marker Historical Trail, an emerging Blues scene in Clarksdale, and a multi-million dollar Blues museum in development on Highway 61 near the Tunica Convention and Visitors Bureau.

NEW RECORD ‘TRIBAL’ - NOMINATED FOR BEST

CONTEMPORARY BLUES ALBUM GRAMMY

Dr. John will be inducted into the Rock and Roll Hall of Fame on March 14, 2011 in a gala ceremony held at The Waldorf Astoria in New York and broadcast on Fuse. Joining Dr. John in this year’s induction class are The Alice Cooper Band, Neil Diamond, Darlene Love, and Tom Waits.

A five-time GRAMMY winner, Dr. John is currently nominated for a GRAMMY in the Best Contemporary Blues Album category for ‘Tribal’ (429 Records), his “career-defining” (All Music Guide) new release. In addition, his rendition of Randy Newman’s “Down in New Orleans” is nominated for Best Song Written for Motion Picture, Television Or Other Visual Media and the ‘Treme’ soundtrack, to which Dr. John contributes the track “Indian Red,” is also nominated for Best Compilation Soundtrack Album for Motion Picture, Television or Other Visual Media. ‘Tribal’ is Dr. John’s funkiest, swampiest record since his iconic 1968 album, ‘Gris Gris,’ and the reviews have been nothing short of spectacular. According to the NY Times, “Dr. John sounds much the same as in his wily youth, singing in a drawling croak and playing piano and organ with a principal stake in rhythm,” and Entertainment Weekly raved that “Dr. John and the Lower 911 still make mystique-dripping grooves sound easy.”

Known to friends and family as Mac Rebennack, Dr. John is widely regarded as New Orleans’ foremost musical ambassador. As “Treme” creator David Simon puts it: “This guy has the whole history of New Orleans music in his head.” Dr. John’s previous album, 2008’s ‘City That Care Forgot,’ won the Grammy for “Best Contemporary Blues Album.” Post-Katrina, Dr. John has emerged as one of the most vocal advocates for rebuilding his beloved city of New Orleans. He continues to dazzle and delight audiences all over the world with his tireless touring.

BLUES FOUNDATION AWARDS - to be held in Memphis on May 5th, 2011

The Blues Foundation is pleased to announce the nominations for their annual Blues Music Awards, which the organization will present at the Cook Convention Center in Memphis, TN on May 5, 2011. Performers, industry representatives and fans from around the globe will have the chance to celebrate the best in Blues recording and performance from 2010. Among those heading the list of honourees for the 32nd Blues Music Awards is last year’s Lifetime Achievement Award honouree Buddy Guy, with five nominations in such categories as B.B. King Entertainer of the Year, Album of the Year for Living Proof, and Song of the Year for its title track, a co-nomination (with Tom Hambridge). Charlie Musselwhite, a Blues Hall of Fame inductee last year, also garnered five nominations, in the categories of Album of the Year (for The Well) and Song of the Year (for “Sad and Beautiful World,” from The Well), among others.

B.B. King Entertainer of the Year (2009) Janiva Magness garnered four nominations this year, and three nominations each went to Derek Trucks, Eden Brent, Joe Louis Walker, James Cotton, Nick Moss, Paul Oscher and The Mannish Boys. This year’s nominations also celebrate Steve Miller’s return to the blues - and his first-ever nomination - with the album Bingo, nominated for Best Rock Blues Album of the Year. (The full nominee list is below.)

“The ballot is balanced between familiar names nominated because of stellar releases and more than a dozen first-ever nominees,” Jay Sieleman, The Blues Foundation’s Executive Director said. “The nominations prove not only the sustaining power of Blues music, but also its ability to constantly evolve and remain relevant to today’s fans.”

Among the nominations are also two - for Soul Blues Album and Soul Blues Male Artist - given posthumously to the late Solomon Burke, who passed away in October at age 70.

HAPPENIN’

ERIC CLAPTON - will sell more than 70 guitars from his personal collection.

They will be auctioned in New York in March, with the proceeds going to his drug and alcohol rehabilitation center in Antigua.

Bonhams auctioneers will conduct the March 9, 2011 sale, which also includes instruments donated by Jeff Beck, J.J. Cale and Joe Bonamassa.

Estimates for the amps and guitars range from $300-30,000, Bonhams said.

Highlights include one of Clapton’s main stage guitars from 2005, one of a pair he used during the Cream Reunion Shows in London and New York -- a custom built black Fender “Eric Clapton Signature” Stratocaster estimated at $20-30,000. Also on offer is a pair of Marshall vintage basket weave speaker cabinets, from around 1970, used during the 1970s when Clapton appeared with Derek And The Dominos. The pair is expected to fetch $8-10,000. The auction is being held in association with Wallace & Hodgson, who worked on the two previous Clapton/ Crossroads guitar auctions in 1999 and 2004.

KEVIN BREIT - talks about his next collaboration with Harry Manx

“We went into the studio in early December, and in four days we cut 11 songs.” It’s ace guitarist Kevin Breit talking - and he’s excited about the tracks he’s recorded with Harry Manx for their second Stony Plain collaboration. The pair are in the final days of mixing the CD, the follow-up to In Good We Trust, which was released in April 2007. The pair each brought a number of different tunes to the table, including two covers - Bobby Hebb’s immortal “Sunny” and a John Lee Hooker tune, “Mr. Lucky.”

“Between us, Harry and I sing on most all the songs,” he added. “He and I sing lead on three or four songs each, and there are two or three vocal duets. And one instrumental blues we’ve called ‘Trippy Hippy.’ Manx plays mohan veena, the Indian instrument that he brings to all his recordings and live gigs, as well as banjo, baritone electric guitar, and lap acoustic guitar. I played just about everything else,” Breit says.

The pair brought Art Avalos, a well-known studio percussionist into the studio for some of the tracks. “He really adds something,” says Breit. “He’s played with Manteca and Jesse Cook, and he’s really, really good.”

The one thing that hasn’t been decided is the title of the album. “Oh, we’ve come up with about 20 different titles, so far,” Breit affirms. “We’ll come up with one that we both like before we turn the record over to Stony Plain in January - and release is slated for Spring 2011.

LOS LOBOS will support ERIC CLAPTON - on US / Canada 2011 Dates

The band will be out on the road in February / March 2011 supporting Eric Clapton on his US West Coast dates along with one date in Vancouver, Canada. The band previously appeared at EC’s 2007 Crossroads Guitar Festival and members Cesar Rosas and David Hidalgo took part in the 2010 Festival at Chicago’s Toyota Park.

WITH SADNESS WE REPORT ON ROBIN ROGERS PASSING....

RIP

Robin Rogers 1957 to 12/17/10

Singer / harmonica player Robin Rogers died in her hometown of Charlotte, North Carolina. She had been struggling with terminal liver cancer for a month now. Robin was well loved within the blues community and had some highly successful CDs which frequently ended up with nominations, and she was honoured with a Blues Blast Music Award in 2009, for “Best Female”. Her humble and sincere personality, coupled with her unmistakable talent, made us all take her in as an adopted little sister. She had lead a very hard life, complete with homelessness, and drug and alcohol abuse, but she had turned her life around, and found a positive outlet in blues music. She had been sober for 21 years and happily wed to her husband and musical partner Tony Rogers who was by her side until the end. Many benefits sprouted around the country and her latest record Back In The Fire, on the Blind Pig label, was met with great success, and has recently been nominated for a Blues Music Award. To read more about Robin Rogers, please visit www.robinrogers.com

HERE IS A COPY OF HER WORDS RECENTLY

Robin Rogers’ latest album, Back in the Fire, is a hit, making its debut high on Billboard’s Blues chart. But music wasn’t her primary focus in recent months. Rogers had a cancerous tumor in her liver, and doctors told her she had a year to live. “Every day is different,” she told NPR’s Scott Simon. “If anyone’s been on chemotherapy, they know how dreadful it is.” This fall, some friends and musicians threw a benefit concert for her. Like a lot of musicians, she had no health insurance to cover her care in a hospice. The concert was a huge outpouring of love and support. Rogers’ background could have come from a Blues song. She was a teenage runaway who slept in abandoned cars and abused alcohol and drugs. She said she’d been sober for 20 years, and that the 12-step program that helped her as an alcoholic helped her with her latest struggle.

HAPPENIN’

“I’m trying to come at it from all angles: spiritual and physical and mental,” Rogers said. “It’s a lot for a person to be told they have a year to live. I catch myself thinking about the past and looking to the future.”

Her husband, Tony Rogers, has been caring for her. She said he’d become unemployed as a result, but that his presence has been a tremendous help.

“I would want no one else there,” she says. “He’s my everything”. She wrote the album before her diagnosis, and several of its songs have taken on different meanings for her since, including “The Plan” and its pointed refrain, “Everything is going as planned”.

“It’s pretty much true”, Rogers said of the song. “I bought a house here in the Charlotte area 20 years ago, I got a lot of friends and I’m very blessed”.

The singer-songwriter has experienced a surreal mix of highs and lows within the past year, but she says she’s moving on to the next one stronger and wiser.

“I’ve learned that time is fleeting”, she says. “You need to do everything you can do while you have a chance”.

DON VAN VLIET, aka ‘CAPTAIN BEEFHEART’, - dies aged 69

American musician and painter Don Van Vliet, best known by the stage name Captain Beefheart, has died aged 69. Van Vliet’s death in California, from complications from multiple sclerosis, was announced by the Michael Werner Gallery in New York. Van Vliet was “one of the most original recording artists of his time”, the gallery said in a statement. He rose to fame in the 1960s with a unique style of bluesinspired rock & roll, later devoting himself to art. Artists including Tom Waits, Nick Cave, Franz Ferdinand, Oasis, Red Hot Chilli Peppers and The White Stripes are among those who have cited him as an influence.

‘Experimental rock & roll’ “Don Van Vliet was a complex and influential figure in the visual and performing arts”, the gallery said in a statement. Trout Mask Replica is considered his masterpiece”. He is perhaps best known as the incomparable Captain Beefheart who, together with his Magic Band, rose to prominence in the 1960s with a totally unique style of blues-inspired, experimental rock & roll”.

“This would ultimately secure Van Vliet’s place in music history as one of the most original recording artists of his time. After two decades in the spotlight as an avant-garde composer and performer, Van Vliet retired from performing to devote himself wholeheartedly to painting and drawing”. “Like his music, Van Vliet’s lush paintings are the product of a truly rare and unique vision”. Van Vliet combined peculiar tones with music that drew on blues, jazz, psychedelia and a barrage of other genres. The musician recorded under the name of Captain Beefheart with members of the Magic Band through 1982. Captain Beefheart’s first two releases with the Magic Band received positive reviews from music connoisseurs but did not connect with the public. But he soon began a close creative relationship with Frank Zappa, a former high school classmate, who helped him forge his way toward redefining popular music. In recent years, Van Vliet devoted himself to painting and drawing. A painting by the musician was on sale at the Michael Werner Gallery earlier this month at a price of $40,000 (£26,000). Van Vliet is survived by his wife of more than 40 years, Jan Van Vliet.

NICK JOHNSON - Tributes to Scottish blues musician killed in motorbike crash in Spain

A Scots musician has died in a motorbike smash in Spain, less than two years after he survived another road crash. Nick Johnson, 48, from Edinburgh, was killed in the crash on December 23. Friends and colleagues have paid tribute to the well known blues guitarist and singer who had moved to the Catalonia region of Spain several years ago. The crash was the second horrific accident he had been involved in since moving to the coastal town of Vilanova i la Geltru. He spent six weeks in hospital following a car crash in January 2009 in which he fractured his skull, pelvis, collarbone, wrist and the thumb on his right hand. He also suffered four broken ribs, memory loss and severe burns to his lower legs. On his MySpace page, Mr Johnson said his first crash had been a “stroke of good luck” – leading him to lose more than 75kgs in weight. He is survived by his nine-year-old daughter Lucy

Fellow musician Norval Barclay, 41, from Edinburgh, said: “Nick was a big man with a big heart which more often than not was to be found on his sleeve. “He loved to entertain and took the business of playing music very seriously regardless of where he was playing or to how many people.” Mr Barclay said he got to know the frontman over years of playing on the city’s live music scene. He added: “I started playing music myself in 1999 and got to know Nick pretty well over the subsequent years.

“One of my first exciting encounters was stumbling across the band Bluefinger playing at The Cavern, which was beside Sneaky Pete’s in the Cowgate. “I clearly remember the larger-than-life frontman with a penchant for Gretsch guitars. “Latterly he was living in Spain and would come over to Edinburgh and play if he could get enough gigs to make it worth his while as he was still well-liked and well-known.” Close friend and fellow city musician Lawrie Bell announced the death on Facebook. He wrote: “It brings me great regrets to tell you that my good friend Nick Johnson was killed in a motorcycle accident on Dec 23rd in Spain. Life on the edge mate. RIP.” Mr Johnson had been a regular fixture on the Edinburgh music scene for more than two decades, most notably a weekly residency with his band Bluefinger at the Balmoral’s NB Bar. He worked extensively with local radio station Leith FM and even when he relocated to northern Spain, he was determined to

Captain Beefheart

keep his links with the area.

In 2008 he launched a bid to have Leith twinned with his new home-town, winning the backing of local celebrities and city councillors. His friends in Spain, where his musical ability was also equally well-regarded, logged on to his MySpace musician account. One of his friends left a message saying: “On December 23, 2010 he left the world – but his music lives on.”

GERRY RAFFERTY - music legend Gerry Rafferty has died after a long illness aged 63.

He had been battling alcoholism for years and had suffered kidney problems. He collapsed at home in November with multi-organ failure. Relatives were told he had little chance of survival but he was taken off life support at the Royal Bournemouth Hospital when doctors said his kidneys were working again.

He died peacefully at home with daughter Martha by his side yesterday. Gerry was one of the biggest stars of the 70s and wrote classic tracks that continued to earn him a fortune. His most famous, Baker Street, still brought him £80,000 a year three decades after its release in 1978.

His Stealers Wheel song Stuck in the Middle With You was used in Quentin Tarantino’s 1992 film Reservoir Dogs. Gerry was born in Paisley, near Glasgow. He started playing the guitar and formed the folk band The Humblebums with Billy Connolly. But his career was marred by contract battles and drinking.

DR. JOHN - into the Rock n’ Roll Hall of Fame

The Doc will be inducted into the Rock n’ Roll Hall of Fame in 2011. He was inducted into the Blues Foundation’s Hall of Fame in 2007. BM offers its congratulations.

BLUES GRAMMYS ANNOUNCED.

The Grammys have been announced and here are the nominees in the two Blues categories:

Best Traditional Blues Album-Vocal or Instrumental.

Giant-James Cotton [Alligator] Memphis Blues-Cyndi Lauper [Mercer Street Records] The Well-Charlie Musselwhite [Alligator] Joined At The Hip-Pinetop Perkins & Willie ‘Big Eyes’ Smith [Telarc] Plays Blues, Ballads & FavoritesJimmie Vaughan [Shout! Factory]

Best Contemporary Blues Album-Vocal or Instrumental

Nothing’s Impossible-Solomon Burke [E1 Music] Tribal-Dr. John And The Lower 911 [429 Records] Living Proof-Buddy Guy [Silvertone/Jive] Interpretations: The British Rock Songbook-Betty LaVette [ANTI-] Live! In Chicago-Kenny Wayne Shepherd Band Featuring Hubert Sumlin, Willie “Big Eyes” Smith, Bryan Lee and Buddy Flett [Roadrunner/Loud & Proud Records]

In addition, Maria Muldaur earned a nomination, in the “Best Traditional Folk Album” category for Maria Muldaur & Her Garden of Joy.

U.S. Pledges To Speed up Visa Process For Artists

Addressing years of complaints about slow and inconsistent processing of visa applications for foreign performing artists, the United States Citizenship and Immigration Services told arts groups this week that it was making an effort to speed up and improve its visa operations. In a meeting on July 21 in Washington, at the headquarters of the agency — a division of the Department of Homeland Security — officials said that standard applications for O and P visas, the types most often used by performers and athletes, would be adjudicated within 14 days. In some cases it has taken up to 120 days, arts groups say, with delays and demands for information that can seem arbitrary.

“What this means is that we are establishing for ourselves and our customers a standard by which our success and failure is to be measured,” Alejandro Mayorkas, the director of the agency, said in a telephone interview on Thursday. (He was not at the meeting on Tuesday). “One thing is to deliver the adjudications in rapid time because of the needs of the community, and another is to ensure that we achieve fair and just adjudications”.

Artist advocates greeted the news as a positive but incomplete step toward fairness and efficiency in the visa system, which they say has become cumbersome and expensive to navigate, and has sometimes resulted in last-minute changes and cancellations. “This to us represents a real breakthrough”, said Heather Noonan, vice president for advocacy at the League of American Orchestras. “We are extremely hopeful that the changes that they have planned will result in improvements for international cultural exchange”. Managers, lawyers and other arts advocates say the problems began in mid2001, when the government instituted premium visa processing, guaranteeing quick service at a higher fee. After that change, and with the security concerns in the wake of the Sept. 11 terrorist attacks, standard service seemed to lag, and puzzling variations in policy enforcement introduced a level of unpredictability that could wreak havoc with touring schedules. For example, earlier this year the agency held up three applications for visiting musicians with the Chicago Opera Theater, requesting an unusual amount of evidence to corroborate the visa requirement that the artists have achieved sufficient renown. The company eventually went over its budget to hire an immigration lawyer, who got two of the musi-

Gerry Rafferty

HAPPENIN’

cians into the country at the 11th hour; the third had to be replaced, said Roger Weitz, the company’s general manager. Many arts groups say that under Mr. Mayorkas, a Cuban immigrant who was sworn in last August, their sometimes frosty relationship with Citizenship and Immigration Services has begun to thaw. Agency officials met with arts groups in April, and have recently begun soliciting comments about egregious experiences with the visa process.

Although the agency’s policies have not changed, some have been clarified for the benefit of visa applicants, and Mr. Mayorkas insisted that the commitment is genuine. “When I make a commitment” he said, “it is a benchmark that I am setting for our agency upon which the public should be able to rely”. Artist representatives say that more work needs to be done to streamline the process. “This is a great start but not where we would like to see things end up”, said Tom Windish, a booking agent for independent rock bands. And for fans, the bad news about cancellations is not likely to end anytime soon. On Thursday, for example, the reunited British ska band the Specials cancelled its appearance next month at Central Park Summer Stage. The reason: “visa issues”.

ERIC CLAPTONNamed Top UK Guitar Hero

Iconic status has been placed on Eric Clapton for most, if not all, of his career, but it’s impressive that fans have continued to hold the guitarist in high regard more than 40 years after his career began.

Clapton was voted the U.K.’s #1 Guitar Hero, according to a poll by the country’s largest musical insurer, Allianz Musical Insurance.

At the London guitar show Guitar Nation Live, guitarists that visited the Allianz stand were asked to declare their guitar idols - those famous guitarists who have been a great musical influence on them.

Eric Clapson

HANK WILLIAM’s - ‘Lovesick Blues’ Grammy Hall of Fame Inductee

Hank Williams will join a diverse assortment of 30 recording inductees that will be added to the current collection residing at The Grammy Museum.

“I am so humbled and at the same time bustin’ with pride that my daddy is getting such richly deserved recognition for his musical genius,” says Hank’s daughter, Jett Williams. “He may have covered this song, but he made it his own and it launched his stellar career that was way too brief but very impactful. I am truly proud of Hank Williams...the Shakespeare of the common man”. “Lovesick Blues” was originally written by Cliff Friend and Irving Mills as a show tune and many other artists recorded the song, but no one achieved the major hit that Williams did with his rendition. “Lovesick Blues” was the first of many #1’s for country’s first superstar and the success of the single led to Williams being inducted into the Grand Ole Opry. In 2004, it was one of 50 recordings chosen by the Library of Congress for the National Recording Registry. Williams’ version of the song appeared in such films as The Last Picture Show (1971) and The Shawshank Redemption (1994).

HMV Group - is to close up to 60 of its HMV and Waterstone’s stores during the next 12 months, after reporting poor results over Christmas.

The retailer announced a 14.1% drop in like-for-like sales at its UK and Ireland stores for the 10 weeks to January 1 2011, blaming the bad weather and weak sales of entertainment products. Looking ahead, the retailer says it is expecting a tough time in 2011 and is therefore taking aggressive action to manage its cost base, including closing 60 UK stores. These will be across HMV and book retailer Waterstone’s and are likely to occur in cities where the retailer has several outlets. Overall, around 40 music outlets are set to close. HMV currently operates more than 300 high street stores throughout the UK and Ireland, with 300 Waterstone’s outlets. Recent years have seen the company defy the high street gloom by opening additional stores, as well as buying the Fopp brand. It has also branched out into new areas such as live music and cinema. However, on December 9, HMV announced pre-tax losses of £41.3 million in the six months to Oct. 23.

JULIE ANDREWS - to get lifetime Grammy

Dame Julie Andrews is to receive a lifetime achievement Grammy award, it has been announced. The Mary Poppins star, alongside country star Dolly Parton and punk rock group The Ramones, will receive the honour for her contribution to music. The Juilliard String Quartet, jazz drummer Roy Haynes, folk group The Kingston Trio and gospel singer George Beverly Shea will also receive awards. The awards will be given out at a special ceremony on 12 February. Dame Julie

made her Broadway debut in 1954 and has a career which spans more than 60 years. Dame Julie won an Grammy in 1964 for Mary Poppins

BATTLE OVER DYLAN’s - Aussie Concert

A performance by BOB DYLAN at an upcoming Blues music festival in Australia is under threat following a dispute between organisers and local council officials. The music legend has been booked to appear at the Byron Bay Blues Fest in April (10) alongside other acts including B.B. King, Grace Jones and John Legend. Organizers of the event want to extend the festival by an extra day to take advantage of a public holiday, which would mean Dylan playing an extra show, but officials at Byron Shire Council have failed to approve the move and have declared they won’t make a decision on the matter until February (11). Festival director Peter Noble claims the decision can’t wait that long because of Dylan’s hectic touring schedule and he now plans to take legal action against the council by lodging a formal complaint in the local Land and Environment Court. He says, “We had advised both the head of planning (at the council) and the mayor that there were strict timelines involved in this situation to complete negotiations with Bob Dylan’s representatives and put the event on sale as soon as possible... Basically, it’s a bushwhack... This is supposed to be the home of counter culture and Bob Dylan is the king of counter culture. It’s not a good look for Byron

GEVA ALON TOUR DATES

Gava Alon, one of the talents on the current Blues/Folk/Rock global stage, unveils his most out-standing work to date as his latest album, ‘Get Closer’, is released in the UK on March 13, 2011. Written after a long ten-month tour in the US, which culminated with Geva’s performance at the Fillmore West in San Francisco in support of the legendary, Paul Weller. Geva will start his UK tour end of January. Tour Dates:- Underbelly, London 23rd January - Zanzibar Club, Liverpool, January 24th - Night & Day Café, Manchester, February 1th - Slaughtered Lamb, London, February 2nd - CB2, Cambridge, February 3r

Tobereleasedonmarch7th

This memorable North Carolina concert is the occasion for the leading spokesperson and main representative of the First Nation Blues school to sing her favourite anthems. In addition to her current sidemen, Pura Fe’ is helped on this set by Justin Robinson (Carolina Chocolate Drops) and the Tuscarora nation’s Deer Clan Singers. Two hours and ten minutes of ethereal beauty by the campfire!

THE MUSICMAKER REVUE LIVE! INEUROPE

Tobereleasedonapril11th

Aspectacular selection of blues veterans at their exhilarating best at various venues across the “Old Continent”. Dr.Burt, Eddie Tigner,Alabama Slim, Pat “Mother Blues” Cohen and Albert White, joined by Pura Fe’ for the occasion, perform their own brand of Southern blues, getting warm responses from rapt audiences everywhere. These “Lost and Last Blues Survivors” show no sign of wanting to retire!

THE PURA FE’ TRIO AND THE MUSIC MAKER REVUE TO APPEAR IN CONCERT AT THE RICH MIX IN LONDON ON MARCH 7, 2011

01380 728000

available from all good record retailers or order direct from www.discovery-records.com

Stay tuned to Dixiefrog artists at UK Distribution by DISCOVERY RECORDS LTD

www.bluesweb.com

Bob Dylan

HOKIE JOINT

Interview with Vicky Martin

Last issue of BM we wrote about Hokie Joint recording an album that would be something very different in the Blues. Since then the band has kindly given us access to a pre-release copy of the album –and it really is something special. It’s to be called ‘The Music Starts to Play’ and it delivers a varied and fascinating package of what they call ‘Roots-Grooves’, I call it a Blues-Roots fusion. It melds together all manner of Blues and Roots influences including the British and American Ballad traditions and a strong dose of East European Polka grooves as well. The lyrics are extraordinary – a tumbling mix of surreal images, wacky humour, and crazy characters – magically the songs can go from light to dark in an instant, from welcome to menace. You can hear flashes of Classic Blues, the Stones, Richard Thompson, The Kinks, Robert Johnson and much else, but the sound is their own. Beautifully recorded and mastered by Pete Crisp this is an outstanding piece of work so BM is honoured to be the first to talk to Jo Jo Burgess and Joel Fisk about the new album

First of all thank you on behalf of BM for the opportunity to hear this in advance and congratulations on a great piece of work

Can you tell us when it will be released?

JB: We’re hoping in early 2011, although you know how these things go… sometimes.

What label is it going to be on?

JB: Coolbuzz (who released our debut album) are going through major changes, with the current owners looking to embark on new projects and with a new company taking over. As it stands we’re not 100% sure who’ll be releasing the new album, although we hope that we can continue to work with Coolbuzz and that the new changes will mean they can give us the additional support we require in the UK, as well as building on what we’ve done in Europe.

That said, without Coolbuzz Founders Hans Broere and Mischa Den Haring’s amazing support, friendship and belief in us we’d never have got where we are, and certainly wouldn’t have had the opportunity to play some of the amazing UK & European shows we’ve done, and have lined up to do. So we wish them all the love and best wishes in the world!

And where can readers purchase it?

JB: In 2011 the Hokie Joint circus will be rolling into a town near you, so folks can pick up a signed copy direct from us. Hopefully whoever releases it will get it in the shops and online for us too.

Photos by Christine Moore

Jo Jo Burgess

The sound quality is excellent can you tell readers about how and where it was recorded please?

JB: …at the delightful St. FM Studios. It’s a great studio, located in deepest Essex - Burnham on Crouch.

Was it primarily recorded live?

JB: Yeah, we started off playing the songs live and together with the band in one room and me separated off in another. The way we all like it.

Throughout the album it sounds like a ‘real’ band, an ensemble; it’s in contrast to many recent releases –‘guitarist plus the rest’. How does the actual chemistry of the band work? Visually it is very strong - Jo Jo is at the front and the eye is led to the ‘elegantly wasted’ Stephen Cutmore at the back, the eye moves to Joel and then to the harmonica and bass. I was thinking about how the Stones described their on-stage chemistry – Charlie follows Mick and Keith kicks off of Charlie and Darryl the bass underlies it all. How does it work for HJ?

JB: On stage, Joel is definitely the leader…he gives the cues or kicks depending how it’s going, but it’s different In the studio. As I said, both our albums were recorded live in a room, with most of the bass and drums and even vocals in certain songs being completed in 1 or 2 takes. It’s the additional layering, instrumentation and, backing vocals that take the time and effort. So yeah, effectively in the studio all the magic starts from Cups and Fergie. You’re right that we have a band sound with every member having their part to play. We aren’t about one individual but the collective sound.

JF: When we play live, it works very much like the Stones – Stephen and I play off each other a lot – he’ll play something slightly different, which will challenge me to try something outside of the way I’d usual play a lick, chord or riff. For me, it’s very important to lock in with everybody on stage, and be aware of what’s going on around you – I try to soak up all of the dynamics going on around me.

How would you describe the album, do you consider there is a theme running through it?

JB: It’s not your typical blues album that’s for sure, although it’s heavily influenced by the story telling nature of the blues. Nearly every track is stylistically different, yet the instrumentation is always the same throughout so there is an inconsistent, yet consistent theme running through the album.

JF: Even though we’ve been playing some of the songs on the new album for nearly 2 years, I think it captures where we are as a band right now. I enjoy adding textures and nuances to the tracks – the beauty of being in the studio is that I can layer the guitar tracks so they sound just how I want them. It feels strange soloing with a rhythm guitar part going on- that doesn’t happen live.

There’s a lot to be said for doubling electric guitar parts with acoustic guitar – sort of captures the “ancient form of weaving” that Keith Richards and Ronnie Wood have so brilliantly perfected in the last 30 years!

Who are you aiming the album at?

JB: Anyone who likes to be entertained and is tired of the same old crap. The band is a mixture of people from different backgrounds and of different ages; our music and audience reflects that. Hokie Joint doesn’t purely aim at the 40+ typical blues market! It’s aimed at all ages, and all who like good music. Whether you want to dance, get pissed, or cry at the bar we’ve got a song for everyone.

One of the great strengths of the band is that there is a strong sense of theatre-I believe that Jo Jo is theatrically trained- that translates to the songs; they paint pictures, tell stories (hence my reference to the ballad tradition) –the characters on this album – Remington / Jackie Boy – are they based in reality

JB: Yes lovie; I’ve been known to tread the boards before now, although not for a few years. You might say our songs

Photo by Alan White

‘paint pretty pictures’ to reference ourselves. Whether our songs are based on fact, fiction or factional-fiction, they are all stories, some truthful some less so.

Both Remington and Jackie Boy are tales of eccentricity and eccentric characters, both have dark undertones and both characters inevitably die! That is after all the only thing you can truly guarantee in life.

Remington is also a make of gun, and the reference to “painting pretty pictures” and “patterns on my walls and on my floors,” is also a reference to suicide. – Most people I know have contemplated it at some time, although I’m only 25 I’ve known a lot of people both young and old that have kicked the bucket in recent years, but all our songs that reference death, also celebrate the lives of the characters.

The song tells us that Remington wore silk pyjamas – have you got a thing about silk pyjamas?

JB: You might say I’ve got a taste for the finer things in life! Although I don’t own any silk pyjamas, Remington also mentions Champagne and despite being a poor blues musician, if I see a bottle of Champagne on offer, I gotta have it.

And what about Jackie Boy, where does he come from?

JB: He’s a fictional character who shares similarities with a friend of mine who OD’d a couple of years ago. He was older than me, cool, good looking, but with one hell of a temper. He was a great character and will be missed, the first time I met him he was wearing a poncho in the pub and drinking Midori and lemonade. Unfortunately as reflected by his death, he liked to live life fully and burnt the candle at both ends.

The opener ‘Music Starts To Play’ paints a pastoral picture; carousel music, children dancing, people rolling in the hay, there’s music and then suddenly there isn’t; the song turns from light to dark and then its almost as if we’re on a treadmill or in a dream we can’t escape from – tell us about it?

JB: It’s really about partying, and having a good time. But it’s also about the day after, the hangover of all hangovers, and the reflection of what happened. The, ‘I’m never drinking again moment’ – something I’ve never said! (laughs).

JF: I came up with the basis of it on Christmas day a couple of years ago…I sidled out of the festivities and messed around with some chord patterns, the intent was to move the band away from the typical 12-bar stuff. I think it’s a great mixture of Eastern European folk music and British R ‘n’ B and is written to make people drink, dance and have a good time.

It’s quite acidy in places – the song ‘Birds In The Rafters’ has a dreamlike quality- almost surreal like a gentle trip– ‘my weird holiday’ – tell us about that?

JB: Having never taken drugs of any type before, I clearly have no idea what you mean. ‘Birds in the Rafters’ is about me and my girlfriend’s trip to India the Christmas before last. We were on the outskirts of Agra (where THE Taj Mahal is) waiting for a train in the worst train station you’ve ever seen. There’s rat’s climbing out of the toilets! We arrived at this station about 8 at night, about 3 hours before our train was due, with nothing more than our luggage, a couple of pizzas, a book and a game of Uno. (Thank God for Uno!) When we arrived it was dark and there were several thousand birds in the station rafters, just sleeping and messing everywhere. It was like the day after Hitchcock’s movie. 3 hours went by and the train was scheduled to be an hour late, the porter kept picking up our luggage walking to the platform saying the train will be here shortly. 10 hours later, after a sleepless, sober night, with many wasted walks to the platform the train still hadn’t arrived and we’re stuck in the middle of nowhere. We did get to eat the most amazing curry for breakfast though, so there were some highlights. So simply, my “Weird Holiday” was about spending 15 hours waiting in a train station, followed by a 12 hour train ride.

JF: The riff came from messing around in minor open tuning; it instantly felt right and was just begging for some dirty fuzz! Structurally it’s the closest to a 12 bar on the album.

The song ‘Force Of Habit’, its very Rolling Stones-ish and damn good- were you aware of that. Is that you (Jo Jo) in the song?

JB: It’s autobiographical, I have tried and failed to quit smoking, I have tried to curb my drinking (I did get pulled by the old bill, when we arrived in Holland to do a tour with Ian Siegal last year). Word from the wise, you are still over the limit the next day, especially when you’ve eaten nothing the night before, which is why I no longer drive the band wagon. It was a real eye opener and a scary experience, but thankfully all I came out of it with was a 250 euro fine, and the need for some new boxer shorts.

I used to be much worse…going out all the time or drinking heavily at home most nights, especially when Joel and I lived together. Now thanks to my girlfriend, I’ve towed the line and am much better than I was, that said I ain’t no saint! Now when I have spare time at home I like to stay in, because we’re rarely sober when we’re on the road?

JF: I’d been listening to a lot of the Stones when I came up with the riff for this –messing around in open-G on the Telecaster automatically leads you into ‘Keith Richards’ territory. It’s a simple fun song, great to play live.

Giles King

HOKIE JOINT

Another strength of the band is in the building and release of tension and creation of atmosphere –notably on ‘This Body Of Mine’, the pedal bass creates great tension, and the slide guitar sound evokes the lonely menace of ‘Paris Texas’. How did that song come about?

JB: I wrote the lyrics while high as a kite on prescribed morphine waiting to have my appendix removed. It’s the only time I’ve had to cancel a gig, and the only and last time I’ve had my appendix wrongly removed despite not having appendicitis. To this day the doctors don’t know what was wrong, I was laid up for about a fortnight, and with it being my first time in hospital and not knowing what was wrong with me, it was fucking scary. I never ever want to have to pee from a tube again. It’s the first time I’ve pre-written lyrics and they worked perfectly into a piece of music the band’s come up with.

JF: We were jamming together with Stephen; it was a completely blank canvas musically. After listening to various tracks for inspiration, Stephen put down a groove, I picked out the riff, and it was left to Fergie to add the great pedal-bass line. Giles put the icing on the cake. It’s a simple song, but groove is hard to capture. I think we got it right on the album.

Towards the end of that song there’s a great vocal affect and use of percussion before the bass pedals in againis that vocal as recorded or did Pete Crisp ‘doctor’ it?

JB: I’m not sure what you mean, the only vocal affect is Giles laughing heartily at the end.

JF: If you mean the “DDDDIIIIEEEEEE” part, we used this great effect called “smoking and drinking”. It saves the engineer and producer loads of time.

I think Giles King’s harmonica playing is about the best I’ve ever heard on a record, it’s a demonstration par excellence of how to adapt blues styling to different styles…

JB: Yeah he’s one hell of a blower, I mean player. Joel and I had never played with a Harmonica player before meeting the G man, but after our first rehearsal with Giles we knew there was no turning back. In Hokie Joint it isn’t purely about the Harmonica. Giles’s playing and the parts he plays is similar to having a second guitarist, he plays electric and acoustic, he plays lead and he plays rhythm. He plays fills like a horn section, and sometimes he plays the most technically proficient, great sounding harmonica solo I’ve heard. It’s an honour to have him in the band.

The final track ‘Bang Bang’, is a stormer; the harmonica solo on it is great, and the simple change to the guitar is brilliant – the pedal notes on the guitar and then a short but killer solo which is the only and it really counts?

JB: The idea of Hokie Joint is about songs and the chemistry between band and audience; if I wanna hear innovative guitar solos and playing I’ll stick a Hendrix CD on. Joel plays as well as many of these ‘guitar heroes’, but doesn’t need to do it in every song.

JF: Yes as Jo Jo says, Hokie Joint is about the song. As a guitarist, it’s great to get the opportunity to take the lead, but sparingly. Bang Bang is a great live song, and I think it comes off well on the album; the live feel we captured is just what we were looking for.

The song ‘Watch What We Eat’ is maddeningly catchy –is that opening line ‘Children speaking Polish as we walk down the street’? It seems a delightfully wacky song – is there a story behind it.

JB: Yeah that’s right, and it continues ‘and adults they talk jibberish in the places where they meet, HUH’! Blues

Stephen Cumpsey Cutmore

Joel Fisk

Some of my favorite Blues tracks use ‘alternative’ rhythms –for example – “Evil” and “.44” by Howling Wolf or anything by Bo Diddley…they’re great songs, and have a very different rhythm to anything else.

OK, so where next for the band what’s lined up for next year?

JB: We’re going to start rehearsing and writing new songs for our third album, and we’ll look to start dropping those tunes in to our gigs.

We’ve started to unofficially work with a UK agent; and expect to be heading round the country far more often. Following this last summer we’ve many enquiries from UK venues directly so as it stands we already have about 40 gigs lined up in the UK and Europe so keep an eye on our website and be sure to come along. We just can’t wait to get on the road!

And if we want to see you live what’s lined up for say January and February?

JB: January is quiet with just a weekend trip to Holland, but come February and later in the year, we’ll be all over the UK. Our first UK gigs will be our debut appearances at Bronte Blues Club, The Grand in Clitheroe and The Box in Crewe, so if you’re in the North in February be sure to get along.

Finally congratulations to Jo Jo Burgess, Joel Fisk, Stephen Cutmore, Giles King and Fergie Fulton from all at BM on producing a great album, we wish you every success.

JB – Thank you to all at Blues Matters

It’s a reflection of the great, multi-cultural world we live in, but as if viewed from a dream. It looks at the good things and bad things that we come across daily. To quote Sly and The Family Stone, it’s about “Everyday People”, the chorus is supposed to be like a football chant, with probably the highest backing vocal I’ve done on record.

There’s much I could ask about the album, the use of different rhythms is really stimulating – can you comment on these, and in particular the Polka type rhythms…

JB: I’ve always loved Eastern European folk music as well as English and American. Eastern Europe’s folk rhythms and sound are far removed from our Western styles but we really wanted to incorporate that into our own sound. Eastern European Folk Music is relevant to the blues just as anything Skip James or Muddy Waters recorded is. It’s all folk music; blues music is black American folk music, so there’s no real place for snobbery. We prefer to mix things up a bit, like we have a mixture of people and ages; that’s partly the point of Hokie Joint- it’s about a love for blues and roots based music, regardless of who you are.

JF: The beauty of working with Stephen is that everything he plays is interesting. He never just goes through the motions. There’s something hypnotic about his drumming, and it draws focus (visually on stage too). The dynamics and nuances he adds are great and you’ll never hear him over-play.

From the word GO, we experimented with various rhythms, which instantly made the band a bit different.

Photos by Christine Moore

Interview with Geoff ‘The Silver Fox’ Marston

James Hunter has spent much of his time in the last couple of years Stateside ‘ breaking

into’ the American market.’ Blues Matters’ caught up with him recently at the three day Carlisle Blues Festival back here in the U.K. where James had agreed to give an extended no holes barred interview.

What follows is an unedited transcript of that interview brilliantly refreshing in its frankness, openness and honesty. Not to mention James’ unique brand of humour - well known to many already.

BM :-Start at the beginning musically we will miss out the midwife and the delivery! What first turned you on to music back then?

JH :- So your going from October the 3rd 1962!. Do you know that is a very good question, when I was little it’s funny really it’s hard to remember, there was the odd thing in the charts back in 1965. Hard to remember the charts of 1967 were almost as embarrassing as they are now, not many people remember that. The old gramophone story, we got it given by our Granny, when we living in a caravan in Thorrington Cross just outside Colchester. Our housing situation wasn’t ideal, and we were starved for entertainment. She gave us a Dansette record player and a bunch of 78’s, one of which was a Jackie Wilson I didn’t find out what his name was until 10 years later, it was the purple one or whatever the colour was, we used to put that one on quite a lot.

What were your earliest influences I know you are a unashamedly a big fan or Ray Charles and Sam Cooke and you have done more than anyone both sides of the pond to draw people’s attention to the Five Royales and Norman Paulin?

When we had Alain Toussaint working with us he was surprised that we knew of them, he, he hadn’t heard anyone do a Five Royales cover, as it was only black hip people who knew of the Five Royales. Don’t think he ever saw them, but he had seen Guitar Slim with his purple hair he knew about them. I was surprised how many people had heard of them, every time I was interviewed in America I would start gassing off about them and it did surprise me how many people knew about them.

The Ace label did a lot to bring them to the UK?

Too late to do them any good but it was because of one of those bootleg labels that I know about the Five Royales, it was a series of reissues in the mid 80’s that I just chanced upon them. Whoever wrote the sleeve notes did a good job as I read a couple of paragraphes and thought “This might be for me” and it turned out it lived up to it completely

Did you ever despair about making it, or were you possibly a bit more philosophical about it, taking the view that at least you were happy doing what you obviously enjoyed. I mean obviously you want to make it let’s be open and honest?

Well yea you want to make a couple of bob out of it. I never despaired about it as I never expected I would. NAH I knew I had found an alternative to gainful employment. Something I could do and make a couple of bob without working, I should have added to that wish list not having to get up early in the morning. I spent 7 years working on the railway and I never got up as early as I have to on tour!! I was late every day for 7 years.

You know Johnny Whitehill that played with Paul Lamb, he once said to me “I never thought it would last”, you know the music thing he just thought he would get 5 or 10 years out of it. The thing is it does, when we first almost got signed up what was it pickwick in 1976 or whatever it was, we did the Tube in 1977 in Newcastle on Tyne Tees “The Weekend Starts Here” and straight after that we had a meeting with a fella from Chrysalis records who was toying with the idea of signing us up. They never did but we had a meeting with him and the first thing he said to us which was really heartening was “Well you have done it now you will never stop working”. I did stop working occasionally, but not for long. He was right I mean I have been getting away with it ever since.

You have had two massive album’s recently with “People Gonna Talk” and “Hard Way” deservedly so, what can we expect from the next album. Will it be a self penned all your own material? Is there any subtle changes in direction? I mean I don’t expect there are going to be wholesale changes but there may be subtle changes? Will it be back to Tourag studio and their back to basics analogue policy? No we wont be doing the same thing, we want something extra that’s about right its bunging a bit extra in there, we want to get the same attitude of the old stuff and pack a bit of a whallop in the rhythm section I still think certain tracks sound a little bit soft. We need it to BOOF punch its way out of the speakers with a bit more edge. Yes and more arse end, you really have got to have that and that’s the one thing about contemporary stuff that is going on at the moment. Even the

crap stuff it has a big fat arse end that really sort of like you can’t ignore. In a lot of the cases the stuff that goes on top is not very good, I think we need a little bit more of that attitude and it should be reflected in the production as well. When I think we didn’t quite get what we were after but not quite. Its subtle changes that are needed, I do get fed up with people assuming we are on this mission to either recreate or be loyal to this style or another, I have never been about that it’s that music is either good or it is crap and I am proud to say ours is crap HaHa.

You have a guy in the States doing the retro thing, you said to me one time he keeps jumping up out of the carzie It’s a bit retrofit and I am a bit in danger of doing it I can go like that sometimes, it can be sort of him meets him sort of track you know.

The Ace album should have been your launch pad, I thought it was brilliant. I am glad it weren’t as we had too many generic covers and when we put Halleluja and it’s everyone’s standard.

Yea but you also carried alongside that I want to grow old with you, I just think that is a classic, the line “Put our teeth in the same old glass” anyone who can write that and get away with it is absolutely brilliant?

I did get away with it Nobody bought it HA HA. My favourite song of my own on that is “Don’t Step On It” because that was a nod to Lon Chaney the man of a thousand faces, you knowThe Phantom Of The Opera, that was what that was all about his catchphrase. He used to devise his own make up and put himself through that agonizing contortions and the catchphrase of the time was “Don’t step on it, it might be Lon Chaney” that’s where I nicked that from, like a thieving plagiaristic mind in action there.

You spend a lot of time in America, how do you find it out there, are the American audience different, can you just say they are different or does it vary as it is such a big place depending on where you are stateside?

No the reaction is just the same except they express it differently. Like in your neck of the woods they say “Aye man its canny like” then in the US they say “Hey that was AWSOOOOOOMMM”

I never use that word it is just too much?

Neither do I as I have never run into anything that filled me with Awe or been that blown away by anything I was extremely impressed by some things but no never found anything awesome may be the English reserve, plus the fact I think it is disproportionate language. It’s like someone will say something slightly funny and people will say that is hilarious. We use Great and it is really just good which is just one up from medioca which is really just up from OK Audiences in the US are just the same they go mad on

Do you ever consider in any way when you make a record your public or your audience?

No its me all me me! I do the kind of record I would buy if I heard it just hope the F that they feel the same way about it. I

So there is no calculation like pop stuff?

No but if was clever enough to do it I would, but I am thick so no it is what I like myself and hope by coincidence that other people like it.

Recording with the likes of Alain Toussaint, Doris Troy Van Morrison etc. must give you a real buzz?

Yes it does, I mean more particularly Toussiant as you know nearly every bloody song I like he wrote.

Did he ever made any references to Frankie Miller, because he made a Frankie Miller album

No he never referred to Frankie and I didn’t know that. The only connection with Frankie Miller we have got we each recorded by the same person Boz Bora.

I saw him with Andrew Collins.

Carwin the Sunflower, well he used to record demo’s and stuff at Christmas with Frankie Miller and he recorded with us as well, so that’s our only connection.

So he never referred to him?

Max Miller yes (laughing)

Because I mean you had Wet Wet Wet going out with anything and they chose Willy Mitchell. They brought it

back and the record company said it is great but its not commercial, so they had to do it again and that was a hit. You can still buy the Willy Mitchell produced album, the Memphis session. Have you never heard it its quite interesting.

I didn’t know that bloody hell that’s worth a look, I am missing out quite a lot here

Two part question about the current music scene in general. What area’s do you find disappointing, and what can you feel reasonably optimistic and encouraged by?

Well I have to plead ignorance because I don’t know who anybody is anymore, I don’t know who is current and haven’t listened to the radio for ages. Don’t know who is doing what, all I know about is the Saturday night TV talent shows and I don’t think that is a fair representation of what the majority of people are into. It has nothing to do with music, it’s a soap opera type thing with music theme attached to it. With all the attendant merchandise, that’s how I view that, there is nothing in that for me to feel strongly one way or another about.

It’s a different thing isn’t it?

Yes totally it’s a different arena entirely, but the other stuff mind you Bongo our keyboard player was playing this Rafael Saadiq a soul style album which he brought out a couple of years ago. He just played it to me earlier on his computer and it blew my head off!!

What sort of stuff is it?

Old style soul edge sort of stuff that I am trying to do, he had something to do with Stevie Wonder quite recently.

Is there anything else you would like to share with the readers, like what music would work or did you go to art college?

On the music if I knew what would work I would do it then tell people after I had done it! As for art college, No no they are just my scribbling based on my own nightmares, I don’t think I would have lasted long in and academic environment or institution. I have been doing scribbling since I was young before I could write. I used to draw cartoons, I can remember being 3 year old and doing these figures talking to each other and doing word bubbles and putting random letters in because I didn’t know what anything meant yet. The drawing I was doing when I was 3 was a lot better than they are now. (Laughter)

Well Wilfie, ( I still call him Wilfie as it happens) I think that’s about it – are you alright with that? It’s been good talkin’ to you and catchin’ up again. Good luck in the future. Yeah, thank you, some good questions – I only hope the answers were OK!!!!!!!

(They certainly were).

Duncan Beattie encounters his stars and scars

While like many he started out as a teenage axe-slinger, in his case on the Toronto club scene, he then served an extensive apprenticeship as sidesman over the best part of a decade to Jeff Healey. These periods and the experiences gathered left a strong impression on Sayce who recorded “Peace Machine”, which features a selection of hard hitting blues rockers and the melodic instrumental ‘Alchemy’. The last two years have seen him rise to prominence with its European release by Provogue. Since then he’s taken a bold step further with his latest release ‘Innervolution,’ which demonstrates a more song based approach with an accessible collection that combines an obvious blues basis with mainstream rock hooks.

You were of course born in Aberystwyth, before moving to Canada. Have you ever been back? My family moved to Canada when I was a little kid, and I went to school in Toronto. Been to the UK many times, but I’ve only been through Wales to catch a ferry. I truly look forward to playing there, and visiting very soon. From what I understand, it’s an incredible place and the people are wonderful.

When you were growing up, which artists in particular led you to learn to play guitar? If we’re strictly speaking of guitar players, it was all the great music my parents listened to at home. Eric Clapton, Ry Cooder, Stevie Ray Vaughan, Jeff Healey, Robert Cray, Mark Knopfler, The Beatles, Bob Dylan, The Cult, Doyle Bramhall 2, Ian Moore, Chris Duarte, Eric Gales, and many more.

Canada has produced some great guitar players. Was it hard starting out your career in Toronto, and how is the music scene there?

There’s so many incredible Canadian artists. If you go out on a random Wednesday night, you will see some of the deepest most beautiful music on the planet. I am so grateful to have started there. The winters are long so what else to do, except stay inside and practice!? Jeff Healey, David Gogo and Colin James were influences. Whenever I could sneak into a bar, I would watch and try to soak in as much as I could watching great players - Mike McDonald, Michael Keith, Wide Mouth Mason, Kevin Breit - and rush home to try and work some of it into my vocabulary.

You joined Jeff Healey’s band, touring with him for three and a half years. Can you tell us about how you got to work with him and a little about the experience?

I was playing in clubs whilst at high school, and I was fortunate enough to meet one of my greatest influences, Jeff Healey, through a mutual friend. One night, we happened upon the same club. We jammed on some Cream songs (he was playing bass!) in Toronto’s Kensington Market, and afterwards we hopped into my manager’s car. It was there, on a December night, Jeff invited me (a nervous teenager) to join his band: one of the most amazing moments of my life. Needless to say, every note he played was a treat. Some nights he would play things I can’t even begin to describe. All I know is that it was other-worldly and I basked in the magic of it, and I grew from it in leaps and bounds. He was a true gift to us all.

Then you worked with Melissa Etheridge. Do you think playing as a side man has helped advance your own solo career?

Actually, when working with both Jeff and Melissa, I was invited as a featured guest. They were both very giving and supportive of me as an artist, and they believed in me as an artist. Their similar goal was to help me be seen and heard, learn as much as I could by playing with them at that level, and jump out of the nest and do it for myself. Jeff would let me front his band and sing several songs every night on tour, and Melissa was writing songs based around what I would play. She created a space for me to say whatever I wanted to, when I wanted to. I am so grateful for these friends and experiences. They are a large part of the musician and person I am right now.

“Peace Machine” was independently released in 2005, yet was only released here in 2009. Did you always have faith that one day it would reach that larger audience it has now done?

Peace Machine was recorded the day after we played with Melissa Etheridge & Joss Stone on the Grammys. The idea was to have an album of recorded material that I could sell at my shows. We were all pumped up and tracked the album completely live in a day and a half. Kenny Aronoff on drums, Mark Browne on bass, and Fred Mandel on keyboards. I was really excited to release it in Europe in 2009, and look forward to releasing it worldwide this coming year. The fact that people are finding out about it and are getting off on it is awesome. I’m so excited!

Your latest album “Innerevolution” has a superb sound and is a great collection of songs. Can you explain how the album came together, the role of Richard Marx and what you like most about it?

Thank you! “Innerevolution” was recorded in Los Angeles. We tracked it live, but with more attention on creating a studio album. It came together with my band, Joel Gottschalk on bass, Fred Mandel on keys & Ryan MacMillan on drums. I had written about 30 songs and signed a deal in Europe, and it was time to record an album. Richard Marx and I met a couple of years ago. He came out to a show and we just hit it off immediately. He’s an enormous talent, a good friend, and I’m grateful to collaborate with him. I’m proud of the whole album. It’s a snapshot of 11 songs, recorded live in the studio, with an emphasis on the songwriting. I wanted to record songs about my life and what I’m personally feeling. There are many sides to what I do, this is just a part of it, in the same way “Peace Machine” is another, yet related part of me. Today, I want to create what I’m feeling, and that’s what this album is all about. I’m most proud of a song called ‘Daydream Tonight’ that I

wrote with my friend Dave Cobb. I also like ‘Scars’, which is about growing up in Catholic schools and dealing with the bullshit they force-feed you. I’ve spent a lot of time healing those scars.

Can you tell us about this period which clearly had a profound effect on you?

Well, without turning this into a therapy session… It basically comes from the fear that was pummeled into me while I was in school via religion. In the wrong hands, it can impact lives in a terrible way, and has done so for centuries. Unfortunately, I was vulnerable at certain points as a kid, and the church, teachers and others in the Catholic organization saw this as an opportunity to take advantage. I did meet some great teachers along the way, priests as well. However, after some extremely deep work, I now fully understand the profound difference between Spirituality and Religion, and let me say this clearly; I AM A SPIRITUAL PERSON.

On each successive release your voice gets better. Were you a confident singer from an early age and how has your singing developed?

I am a student of music, so my goal is to keep growing and getting better. I’ve worked with some vocal coaches here in Los Angeles, and have just learned to become more confident. I have worked at it and some of my biggest influences are fabulous singers. Again, it’s all about feeling, getting it out of my head and into my heart. Spending time watching Melissa sing really taught me a lot as well. As far as I’m concerned, there is no better rock singer today than her. She recently sang on a track I wrote called ‘Let The Love In’. I’m planning on releasing an EP of material and that song will be on it. This material is very intense, recorded live in the studio with my friend Kenny Aronoff on drums, and then I overdubbed the bass. The stuff is really raw and I dig it.

Your music might be classified as Blues rock, but it’s a very different, perhaps more contemporary, style than standard blues rock and you’ve also sidestepped the common practice of recording earlier Blues songs. Was this a deliberate choice to distinguish yourself from other guitarists?

I’m really glad to hear you say that. I have a sound and vision that I feel inside, hear and see, and I have to honour it. It’s deeply rooted in roots music, and is inspired by all of my heroes, and anyone I hear that resonates with me. I don’t want to be them; rather I strive to be like them. What I mean is, being completely open in the moment and channeling from source in a similar and pure way. Not trying to copy note for note, but getting way deeper than what’s on the surface. I have to listen closely, hear what’s inside me and coming through me, trust and go with it. I could never play like anyone else, that’s their trip, and I’m on mine. That’s not to say I wouldn’t love to cover some Freddie King or The Meters. It would be out of complete love and respect.

The last year has seen you really break into Europe, with two UK tours and supporting ZZ Top and Deep Purple on the continent. How has reaction been on this side of the pond?

I must say, my heart is spilling with gratitude. The fact we’re doing this interview is awesome! All my life, my goal has been to put art out into the world that is honest, and has the intention of making the world a better place. My goal is to continue the legacy of my heroes like Stevie Ray Vaughan…Continue putting REAL music into the world and reminding people to FEEL again. To inspire others to do the same in their fields, whether it’s teaching, journalism, law, health, whatever. Do what you love and do it with feeling.

You’ve mentioned the artists that inspired you. Have your influences changed in recent years?

I still love the music that has inspired me. It’s not really a short term affair, you know? That love is forever. I’m always hearing new music that moves me. Some is actually new, some is old, but when something grabs you…oh it’s great! I’ve been listening to Ray LaMontagne, Big Sugar, The Meters, Queens Of The Stone Age, Zero 7, anything with Dave Grohl, so much more…

It was a really nice thing to auction your guitar ‘Oscar’ for charity, it must have meant a lot to you as it was built for you to play at the Oscars. Are you surprised about the money it raised? “Oscar” was a great guitar, and found a great new home in France. It was made for me by my friend John Cruz at the Fender Custom shop for that exciting Academy Award performance, and I used it a great deal live and on recordings. My best friend was involved with DREAMS (www.dreamsrun.org) a charity raising money for scholarships for kids with special needs who are going on to post-secondary education. I was overwhelmed that it raised over $11,000, an incredible feeling and it will hopefully help the charity and the kids that need it most.

What does ‘the Blues’ mean to you?

The Blues is life. It’s happy, sad, excited, in love, anything really that is attached to emotion, or provokes feelings. To me it’s anything that is connected to something real. You can’t fake the Blues. It’s something you have to devote your life to, if Blues Matters!

you’re going to play it for real; much the same with Reggae, Samba, or any kind of music that is connected to the performer’s soul, and to the soul of the listener.

Would you have any advice for younger guitar players and singers starting out?

Spend the time learning your instrument. There are no rules. Sing and play from your life experiences. What are you passionate about? Every note and song should mean something and come from your experiences. It’s your story, so tell it exactly how you want to tell it. Listen and learn from everything that turns you on. Ask for guidance from trusted sources. Stay humble and keep learning. Trust your own instincts and choices.

What are your plans for the coming year?

We’re getting ready to come to the UK in November, then on to Germany, Holland, followed by 2 weeks opening for Deep Purple in France. Joel Gottschalk will be on bass, and Fritz Lewak (Jackson Browne, Melissa Etheridge, Sugarland, Peter Frampton) will be joining us on drums for this tour. We are ready to light it up!

I’m planning on releasing an EP of material that I’m really excited about, hopefully in the next few months. It’s completely finished and is just sitting here ready to go. The record label doesn’t even know about it yet! The plan is to also release a live album or new studio album in 2011 as well. We’ll be recording some of the live shows on this tour, so please come on out to the shows!

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

Please come out to our shows! We’d love to meet you. Thank you so much for your support, for reading and keeping great music alive, current, relevant, and real.

By Paromita Saha with contributions from Edward Killelea, New Orleans

Across the world, New Orleans is synonymous with music and is renowned for giving birth to some of the world’s finest musicians from Louis Armstrong, to Fats Domino. For any music fan descending upon the Big Easy, it’s a must to catch of one of the city’s iconic guitarists in action. Walter “Wolfman” Washington is renowned for playing a distinct hybrid of funk, blues and rhythm and blues, which has evolved to become the sound of New Orleans. His guitar style has won praise from the likes of Dr John who has hailed him as one of the “hippest guitar players and singers,” around Often regarded as a Blues guitarist, Walter “Wolfman” Washington cites Bobby “Blue” Bland, BB King and Johnnie Taylor as his major influences, however over the years, his musical horizons have broadened. “I play Blues but basically I like funk.” He tells us over dinner at Marignys restaurant in the Marigny district of the French Quarter, which is round the corner from DBAs where he will be performing later on in the evening. “To me, it is more soulful when you play it and there are so many different ways of making a chord. I developed my own style of music. Not too many guitar players can play that style.”

Clad in his stage attire, which is a red workman’s style uniform, Walter “Wolfman” Washington is very easy going in his demeanor as can be expected from a musician from this part of the world. Tonight, his wife Barbara who has been Walter’s manager for years also joins us and together they are an epitome of New Orleans’ charm and manners. I notice him peering round the corner of our booth, silently observing a group of customers nearby, almost like a wolf watching from a distance, prompting me to ask him how he earned his name “Wolfman.”

“When I was going to school, I used to fight a lot. I was little so people picked on me, so I had to defend myself. My nickname was “Roar Roar.” Then someone said what about calling yourself “Wolf,” and I said okay. As time went on, I was still fighting, but by then I was told if you want to be a musician you can’t be going round beating up people or jumping on people. Utilize it, line your act so when you can get on stage, you can growl with people like that. That’s why I am called “Wolfman.” My real name is Edward.”

Walter leaves dinner early to head over for his sound check at the venue, where we join him later. His set at DBAs is with his current band the Road`masters, who he has been playing with since the late 1970s. Tonight, the venue is packed with a crowd that consists of regulars and visitors from out of town as well from abroad. Walter’s set is certainly danceable and in no time, everyone is taking to front of the stage, grooving to the funk, blues and jazz rhythms of his music. Yet, there are moments, when everyone’s attention diverts to his remarkable guitar solos, which comprise of what he describes as “spiritual” chords and notes. “It’s within the chord changes and the different kind of chords – you have blues chord and spiritual chords and I happened to learn both.” He explains, when we meet with Walter the next day at a small bar known as Buffas on Esplanade Avenue in the French Quarter. Over lunch, the 67 year-old artist is relaxed and starts to roll out various anecdotes from his career, including when Rolling Stones guitarist Keith Richards came to see him play just before the hurricane in 2005 and then several months they both met up again, but this time to play on stage at the New Orleans Concert The Music of Americas Soul. I ask how he found playing with the lead guitarist of the Rolling Stones, to which he responds, “Keith was very creative and extremely accommodating. He was a really nice guy.” The Edge and Stevie Wonder have also been known to pop in to see Walter play. Speaking about the Motown’s legend visit, the 67 year old exclaims, “That was a trip! He was in town doing a concert and he came down to DBAs. This cat came in, and sat with me. He came up and we played a few of his songs. He was enjoying it so much he didn’t want to leave”.

However, in between the laughter and jokes, Walter is keen to tell the story behind his musical journey, which started when he was growing up in New Orleans.

“When I was at High School, there were a lot of young cats that knew how to play music, so I starting watching them play. My uncle gave me my first guitar. It was an acoustic but I didn’t know how to play it. So I happened to watch a spiritual group play every Sunday morning. I went home and tried to do the same thing that they did, but it didn’t come out right. Eventually I learnt how to play the chords. I learnt good enough.”

By the late fifties to early sixties, New Orleans was already in the throes of thriving rhythm and blues scene led by legendary producer Dave Bartholomew, and artists such as Fats Domino and the Neville Brothers. As a result, it had become a Mecca for recording, attracting greats such as Ray Charles and Little Richard.

It was then, Walter’s first break came when he was nineteen years old touring with the rhythm and blues artist Lee Dorsey who was famous for smash hits such as “Working In A Coalmine,” and “ Ride Your Pony.”

“When I got the chance to play with Lee, I only had to play two songs and one solo. This is what I played for two years. However, while I was traveling with him, I met a load of people including Jerry Butler, Billy Stewart. Major Lance and all of these cats”.

During the early sixties, as well as being a part of Dorsey’s musical entourage, Walter gained invaluable experience playing great venues on the Chitlin circuit including the Apollo Theater in Harlem. However, being on the road for a longtime was making the young musician homesick. “I came home three times during that period. The longest I would stay at home would be for two weeks. I used to send my money to my mom who saved it. On my third visit back home, I asked her how much have I sent you? She told me I had $43,000 in the bank!! As a result, I said, look I am not going back on the road. I am staying at home.”

Walter teamed up with soul singer Irma Thomas and then with the city’s renowned musical family, which included legendary jazzman David Lastie.

“It was when I got in touch with the Lastie family, then a different world got into the picture. They were a family who were true musicians and showed me the rules of playing professionally. As a result, I started making a living from it and playing with big time cats who really knew how to play.”

Over the years, Walter has devoted himself to mastering his craft, a point that he does not hesitate to emphasize in particular to up and coming musicians.

“I had a lot of cats who came to talk to me about the philosophy of music. Being a musician, you have to be able to analyze a lot of yourself. An instrument will not be able to play, unless you play it good. If that instrument doesn’t become a part of you, you won’t be able to play it, as you would like to. I started sleeping with my guitar so that I can understand what was going with them. Soul singer Ernie K Doe who is my cousin (of “Mother in Law,” fame) gave me my first electric guitar and amp that was when I really got into it. Everywhere I went I had my guitar with me, even today.”

During the 1970s, Walter formed his own to band to play behind the late Johnny Adams, the legendary Louisiana Blues, Jazz and Gospel singer who was nicknamed “The Tan Canary,” for the multi octave range of his singing voice. Walter’s face breaks into a big grin as he starts to recollect how the band came together. “When I stopped playing with Irma Thomas, Johnny Adams asked me to be his personal guitar player, so I played with him for eight years. And then he wanted to form a band. At that time, bass player who was the son of blues artist Willie Dixon decided he wanted to quit Lee Dorsey’s band. So both of us, Elliot Collier and a new drummer called Tom Ellis, formed this band behind Johnny. No one had a name for it. So when we went back to New Orleans, we saw this sign called AFB, we thought that’s a good name. We said we were a bunch of fools so we decided to call ourselves the All Fools Band.”

Walter performed with Adams over a twenty-year period where working with the legend gave him the opportunity to develop not only his guitar playing but also his singing style, enabling him to become the full pledged artist he wanted to be. “I just went off to learn. Cats have to go through changes to learn how to play. Those are what they call paying your dues. I haven’t worked a day job since I was 25 years old. I just relied on my music. There were times when I couldn’t afford to pay my rent but I just stuck with it. My goal was to be a pillar of New Orleans.”

So how does one become a pillar of New Orleans? “I’ve had to work hard to be recognized as an New Orleans musician.” At this point, his wife Barbara adds, “I think musicians from here are more giving than other musicians in the world. In this city, we eat, breath and sleep music. Nowhere else has the rich influences that we have, which include Blues, African, Jazz, Gospel, soul and rhythm and blues. Everything goes into one. You just can’t be a Blues musician from New Orleans or a Jazz musician from New Orleans. You are just a musician from New Orleans.”

A sentiment that runs so strong in Walter’s veins that he found it hard to leave after Hurricane Katrina struck back in 2005. Luckily, his plight was not as severe as those of his contemporaries. “There were some really terrible stories. You had musicians including Fats Dominos and Allen Toussaint who lost their homes and others lost their family members. My friend, Blues artist Clarence Gatemouth Brown died after the storm. He came to my gig before he died. He was my co-man and I miss him a lot.”

Walter and members of his current band the Roadmasters were invited to play the Maple Leaf’s first gig after Hurricane Katrina. The Uptown New Orleans’ bar was apparently the first to stage a live music event even though the electricity had not yet been restored to the city. According to Walter, it was logistically difficult to get his band together for the occasion. “Following the storm, we (the Roadmasters) ended up being all spread out across the country. I was in Ohio at the time, so I drove twenty-three hours to get there before the curfew.”

A diesel generator powered the band’s equipment as they played to locals as well as media circus of crews and reporters from all the major Amercian news channels. However, police and the National Guard eventually shut down the gig as the city was still under a curfew.

Since the devastation of Katrina, Walter maintains a packed schedule of playing regularly in the city. He performs at DBAs every Wednesday with his band, The Roadmasters, who he has been regularly playing and recording with for thirty years. He also plays at the Maple Leaf every Sunday in a trio, with Joe Krown who was Clarence Gatemouth Brown’s organist for twenty years and renowned drummer Russsell Batiste Jr. With this band, Walter will be releasing a CD of new material, which will be his first release since 2008’s “Doin’ The Funky Thing,” which he recorded with the Roadmasters and saw him collaborating with fellow New Orleanian Dr John. Over the past couple of months, as well as the international blues festival circuit in Europe, he has been touring with the legendary Allen Toussaint across the States and Canada. As we leave, we ask him, does he ever feel tempted to leave a city that is at the mercy of the elements?

“Me personally, I couldn’t move anywhere else. I have tried. Trust me I have tried. I feel here that musicians have more spiritual understanding of music than a lot of cats that I have traveled with over the years. They are mostly thinking about making money. A few play from the heart and understand that it’s a gift that needs to be recognized and kept going. I knew I was supposed to play music and play guitar especially as I am from New Orleans.”

After saying our goodbyes, we watch as Walter and his wife drive up Esplanade Avenue towards the crystal blue Crescent City skyline. One thing is for sure you may take Walter “Wolfman” Washington out of New Orleans, but you definitely can’t take New Orleans out of Walter “Wolfman” Washington.

Barry Goldberg - in conversation with Vicky Martin Pt.2

BM ......That’s fascinating, Son House almost the very start of it all. So you’re at Newport and meeting so many and seeing so much; tell us more about that seminal Dylan show…

BG Yeah I just had to tell you that about Son House, it said so much about the music and life of those guys. So, anyway, I got the opportunity to play with Bob Dylan on the stage at Newport. I’d already heard ‘Like A Rolling Stone’ from Michael Bloomfield who brought it back from New York when he’d recorded it. I knew the song, and there’s an interesting video, a Murray Lerner video called ‘The Other Side Of The Mirror’. If you see that you’ll see that we went on like on a sort of ‘mission’, to create a new kind of music. We were sort of rebels and Bob was the leader. Bob was leading us on and every time you do something new and different people aren’t gonna be happy about it; they’re not gonna understand it, especially the folk crowd who thought that Bob was selling them down the river…and when Bob plugged in with his Fender and Michael set his guitar at 8 you know…it was just blasting it down their throats you know, and they were upset by it… but there was an element of the crowd that were enjoying it; they realized what was happening; I think we played ‘Maggie’s Farm’, ‘It Takes A Lot To Laugh, It Takes A Train To Cry’ and then ‘Like A Rolling Stone’…and by the end of that I felt like we were part of a new beginning of something, something going into a new space and time. Creating a new type of music where no-one has ever gone before; popularly called ‘Folk Rock’. I was and am pretty proud of that moment.

I should think you are…and those Dylan albums of that time, Highway 61, etc, they still sound great. I mean the hours spent laying on my back listening to those albums and talking about the lyrics, it was magical

Oh yeah, yeah and it captured the time too

Its timeless as well, it has an atmosphere and a vibe…’

Yes, the atmosphere, like it’s early morning in the [Greenwich] Village

Did you play on anything else with Bob Dylan?

Yes, I produced a single called ‘People Get Ready’ for an movie called ‘Flashback’ which Bob sang on and did, we did another session ‘Freedom for the Stallion’, an Alan Toussaint song in the eighties with Bob. A lot of private jam sessions in my New York apartment and his studio in Woodstock, we still maintained our friendship…

Great, so when was the last time you saw him?

Oh it was about three or four years ago…we sort of drifted apart you know

He’s never compromised and yet he’s become very consumer friendly now; everybody seems to love Dylan especially since the radio show.

Yeah well he’s always been controversial. He’ll always throw a curve at you. You never really know where he’s coming from, is he serious or not. He likes to keep people guessing.

Never been any different?

No

Now you told us a story about Son House and understanding the reasons why he didn’t go out. That brought back to me some documentaries that we saw recently about life in England in the sixties – and parallel to that we watched something about the USA at the time Martin Luther King and Bobby Kennedy were assassinated, and the battling and fighting over Civil Rights. America was a far less peaceful place than England was at that time; how conscious were you of all that violence and political stuff that was going on? …and the Social rights? Well we were right in the middle of that, especially when we crossed the line to go into the black neighbourhoods in Chicago to play the Blues – no one ever did that in Chicago, no one ever went to the South side or the West side, and in a way it was probably a part of the Civil Rights movement although we weren’t aware of it being that. I can’t believe that America has developed and come so far that we were fortunate enough to elect President Obama – to have a President like him… I noticed that some of my extreme liberal friends, when Obama was running for President, they pretty much had had enough of the old regime and…they weren’t really activists but they took action…they went to places like the battleground states, like Ohio and they did things that they wouldn’t normally have done to take the country back again and to make it more of a liberal place for us to live in; because it couldn’t have got much worse – like we were headed toward the dark ages you know; and Obama was like a light at the end of the tunnel for a lot of people – President Obama – you know the Social Medicine thing just went through, and there’s a lot of things that he’s going to do; but he’s only been elected for a short time and people lack patience – but its just a miracle that something like that happened in America.

It must have seemed a very dark time when Luther King and Kennedy were assassinated – did it seem a hopeless cause at times?

Well I was thinking about that when I was coming over to London and thinking about Lady Di [Princess Diana the Princess of Wales] and it seems that every time you reach a certain level of greatness and you feel something for the people, and you have that sensitivity and belief and you believe that there can be a better world- and you do things like Robert Kennedy, or Martin Luther King or John Kennedy did, and like Lady Di…people can’t accept that, they just can’t accept it, they go out to far and its like the blue meanies get them…but these are the heroes, the people we have to keep in our

minds when fighting for justice and saving the planet, and fighting the whole system that’s going crazy…the global warming thing which is insane…’cos we’re destroying our own planet. Certain people come along –like Al Gore, President Clinton, there’ still great people, like Churchill, never give up, never quit, keep fighting – this is all we have our planet and to be able to live a decent life, drink the water, breathe the air…everybody is created equal.

I know this is supposed to be mainly about music, but hearing you mention Bill Clintonhe’s very popular in England, there was a poll at one time and people were so disillusioned with politics in England that if Clinton had stood for Prime Minister he would probably have won!

Ha –he’s an amazing man, he’s magical, and he’s a great soul fan- plays the saxophone and his favourite artist is Percy Sledge.

Who made that classic track ‘When A Man Loves A Woman’. So thinking back again to the time of the sixties and Dylan; that time of idealism and the voice of protest that popular music was at the time – that seems to have been lost…where is the voice of protest?

Well…maybe people aren’t as outspoken as they were, maybe there aren’t the people like Bob Dylan when he created songs like ‘Blowing in the Wind’ and all those great songs…there’s a tremendous need for that now and I hope that people do come along that really speak with and through the music. Music can get to a lot of people – they can get that message across with music and lyrics – we’re missing that right now.

What are you doing in music now, what’s your next gig when you get back to the States – so-to-speak?

Well I’m really excited, I’ve got this blues band, I got together with some of the survivors of the sixties and formed a band called the Chicago Blues Reunion – we’re getting ready to do some Summer Blues Festivals together…I really get off on doing that because I live in Los Angeles now and for many years I was doing film and TV work; composing music for film and television, and it wasn’t really doing it for me…it was very lucrative money wise, I had a family to support, I was doing alright financially but not getting off spiritually, and I realised ‘Oh my God’, that when I’d first started playing, how wonderful it was and how great it was to play in front of people…you know ‘letting my soul go’...and the blues is the common denominator, its from the heart, it’s the real music. It’s the only music that I really love, I guess I love rock and roll, I love to play rock n’ roll, but when you play the Blues its direct…to the soul…to the heart…so I started playing again, jamming and now I’m back to what I was when I first started playing…its gone full cycle and I’m enjoying it just unbelievably – we’ve got Nick Gravenites, Harvey Mandel, Tracey Nelson, Corky Seigal, and Sam Lay plays with us occasionally and sings sometimes and Charlie Musselwhite has been with us as well, and we’ve got Gary Mallaber on drums as well its great. I’m also working with some young people producing, I’m working with a young singer Jessica Burkes, she’s eighteen-years old. I believe in great pop artists with intelligent lyrics, and I guess I’m just doing the things that warm my heart.

Sounds like fun and you’re enjoying life?

Yeah, and hopefully I’m gonna be playing with you tonight?

That’s right we’re gonna go and play some Blues in a minute?

Well you know, I heard that ‘Trouble’ song if yours and I thought that’s really great so when I get to London it’d be really great to play…

Well we’re looking forward to that and thanks for the compliment. It comes to mind now to ask you did you ever meet ‘Little’ Walter?

No, I never did, but he had a real reputation, he was a hard man, interestingly Sam Lay who played with Wolf has some home movie film of ‘Little’ Walter that we’re gonna feature in the movie...that was a song of Little Walter’s ‘BLUE LIGHTS’ that was ‘Jam with Sam’s’ theme song that I listened to when I was twelve years old in my bedroom…and that’s the song that turned me on to the Blues.

So who do you think is the greatest guitar player of all those you played with?

Well, I’m not being political, but I can’t really say…they were all good…all blew my mind…I played with Duane Allman and he had his own style…and Mike Bloomfield who was very intense and…but you know who can play with his electricity… who can shake a string like Otis Rush…no one can put it all together…I really can’t say that one guitar or harp player was better than the next because they’re all individually great. I appreciate each and every one of them for their style and what they brought to music. Once you reach a certain level of greatness, you’re on that plain, you can’t compare and say this

one is better or whatever. They’re all great when you reach that level.

So I won’t ask who you’re favourite drummer is then? (Laughs) Well I will tell you my favourite drummer – Al Jackson.

Booker T’s drummer?

Yeah he played on all of those great Stax records – Otis Redding and all that…

That was a mother of a rhythm section?

Well when Al Jackson died that music stopped, no-one could keep the beat like that.

So please remind us again about the film you’re involved in

It’s called ‘White, Black & Blues’ and it’s about Chicago Blues and our involvement in it, and the transition between that and rock n’ roll.

From the trailer you showed us earlier it’s gonna be really special. Thanks.

Can you tell us about some of, say, your three favourite Blues records?

Sure, well Albert King’s ‘Born Under a Bad Sign’ album, and the solo on ‘Personal Manager’ is one of my all time favourite solos. Then there’s an album with Muddy Waters and Howling Wolf called ‘Live at the Copa Cubana’ with ‘Big’ Bill Hill, is a live album, great…one of my favourite records. Then there’s ‘Muddy Waters Live at Newport’ the song ‘I’ve Got My Brand on You’.

What about anything from the Dylan / Electric Flag era, what most captures that time?

Well I think the greatest is Dylan’s ‘Blonde on Blonde’ that is a fantastic album, I wish I’d played on it...wonderful album… Great album…

Man, I had to learn that album, you know I was going on tour with Bob, I was called up to play with him…right after he recorded it, and as I was walking out of my flat in the East Village I got a call saying that Bob had his motor-cycle accident so it didn’t happen. But listening to that album it’s an unbelievably special record.

That Blues ‘Pledging My Time’ on that record…

Yes and at the same period ‘Positively Fourth Street’, it brings back that time…you know at that time in the Village you could hear on one street – The Loving Spoonful, Janis Joplin, Richard Prior the comedian, Jimi Hendrix, you could walk the block and hear all this great music…Electric Flag – we played the ‘Bitter End’, I was very fortunate to be at these special places at a special times – Chicago…New York…the San Fran Cisco scene in the ‘Summer of Love’ which was like being in the eye of the hurricane.

Is there a record you played on or were involved in that you’re most satisfied with?

I had great time playing with Mitch Ryder & the Detroit Wheels on ‘Devil With A Blue Dress’ that was a really exciting record to be on. I loved playing with The Ramones, I got to play with them when Phil Spector was working with them, one of my great idols, I got to work him on that one.

With Phil Spector?

Yeah, that’s a whole other interview (laughs).

That’s interesting, I think we might be able to do that one sometime…

Those were like some high points – I guess playing with Dylan at Newport, that was recorded, Electric Flag ‘A Long Time Coming’, I’m real proud of that one. The Percy Sledge record that I actually produced, called ‘Blue Night’ won the ‘Soul Album of the Year’ Award, got a Grammy nomination…the guitar section I worked with on that record was Bobby Womack, Steve Cropper and Mick Taylor. Just working with those musicians was truly inspiring….and I felt that Percy Sledge was possibly the greatest that I’ve worked with vocally.

That’s a pretty good CV!

(Laughs) thank you.

Shall we go and play some rock n’ roll then?

(More laughs) Yeah, let’s go for it.

Unsigned acts on their own Blues mission

RON SAYER JR

I started playing when I reached the tender age of seven and received my first guitar (which my folks had promised me if I could learn the Star Wars theme on my cheesy Bontempi organ). I was especially into Blues music at a pretty early age due to my guitar teacher lending me a tape recording of ‘Steppin’ Out’ by Cream. I remember thinking even then that I had to have me some more of this gut wrenching blues and proceeded to ‘attempt’ to nail the song, oh the blisters that ensued! Fast forward too many years to the present and I’ve been in a plethora of bands playing covers and originals. I’ve supported a few name bands, played live on the radio several times, including Tommy Vance’s Friday Rock Show. Earned the title Guitarist of the Year from Guitarist magazine back in 1996, received a degree in classical music of all things (not very rock and roll I’ll give you that) and have given lectures on ‘Blues Improvisation’ at Cambridge University.

Having been off the scene for several years I’ve reached a ‘crossroads’ (pun intended). I have original songs running around in my head and a yearning to play my guitar in front of blues fans who would hopefully appreciate some cathartic funky blues with unashamedly ‘in your face’ guitar just for the hell of it! My music is a mix of many different styles I’ve absorbed in a sponge-like way over the years (funk, rock, country, jazz etc) but is always served marinated in blues sauce. Just the way it should be! So far this year the band have had successful support slots with Buddy Whittington and Popa Chubby and are looking forward to blues festivals and further supports as the year plays out.

FRAZER KENNEDY

The wild Highlands of Scotland have produced more than just whiskey and the Loch Ness Monster. Frazer Kennedy is also a product of that mighty land. Frazer’s philosophical outlook on life has been forged from his upbringing in that mountainous region.

In the Highlands inspiration presented itself with every soaring view from misty mountain tops, or castle ruins echoing to ancient battles.

Frazer’s music could be best described as acoustic singer songwriter with a blend of world rhythms that has developed over recent years to encompass a bigger electric sound. Broadening horizons, brought him down south to London where he played sax in a Reggae Band, sang in a rock band, and also busking down the Tube - ever entertaining with his own unique Highland spirit. One day someone thrust a six string acoustic guitar in to his hands. It was love at first strum, from then on it was ‘have guitar will travel’. Frazer’s music evolved in to his own style acoustic Singer Songwriter with a blend of world fusion rhythms, the Roots are in Scotland with Branches reaching everywhere. Frazer’s big style, coupled with scores of inspired songs and a desire to perform them led him to the formation of his Band of Friends with appearances in noted concert halls such as: The Mean Fiddler, The Borderline, Pizza on the Park, and several open air festivals including the Weyfest, Americana International, Guilfest and Canada’s Edmonton Folk Festival.

Yesterday’s Gone is the flagship single on his debut album, of the same title.

Joyously this track has reached #1 in the UK’s Tourdates Independent Unsigned Music Chart. Following on from that success - another track ‘Nobody’s Perfect’ has gone straight in at #7 ....It just keeps getting better! These tracks are available for download at ITunes, Amazon, or hardcopy at Smart Choice Music and CD Baby. Following on from “Yesterday’s Gone” this EP expands his acoustic style to embrace a bigger electric Alternative/Rock sound. Hurrah! 5 new tracks have now been recorded – and are now being mixed and mastered, Topping up the running order will be one or two exciting new remix’s injecting upbeat electric energy. You don’t have to travel to the Highlands to see Frazer playing live. He is performing at several festivals throughout the year. Checkout the website for dates: www.Frazerkennedy.com

Interviewed by Alan Harvey - June 2010

A Transatlantic Trio with feet firmly set in the UK, but wings spreading into mainland Europe. The Spikedrivers have one new CD out and another on the way. Alan Harvey spoke to guitarist / founder Ben Tyzack, bassist Constance Redgrave and drummer / percussionist Maurice McElroy about the band’s current activities and their views on the Blues scene in general. Our meeting was a personal treat, not just for the chance to discuss all matters music with such lovely people, but to witness the recording of a live studio session for the BBC. This was an enormous pleasure and cemented my view of the band as three masters of their respective crafts....

BM: The new CD is titled ‘Seven’. Is that purely a numerical reference or is there any deeper significance?

Maurice McElroy: It came down to the idea of simplicity. What do you call an album? A bit like what do you call the band? Ben came up with the lovely design and it just seemed appropriate.

Constance Redgrave: ‘Seven’ was the working title anyway.

As a musical work how does it compare to previous CDs?

CR: It took longer! There was quite a long gap there.

Ben Tyzack: We hadn’t done a studio album for a while. We had a live CD which took a long time to produce and release. A lot of the material has been around for a while, but the band had changed really. We’d started doing a lot more harmony singing. That was becoming a feature which we wanted to use on the recordings.

CR: We didn’t record analogue this time either. That’s another change.

How does that affect the way you record?

BT: It’s more to do with sound. Our engineer, Phill Brown, says you can put it through old valve compressors and it’s not going onto tape, but you can get a warm sound and we just went with his advice. It’s a lot cheaper and digital gives you options as well.

CR: He likes big old desks as well.

BT: Having just done the live album and there’s another on the way we’ve got a studio album sandwiched between two live albums. So to make us sound not like a live recording in the studio we’ve expanded a little, so there’s a few guitar overdubs and a few more bits of percussion. We approached it slightly differently.

MM: I think also that our song-writing has come on. There’s a marked improvement to my ears. I think our playing has also come on, both as individuals and in the way we work together as a unit.

BT: I think all the albums feel different, although ‘Ain’t It Real’ and ‘Blue Trash’ were recorded quite close together so they are somewhat similar and almost feel like one body of work.

And Clive Ashley on sax. I’ve seen him with Ben Waters, is that how your connection came about?

BT: There have been several occasions where we’ve been on the same bill or jammed together, but we first met at a Banbury Music Festival a long time ago. We were on before Ben and he got us back up at the end.

CR: I have experience of Clive from days playing with Colin John.

BT: During the tour we did with Ben we both did sets then all joined on stage at the end. As we went round and got to know each other it was great fun and I just love the way he plays so when starting this album we discussed bringing him in as a different player rather than just us doing something different. I love what he did.

CR: He was kind of the magic ingredient.

MM: Whether you’re thinking of adding a player or just another sound you have to ask whether it adds something. If the answer’s yes you keep it.

BT: In the end we didn’t even rehearse with Clive. We sent him some demos of the new songs and planned to do some rehearsals, but we couldn’t ever get together. We were a little bit nervous, but Clive is a great improviser and he picks up on things so quickly.

CR: He was incredible and did the lot in a morning.

The new songs fit in perfectly to your live shows. Do you get nervous when you play one for the first time?

CR: Sure, that’s the fun! There’s a line between excitement and fear which are two sides of the same coin. Once you understand that you take that energy and go.

BT: I get nervous playing songs that we’ve played a hundred times. Lately I’m forgetting lyrics and inventing new ones on the spot. I don’t look at the others, but can feel them staring at me! It’s always really exciting for us when introducing new songs because you develop, practice and record them and they can then add a whole new dimension to a performance.

MM: This is really the first time you’re going to find out whether people like it. With our other stuff we know what they like.

BT: We did learn not to play all the new songs at once. After Blue Trash we played the whole album at one gig and we got some good feedback from emails saying that it was too much and you have to mix it in.

CR: There’s some songs on albums that maybe aren’t live songs, they’re album songs. You’d have to create a different arrangement so we have songs which we’ve never played live.

Who is Natalie?

CR: Natalie is a friend of an Irish percussionist we met. She is French and an interesting woman. They live in France in a fallen down chateau, where the top floor is for ghosts. On our first trip I was trying to learn some French and this song about her was like a nursery rhyme in my head and I couldn’t get rid of it. In the end I had to do something with it.

You seem to like to include some tongue in cheek. Is humour important in your music?

MM: That’s something you used to get a lot in old Blues, you had to use different words to sing about what you really want to sing about. You don’t need to now, but it was fun to do. The humour is just something that happens rather than a conscious thing.

BT: It’s just another emotion really.

MM: It works. Audiences enjoy it, we enjoy it. I don’t think you can sustain a single emotion for too long. You can get blanded out. We do variety. We get bored if we don’t, why would an audience be different?

BT: It’s a bit like volume. A constant tugs at one part of your heart string for too long and stops being effective.

Your live performances appeal to all age groups. Is this the same for CD sales?

MM: Yes, I think we do. We’ve had a lot of people saying they don’t like Blues, but they like us.

CR: People come and say they’re buying their third copy of “Blue Trash” because their kids keep stealing them!

MM: We’ve signed a lot of CDs for a lot of very small people.

BT: It would be nice to more play to teenagers / young adults. We have had a good response from them, but that’s an age group who don’t really want to listen to what their mum and dad listen to.

MM: When we do schools at that age there’s the question of whether this is cool or not. It’s difficult, but I think it’s shifting.

Apart from Constance’s famous sales pitch on stage how do you go about marketing the band?

MM: A lot of bloody hard work.

BT: We have a deal with the distributor Proper. In the States we have a company called CD Baby.

MM: As well as physical CDs they are what’s called an aggregator, so they digitise the albums and put them out on iTunes, Rhapsody, Napster and so on. In the States we make more money from digital sales than we do from CDs. On this album we decided to really sit down and have a proper go at it. We thought about a publicist, and whether we could afford one, but we had conflicting stories so we decided to do it ourselves. We’ve been working a lot further ahead on this album to allow for colour magazine turnaround times for example, to give them time to review it before release date. Some magazines won’t review albums which are already out. We’ve also spread our wings a bit, sending copies of the album to lots of people we haven’t done in the past, like the Sunday magazines. A lot have gone to Spain and France.

CR: We’ve also always done a real grass roots thing. We have some wonderful people out there who are just so loyal, so keeping in touch with them is important and it’s word of mouth. A lot of where we are today is due to those people, including persuading venues which don’t know us to book the band.

MM: Particularly if you’re promoting a festival that sort of feedback is invaluable

Who do you like to see when you get the chance?

CR: I love Connie (Lush). She just makes me smile. Giles Hedley, there are some amazing musicians.

MM: We saw Earl Green recently. I love the man’s voice, he’s a wonderful singer. Clearly Ben Waters. I particularly like Ian Siegal. He’s different. I worked briefly with him with the Lee Sankey Band and Ben had worked with him at Ain’t Nothin But. We want to see Guy Tortora, but when he has a gig we always seem to be somewhere else. Then there’s the bigger names like Dr John. The last gig I went to was Lo Jo and they were brilliant.

BT: We saw a fun duo in France when we were doing a festival. They were called Blackberry and Mr Boo Hoo. They were sitting down with guitar and harmonica, but were hitting self-made boxes. They had a brilliant rootsy sound, kind of country blues roots, amazing musically. Visually it’s like they’re running at you, but they’re sitting down.

MM: They’re different, and you have to be. If all albums cost the same why would anyone buy ours if it sounds like BB King, they can buy BB King. If you look at all the big names of the past they all did a variety because they were trying to find an audience. Robert Johnson is known for the Blues songs he recorded, but when you read about him you find that that wasn’t all he did. That’s what was recorded because that’s what people wanted.

BT: Mike Sanchez would be right up on my list. He deserves recognition. A friend gave us a CD by Hazmat Modine. They have an infectious sound with twin harmonicas.

So what’s the difference between what he’s doing and hundreds of artists?

MM: Sometimes it will take something or someone to break through and that opens the doors for other people. There’s now more notice being taken of what’s going on in our field and that can only be a good thing.

BT: The thing with Seasick Steve is he got known for the raucous boogie thing that he does, but someone I’m teaching guitar wanted me to teach him a song called ‘Walkin’ Man’ and it’s beautiful Country Blues and I was amazed it was the same guy and that there’s a lot more than we see on TV.

MM: BB King said the reason he and others got back into big pay days was because the Rolling Stones were having hit records. Anything that can break through that formulated, moulded scene has to be a good thing.

Are there any of the crop of young Blues musicians who you think will keep the genre alive, and perhaps move it forward?

BT: I haven’t heard enough, just a few bits on record. They’re young and talented so we’ll see what develops.

MM: The potential’s there. There’s a guy called Sam Hare who’s just put an album out. I like it because it’s songs. Whatever the future is it’s going to be in songs. I’ve heard a couple of (un-named) guitarists and they are talented and they have put the work in, but I’ve heard every single lick before and from several guitarists. So they’re ok, but why would I get excited about it because I know people who can do it better. If they can change that and find their own voice I would hope, but I’m not sure whether they’re the future.

BT: They need to be encouraged to develop. One that does stand out is Andy Cortes. We met him in Finland several years ago, a really tasteful player. He sat in with us once and he didn’t over play. He had that sense of composition. Very talented.

MM: I repeat that, however good anyone is technically, whatever the instrument, without the songs there’s nothing to play. Do you feel that young American artists are better than their British counterparts or is there another reason for their greater success?

MM: It’s difficult. I’ve seen an element of patronisation of people like Ian Siegal. But the bulk of the music and the weight that’s behind it comes from America and everything wants to slot into something that’s easily digestible and easily sellable. I think that people like Joe Bonamassa do. The man can play, undoubtedly, but what he does is easy to grab hold of. I think what an Ian Parker or an Ian Siegal does is harder is harder to get hold of and that’s why the American magazines don’t do it. One possibility is the likes of Blues Matters! writing it here and selling in the States. Sometimes people like certain acts, but it’s not the real thing, but as Paul Jones once said it’s music, not a social context any more.

BT: James Hunter did quite well in the States so it can happen. So much of it is a business thing and how things get promoted and who’s backing them and things like that.

CR: You also have to understand there are simply a lot more Americans so there’s a lot more American musicians and a lot more American record companies with money to put behind those musicians. Just the sheer proportionality means it’s heavily weighted that side and it’ll probably stay that way. One possibility is to create a British Blues scene and sell it to the world, but nobody’s done that yet. It hasn’t become the hippest thing in the world yet. I don’t know what we would sound like if we went to the States to tour. I don’t think we would sound American, I think we’re somewhere mid Atlantic now.

BT: It would be nice to go over there and get a reaction.

SHINDIG! No.20

THE SOFT MACHINE

Feelin’ Reelin’ Squealin’

Is it jazz? Is it psych? Is it pop? Their groundbreaking early years revisited

MERRELL FANKHAUSER

His visonary journey from surf to folk to psych to lost continents!

THE LOVIN’ & THE NERVE

From mod underdogs to Troggsapproved pop confectioners

Feelin’ Reelin’ Squealin’ Is it jazz? Is it psych? Is it pop?

ALLIED RECORDS

Plastic Cloud, Reign Ghost, Christmas... inside Canada’s coolest label

EUPHORIA

The remarkable saga of the most expensive cult album ever made

takes Carol Borrington for a walk down the boardwalk. Blues, waves, seagulls and a harmonica

Singer-songwriter and harmonica player Southside Johnny has a long musical pedigree and has played with some of the best! Most of his career has found him fronting The Asbury Jukes, a revolving door band that has featured a lot musicians and many have gone to on join some of the world’s biggest selling bands. Southside Johnny grew –up in the US Garden State of New Jersey in the region of Ocean Grove and Asbury Park. A place immortalised by the Bruce Springsteen song,’4th July Asbury Park( Sandy)’ and the breeding ground for an number of top Blues Rock musicians from Springsteen, Walter Trout, through to Bon Jovi and the newer bands like Billy Walton. Southside Johnny like Walter Trout has never got the true appreciation they deserve in the music business, maybe because they have had to live in the shadow of New Jersey’s other two sons Bruce Springsteen and Jon Bon Jovi. Yet, Jon Bon has said of Southside Johnny, he was his, “reason for singing”. This lack of public acclaim though has not stopped Southside Johnny producing four decades of fine music from his beloved genre the blues. His latest offering in 2010, was the twelve tracks CD, “Pills and Ammo”. A fine CD that offers something for most Blues lovers.2010 also saw Southside Johnny back in the UK again and BM took the time to catch-up with him for a chat, this is what he had to say.

BM: What draws you to the Blues?

SJ: When I was a young kid my parents liked the Blues, they had T Bone Walker and the first son of Sonny Boy Williamson, John Lee Williamson and early Ray Charles and it’s the kind of music I really like listening to. They had other things as well, big bands, Louis Armstrong, Duke Ellington. It just seemed as though it was a very real music. A lot of people were listening to pop music, my friends, and it was alright but I just gravitated to that feel that there was something human and heartfelt. You know I liked the grittiness of it.

Who are your Blues Influences?

Muddy Waters, Little Walter certainly, Sonny Boy Williamson and the very first record I bought was a Jimmy Reed album back in 60, 61 something like that. I just leant all the harmonica parts as much as I could, so he was a huge influence on me.

How did you first start in music?

My Brother bought a guitar, he saw Bob Dylan and he bought a guitar in 61, 62 and a harmonica but he didn’t buy the rack for the harmonica. So, I stole the harmonica and I would go down to the beach and sit out on the jetties and learn to play harmonica, coz nobody could hear me over the waves and the seagulls. That’s true; I just kinda enjoyed playing harmonica. Then I would stay home, clean house for my mother, and listen to all the records that she had and radio. I guess I just absorbed a lot of lyrics, so later when a friend of mine, Kenny Rutledge (Sonny Kenn) broke up his band and wanted to play Blues, he said you have to sing in my band and play harmonica. I said, “Me”! And that’s how I started out.

The Asbury Jukes, like many Blues bands has a rotating membership, can you tell us something about the current band members and what they bring to the band’s sound? Well, we’ve had over 120 people pass through this band at one time or another, some visiting firemen like Jon Bon Jovi and all that stuff. We’ve got some new guys and some old guys, I mean Joey Stann and Eddie Manion, the two Saxophone players have been with me for decades. They bring a certain steadiness to it and they’re great players, great soloists. We have a new guy Jeff Kazee; I guess he’s about 6 or 7 years in. They all bring a certain individuality that we all enjoy having on stage. I mean I don’t try to tell people what to play, I don’t try to dictate all the parts, they learn the songs and kinda find their own way of playing it. That makes it different for us, which is good. Which is one of the reasons why people come and go coz, it’s just great to have somebody new bring in their own influences, sometimes it works sometimes it doesn’t, but mostly it does.

The New Jersey area has produced some memorable and influential bands. What do you think are the defining characteristics of the New Jersey sound?

Well I don’t know, I guess it’s just any regional sound will sound a little different. It’s more blue collar, more they don’t suffer fools gladly, there’s not a lot of pretention in the basic sound of the people who play there. It’s just basic heartfelt music, whatever genre it is you can’t really fake it, the audiences won’t stand for it and we’re all part of that. We all really want to be as honest as we can on stage. I mean it sounds grandiose, there’s nothing worse than standing on stage and going through the motions, it’s the worst feeling in the world and I think that’s kinda universal in New Jersey, they just don’t wanna just do it, we really wanna do it, you know. It’s just that idea that if you’re not going up there and giving everything and being honest, you’re gonna get creamed by the audience.

What are the bands on the New Jersey scene now, that have impressed you?

Well there’s the Billy Walton Band they’ve got a couple of awards and things like that. They’re out with us actually so I have to mention them. There’s Gaslight Anthem they’re pretty good. There’s a place called The Saint that is the place for younger bands. There’s a brilliant place called the Asbury Lanes, it’s an old bowling alley and they’ve got a beautiful lounge with faux tiger skin stuff and martini’s and you bowl while the band plays and the band is real loud, it’s just so much fun it’s unbelievable.

One of the main venues on the Jersey shore scene is The Stone Pony, tell us about your association with it, and why it is such a special venue?

Well it’s just the place where we started out and groups would come and play. It has lots of acts, you know famous and up and coming acts. It’s a great place to play. I’ve just been playing there for about 35 years, so it isn’t new to me!!!

Your latest CD is “Pills and Ammo”; tell us what went into the making of this album? It’s a more aggressive album than we’ve made in the past. Not as much a Rhythm and Blues its more rock ‘n’ roll. It’s just coming from a little bit of anger I felt about the economy going bad and people being out of work and I just got frustrated and angry. When you feel that way you can either go Blues and try to let some of the sorrow come out or you can get frustrated and angry and go to rock n roll and that’s what I did. I wanted that real two guitar rock n roll album and that’s what we made.

Who wrote the songs?

I wrote all the songs with Jeff Kazee, he’s my keyboard player.

Where do you get the inspiration for your songs today?

From what happens to you over your life and all the music you listen to over time, people that you’ve been influenced by from Smokey Robinson, to Bob Dylan to Elmore James. You learn from all those guys how to express what is happening to you and you try to find your own voice, and that’s what I tried to do on this record, I mean there’s a little bit of surreal work in this and I suppose that’s from my poetry reading, you could say. But I wanted to be more down and nitty gritty but there’s just that part of you that takes you to a different place. That’s the unique part of every songwriter, how they approach expressing themselves.

SOUTHSIDE JOHNNY ONE NEW JERSEY’S BLUES SONS

New Jersey has produced many musical sons and daughters and has a proud Blues fraternity that often get overlooked in light of places like Texas, Chicago, Memphis, Detroit and New Orleans. It does though have its own Jazz and Blues Society which does some remarkable work, especially in the realm of helping to bring forward the next generation to keep both Blues and jazz alive and give them a future. Its education programme aims, “to preserve, promote and perpetuate Jazz and Blues music in the northern New Jersey shore region through performance and education”. This also includes scholarships to help Blues students study. It also works to bring together Blues and jazz musicians together. It holds an annual Jazz and Blues festival, staffed by volunteer to raise money to further its education policy. New Jersey has given us not only Southside Johnny but also Bruce Springsteen, Walter Trout, Billy Walton to name but a few. New Jersey music has it own distinct sound. It’s hard to put into words but the New Jersey sound is a pre-Beatles R’n’R and pre- Motown R’n’B. It leans itself more to dancing than its brother and sister Blues and is often heavy on instrumentation, using more keyboards, brass and horn based arrangements for its RnB roots. . Southside Johnny & The Asbury Jukes music is a good example of this. There is an element of romanticism in its music too and as Southside Johnny says, ‘it’s Blue Collar’. Very down to earth, working class and often very questioning of those who hold the reigns of power. This is beautifully displayed by Walter Trout’s song, “They Call Us the Working Class” were Trout looks at the plight of the working class in the current world financial problems. This is also seen in the lyrics of Springsteen and even the more rock orientated Bon Jovi. There are many venues throughout the State that feature the Blues music but one that instantly comes to mind is The Stone Pony. It is here that Southside Johnny has played with the Asbury Jukes for over thirty-five years. The Stone Pony was original a restaurant in Asbury. In 1974, it became a music venue and the beginning of part of a legend. The musical names from the Blues and rock that have played, there are as legendary in themselves, as the Stone Pony’s fight to survive along with Asbury Park itself, in the ever changing demands of the following decades but survive it has! It has become a place of pilgrimage to Blues, RnR and rock fans from all over the world. For Blues fans who lea more to the Blues Rock side, give New Jersey Blues a look over, you might be very surprised at what you hear!

Picture by Nancy Nutile McMenemy

You have often had none band members, such as Bon Jovi & Springsteen, join you on recordings and on stage. This CD is no different, with a number of guest appearances. Can you tell us something about these guests and why, they in particular, were asked to join you?

Well Andy York is the second guitar player. Bobby Bandiera is my usual guitar player; he’s out with Jon now, Jon Bon Jovi. Andy York plays with John Mellencamp and I wanted two guitars and I thought who we can get. We went through a number of people then Andy’s name came up and I said well bring him in. I didn’t really know him that well, I’d met him and he was great, he’s a real rock n roll player and he and Bobby just really understood each other and really got what was going on. So Andy was a pivotal part of the sound of the record. We brought in Gary (US) Bonds because he’s an old mate and I had a New Orleans style song I had written so, let’s get ‘Bondsy’ in!

What is the Blues to you?

That’s just an impossible question to answer really, the Blues to me is anytime somebody gets up there and pours their heart out, but it has to be in a certain framework of sounds and structures and beats I guess, but it can be anything from acoustic to being electric. Blues to me is Elmore James. On one of his records he just talks to the guy in the studio and just hearing him say a couple of things is the Blues coz of that voice.

Where are you looking to take your career from now on?

I have an acoustic album, I want to make. I’ve been writing songs for it for a few years. When I say acoustic, it will be acoustic instruments; there might be horns and everything, you know. Instead of the aggression of the ‘Pills And Ammo’ album it will be more acoustic. There is a number of interesting possibilities but I hate to mention ‘em because if I don’t do them then my fans go “You said you were going to do” (laughter). I think an acoustic album then another ‘Jukes’ album, probably a little more R n B, maybe more Blues I don’t know, it depends on what happens in my life, where the direction goes, I don’t try to plan it that far ahead.

Is there anything else you want to say to Blues Matters readers?

Yes, I collect old Blues records, if you have any I’ll buy ‘em. I’ve already got 5,000 so I need a few more. I’m looking for old vinyl. Other than that just keep listening, the new and the old are still out there, just keep enjoying it.

Carol Borrington

Southside Johnny & The Aysbury Dukes

shares his philosophy of the Blues with Carol Borrington

Gregg Wright is a singer, songwriter and also a guy it is easy to chat to, good sense of humour and a personal philosophy of life and the Blues developed over his life-time. His dad was in the Military and early life seems to be a series moves. An aunt’s present, Mickey Mouse and his bedroom where to centre highly to his love for the guitar. His professional career started in the mid-70s on the US Southern circuit and what a learning curve that turned out to be, opening for the likes of Albert and Freddie King. The 80s saw a move to Los Angeles, were he quickly became a much sort after session guitarist, seeing him play for names like Mick Fleetwood, Michael and Spencer Davis. His latest album, “The King Of Rockin’ Blues” brought with it great praise and affirmation from the Blues critics, dubbing him truly a Rockin Blues monarch.

BM: When did you first start playing guitar?

Greg: Actually, when I was a little boy, to keep me out of trouble, because you know how little boys get into trouble! My aunt, gave me a little wind-up guitar, Mickey Mouse and I wore it around twenty-four seven. Then when I was about thirteen, I bought a real guitar. I went from a plastic guitar to a real guitar!

What’s your favourite guitar and why?

The Fender Stratocaster is my favourite guitar!!! The reason; it is, is what you call a ’work-horse guitar’. It does a little bit of everything and it’s seemingly indestructible. You don’t have to be delicate with it, you know! It’s like a surfboard.

What part of your musical arsenal gives you the most pleasure, singing, guitarist, or songwriting?

I would say all three, yes all three!

It says in your bio while playing with Michael Jackson, you learnt not to stand and look like a statue on stage but to move around. Why is stage usage important?

Well, Michael Jackson was just an incredibly agile performer that it is very easy to appear like you are set in stone. If you stand next to him, well I’m just grateful he wasn’t a prize fighter because he’d hit you three thousand times before you could you could react. His movements were so great. I learnt a lot about performing from him!

Where do you get your inspiration for your song writing?

Pretty much life experience, the things I see. Sometimes, it is not always wholly biographical all the time. Sometimes you see situations that you relate to like in the new album, we have a song called ‘Brick By Brick’ and it is about the whole New Orleans tragedy just anything that moves you.

You’ve got a new album out; it’s called “King Of The Rockin’ Blues”. What was the thinking behind this album? Well, I started thinking about my own experience of being a little boy in a bedroom learning how to play guitar. I thought about everybody that does that! You just aspire to something, whatever. So, instead of saying like to be Johnny B Good, it is like a Blues version of Johnny B good. You call it, you know, I hope to grow up one day and become the ‘King Of The Rockin’ Blues’!!!

Is there a Blues musician dead or alive you would like to jam with and why?

Albert King!!! First of all just because he was so incredibly forceful and he just had such tremendous feel and he played left-handed upside down like I do. So, it would be like a good lesson.

Is it harder for left-handers to play guitar?

No, I think left-handers are actually playing the way it was meant to be played. Because I play the reverse of what everybody else plays, where my low strings are on the bottom and my high strings are on the top and if you look at the staff in music, it’s written that exact same way. All the low notes start at the bottom, so whoever invented guitar five hundred years ago was probably what we now call dyslexic!!!

You’ve got a reputation for your improvisation. Why for a young player would this be important to them?

Well, you speak and sometimes someone asks you a question, a lot of times speech is improvised. Music is a language, so I feel like rather than always playing within the bounds of a particular structure, it’s good to just sometimes speak. So that’s what that is!

How in the current world recession is it affecting the Blues in the USA?

I don’t think it affecting the musicians so badly, what I notice is that the crowds are increasing because it’s like a steam vent for all that hurt and frustration in the economy and the recession. So, I think there is a lot more people who can relate to the Blues and get that healing experience. You know, ‘That’s my life’ and that kind of thing.

Do you think that this might be a period when the Blues comes back into its own again?

It really is back into its own and I would say you don’t see it in the mainstream media because they are busy doing boy bands and things like that. But from a people’s standpoint it’s very much in vogue and if you look just beneath the radar, there’s a lot of Blues going on all over the world! We just came from Macedonia and Macedonia is like the far reaches of Europe. It’s almost to Turkey but there were two thousand people at the Blues festival.

Photo G Johannessen

Photo by Paul Webster

How are you finding touring, especially the festivals here in the UK?

Well other than driving on the wrong side of the road, it’s brilliant and we’ve had a great time. Everyone’s been really great to us and we hope we get a chance to do it again!

How do you think we could encourage more young people into the Blues?

Well, I know you don’t have guns in the UK but, I would advise doing an Elvis and shoot your TV and kill it!!! I think television has got to the point where it kinda sucks people’s will to live out of their brains and it sucks your creativity out of your brain. So, if you turn-off the TV, the brain activity kicks-in!

Does the same go for the computer?

It can! It depends what you are doing on the computer. A computer can be a very creative tool; because nowadays people don’t go to recording studios they make albums on computers in that sense it’s great. But if you are sitting there and you are going on to naughty websites or playing video games, then its going to suck your brain out.

What’s on the horizon for you in the future?

I’ve bought a house in California and it has a detached building in the back and we are building a studio in there, a state of the art studio. I’m looking forward to doing a new album in my new studio!

So what is the Blues to Gregg Wright?

Well you, know in America we have a lot of what we call hyphenated ethnicities. We have Italian Americans, Irish American, and German American etc. For me, what you say for me being an African American the Blues is a running narrative of our story, of our historic story in America. To overcoming those struggles, from slavery to what we call, ‘Jim Crow’, which was like the whole segregation period and to over come that, I mean to becoming, a whole human being rather than like three-fifths of a human being. So, the Blues for me is a running narrative of that story and I’m a small cog in the wheel of that story.

Can a white man sing the Blues?

Have you ever dropped an anvil on your foot? If you do, you have the Blues! I don’t care what your ethnicity is!!! It’s not necessarily an ethnic thing. It’s just from my point of view but human beings have all sorts of triumph and tragedy. I think that’s why the Blues has become such a world-wide phenomenon because everyone can relate to the joy, everyone can relate to the pain. Ever human being has those experiences in their own particular way. So yes, anyone can sing the Blues; you just get up and tell your story!!!

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

What I would like to say is I would ask people not to get so hung-up on form. Like there is a lot of people who play Blues from a technical point of view, play the form. But there’s no feeling coming from it and I would say if you really, really want

Photo by Salva

to feel and learn the Blues or play the Blues, it has to come from the soul. It has to come from expression and you have to allow for the individuality of the musicians to express themselves in the truest manner possible, rather than being a slave to the form. That ways Blues can evolve because things on the planet earth if they don’t evolve and they don’t move forward, they have this real knack of dying off.

Wife, Mother, Lover, the Stratocaster!

You get between a guitarist and their guitar at your peril! The guitar it is arguable to say is one of the most important musical instruments, but for more than just its practical usage and status symbol persona. The guitar has become almost a life force to those who play. It has formed with guitarists a strange symbiotic relationship, which can be stronger than that of mother, lover, wife or friend. This compulsive relationship, which develops between guitarists and their guitars, is visible in the care and attention given to the instrument and the neurosis when they are separated for anytime, that can develop in some guitarists. Guitarists have been known to personalise this relationship further by giving them names such as ‘Lucille’ or ‘Blackie. They sleep with them under or in their beds, take them to the toilet with them and even talk to them as if they have a living presence. Popular among the makes of guitar to be lifted to these exalted heights is the Fender Stratocaster. Certainly the chosen axe of Gregg Wright. Gregg Wright is not alone in his love of the Fender Stratocaster, this baby has graced the stage along side the greats since its creation by Leo Fender, George Fullerton, and Freddie Tavares in 1954. It has become one of the classical inventions in music and it adorns museums worldwide. As a Gregg Wright point out the Fender Strat is probably one of the most durable instruments among the guitar family, it’s a real work-horse. So what makes the Fender Strat different from the rest? Technically, the ‘Strat’ has three instantly classifiable features that give it and its owner its identity. It was designed to be easy to play. This comes from its contoured double-cutaway body. Secondly, the Fender vibrato or tremolo unit built into its special “floating bridge” is piece of genius in engineering. Last but not least, the ‘Strat’ was the first solid body electric to have three pick-ups. These were all single-coils and wired to a three-way switch. Guitarists soon cottoned on that they could balance between the two positions to give an out-of-phase sound, adding to their musical arsenal. Fender clicked onto this and changed the design to a five-way switch. The Fender Strat has changed very little since its inception in 1954; it has been modified, customised and copied but the design stays standard. If though you want to see the true value of the ‘Strat’ just take a look at just a few of those who have used it to make great moments in musical history and judge the Strat on its track record! Its players rank the likes of Buddy Holly, Jimi Hendrix. Keith Richards. The Ventures, The Beach Boys, The Yardbirds, The Beatles, The Clash. Pink Floyd, Bruce Springsteen. . Eric Clapton, Iron Maiden, The Smiths, Stevie Ray Vaughan, Elvis Costello, Rush, Buddy Guy, The Police, Kurt Cobain, Vince Gill, U2, and Green Day and the list goes on and on!! CB

Photo by Paul Webster

...........proper

...........proper

Harry Manx - Isle of Manx Dog My Cat

Isle of Manx is the first ever Harry Manx compilation, and serves as a celebration of his tenth overall release!

Thirteen original tracks. It is a perfect doorway to the “mysticssippian” world of Harry Manx.

Tracks:

Tijuana, Coat of Mail, The Great Unknown, True To Yourself, Roses Given, A Single Spark, Your Eyes Have Seen, Don’t Forget To Miss Me, Make Way For The Living, Lay Down My Worries, Your Sweet Name, Bring That Thing, Dew On Roses, I’m Sitting on Top of the World, Forgive & Remember

www.harrymanx.com

For more information, news, competitions and much more

For more information, news, competitions and much more

Malcolm Holcombe - To Drink The Rain Music Road

“From the first note I was drawn in. Malcolm Holcombe is an old soul and modern day blues poet. He is a rare find.” Lucinda

Duncan Beattie encounters a Finnish pioneer

From rural Finland Erja Lyytinen has emerged to International recognition as a Blues based singer and songwriter into a male dominated music scene. Having recorded in the deep American south with legendary producers, toured twice with the Blues Caravan and developed a strong following Lyytinen has continually broken boundaries. Her latest album “Voracious Love” is a fine song based collection which blends the traditional elements of the genre with a modern outlook. With a UK tour on the horizon she took spent time out to discuss her fascinating journey so far.

Let’s start with your upbringing: How did you encounter the Blues and what prompted you to start playing music? I came from a musical family and heard lots of different music since I was little. I was familiar with the Blues but the turning point was when I saw a Ray Charles video. I remember getting goose bumps! Around the same time my friend brought me Koko Taylor´s “The Earthshaker” and I started to play Koko´s songs and learned to play the guitar riffs between vocal phrases. Blues felt like my thing right from the start. I guess the fact that it is music full of emotion appealed me too because I was going through some hard times in my personal life too.

Can you tell me about your early career? Was it hard getting established in Finland? I started playing gigs at around 15, in my parents’ band and then various different bands. I learned from my parents that you have to work hard and you need to do many things yourself. The popular music-scene in Finland has changed enormously in a few years, but when I was first starting out, there really weren’t too many managers or agents, and those that existed only worked for the bigger rock-acts. So I had to do everything by myself. I moved to Helsinki and I started touring with a band. We were called “Dave´s Special feat. Erja Lyytinen” and we got a record deal with a small domestic label called Bluelight Records. We were playing jump/blues and people loved that dancing-kind style of blues. So we started to get a lot of exposure, and as a front woman being a lead guitarist, it also raised interest in the media too. I also had played quite a lot on Finnish TV as a session player, so people knew me from there too. Very soon I was writing more and more of my own music, changed the band and went for a solo career. Bluelight records was mainly operating in Finland and I was playing around 80-90 gigs a year in a small country. I wanted to broaden my circuit. So I signed to an international label, Ruf Records. They gave me good advice how to improve my music, performance, promotion, everything. And suddenly Finland went for Blues too. Because Blues wasn´t very popular in Finland a decade ago, I have been very pleased to be a part of raising its status in Finland and feel blessed that I can take it also outside of my home country.

Then you went to the USA and recorded “Pilgrimage” with British Blues musicians, Aynsley Lister and Ian Parker. Please can you tell the readers about the trip and recording of the album?

After signing with Ruf, things started to happen quickly. I met Thomas Ruf in May 2005 and by August I was recording with two other artists in the land where the Blues began. We stayed at the Hopson´s plantation, Clarksdale, went to the famous crossroads and knelt down at the crossroads. So the trip included some blues tourism, but I also got a lot from it emotionally, a Blues awakening. We recorded 9 tracks in Mississippi, at Jimbo Mathus´s studio, very low-key and in a relaxed atmosphere. Clarksdale is amazing – you hear blues everywhere! We also recorded in Memphis at posh Ardent Studios with producer Jim Gaines. He’d worked with Albert Collins, who´s playing I simply adore, the legendary Stevie Ray Vaughan and many other big names in the Blues field. I was thrilled to meet him. As a whole, the trip was very eye opening; it gave me deeper understanding of the blues, experiencing and learning the history and the origin of it.

And the Blues Caravan tour that followed took you to the UK…

I was thrilled to come to UK for the first time. A lot of Rock and Blues history comes from Britain and music business is obviously big in there. I´m very interested in lyrics and lyric writing and I sing in English, so I felt the people could really get what I was saying within my songs and that was very rewarding. It´s not that obvious in countries where English isn´t the native language.

You returned to the USA to work where you recorded “Dreamland Blues” with producers David and Kinney Kimbrough. Did you find you had a similar approach to the Blues as the sons of Junior Kimbrough?

As a white musician with formal training, coming from Scandinavia to record a solo album with two delta blues legends sons, born and raised in Mississippi, you really couldn’t predict the outcome of those sessions! But that is also what I think that makes it interesting. I brought in some of my songs to be recorded, but soon discovered, that some of them wouldn´t probably suite those sessions. So I wrote a couple new songs at the spot – ‘Good Lovin´ Man’ was one of them, an Elmore James kind of style shuffle, and the Kimbroughs did very well on that one. I also remember when we first went through the first few bars of the instrumental, which ended up to be “Skinny Girl” on the album, a kind of Hound Dog Taylor party-song. For that kind of raw and honest kind of slide-guitar blues, those guys were just perfect. The overall sound of the album is pretty dark, very lo-fi, it doesn´t sound like it was recorded digitally, although it was. It came out pretty bluesy and not too polished, exactly why we went to Mississippi in the first place. And many have praised the sound of it! If I do this kind of project again, I´d probably only bring some lyrics with me and make a proper jam-album.

You’re a renowned slide guitar player. What is it that makes slide guitar so emotive and attention grabbing?

I guess it´s the singing, voice-like sound you get out of slide playing that fascinates our ears. I love the fact that it works as extension for the phrases you sing and feels more flexible than playing with plain fingers. I learned to play slide by myself. When playing slide, I don´t use any scales or patterns, I just play by ear and every solo comes out different. While recording “Voracious Love” I started to explore more slide playing different tunings and where I could go with the slide, like in the song ‘Bird’ where I played my favourite blue metal-flake G&L Asat Z-3 in open C tuning, although the song was in A. I intend to do that more in the future. When playing live I love that fact that I can get out a big sound with slide guitar. I use my slide guitars in open C, D or G and use a lot of distortion so the notes are really bound together. Sometimes I play with a clean sound and I pick the strings near the bridge to get that twangy T-Bone Walker type of sound. There´s so many different ways to play slide guitar and I´ve got more to explore.

You returned to the Blues Caravan, with Oli Brown and Joanne Shaw Taylor. How do you compare Britain’s younger Blues artists?

The fact that even younger and younger musicians are getting inspired and hooked to the Blues is fantastic. All these artists I´ve played with are very different from each other. They all have the British Blues-Rock influence that I really can relate too. Ian is a brilliant songwriter, Aynsley was one of the first youngsters to play great Rock-Blues guitar, Joanne she really is a female SRV and Oli being the youngest fast developing guitarist, we will hear much more from him.

How does “Voracious Love” vary to your earlier work?

I wanted to make a collection of love songs, the painful side of love, how we search for love, how we get disappointed or how we use each other to satisfy our own needs. So I came up with these stories about situations where if we haven’t been there ourselves then we certainly know someone else who has. There´s humour in the songs as well; things never should get too serious! Being a concept album, “Voracious Love” differs from “Grip Of The Blues” in the production as well. I really wanted to make a studio album and push the songs as far as I could sound-wise. We built the songs in the studio. Played live, they change dramatically. This time we focused on making the solos really more a part of the songs, rather than just something more attached later on. The songs were the main thing, yet there´s more guitar tracks in this album than ever. You have to probably listen twice to hear that though. I also had guest artists for the first time, Paavo Lotjonen (Apocalyptica) playing cello, Marco Hietala (Nightwish) on the duet “Bed Of Roses”. I wrote string parts. We explored quite a bit with the vocals and even two drummers playing at the same time in one song!

What are you favourite songs on the album?

I really like ‘Bird’. I wrote the lyrics after helping a bird which actually had flown in through my balcony door. It´s a song about freedom; how we end up creating our own cages around us. I wrote ‘Crowes At Your Door’ with an American producer-songwriter Jon Tiven, who has written for Irma Thomas, BB King, Robert Cray etc. The story is about crows circling around your house, telling you that you´ve been cheated, someone took your man away. I love sad songs…to play the sad feeling out! I also like ‘Bed Of Roses’ a lot, because you don´t get to sing many duets. ! It was also great to use my violinist background while making the arrangements. For a ballad of love gone cold, I think you really need to have strings in it. The title track ‘Voracious Love’ is fun too with slide guitar played through a wah wah pedal. I was experimenting with my singing in the last part of the song and we added this fun vocal harmony in there. ‘Oil And Water,’ turned out very nice too. It’s a Delta blues-style slide riff attached to modern rhythm section playing. I played through a tiny little amp Fender Champ, with my Supro 1952´s.

You also recorded Blind Willie Johnson’s ‘Soul Of A Man’. Does prewar Blues influence your music?

Very much so! I have always loved the pre-war stuff, Robert Johnson, Charley Patton, Son House etc. I actually wrote a thesis about Son House and the character of his playing last year and naturally blended that into my music. I’m a young woman and influenced by this world around me, but I always try to respect the tradition to try to create something of my own. To take the old and give it a new modern form and if someone gets touched by that, then my mission is accomplished.

What are your future plans?

This year I will be touring quite a lot and I´m planning on releasing a live album - something fans have been asking for some time. And writing new songs of course!

You return to the UK in March to play some shows. How do you find British Blues fans?

I love playing there and feel like we got some truthful fans there too. I recognize faces, and we always have some new fans too. As an audience, I think Finnish and British are pretty much the same. They first listen, critically, and applaud politely. If they really love it, they go crazy towards the end, stand and make a lot of noise! Then tell you how they liked the show. My British fans are very supporting. Thank you so much for the support you all have given me!

TheSoulofaWoman

Since he won a blues talent competition in his home -town of Fredericton in New Brunswick back in 2002, Matt Andersen’s music career has come in leaps and bounds. A regular to British shores, Matt’s brand of soulful blues has led him to tour extensively across the US where he has played with greats such as David “Honey Boy” Edwards, Little Feat and the late Bo Diddley. At the start of last year, he wowed the very hard to please audience at the International Blues Challenge in Memphis, which he won. This prestige has given him the chance to perform at high profile festivals across the world. It’s nearly the end of the year, and after a brief meeting at the Harvest Jazz and Blues Festival in his hometown of Fredericton, I manage to catch him backstage at the Half Moon in Putney, London where he reflects on the year just gone.

BM How has 2010 been for you since you won the International Blues Challenge in Memphis?

MA The year was already geared prior I went to Memphis. As a result, since I won the Memphis blues challenge, I have been on the road pretty steady from across Canada to down into the States and then England, Normally I come over here two or three times a year.

What is it about UK audience that makes you want to return? There is a huge Blues history over here. It’s the chance to play in front of new people, which is always fun and enjoying traveling around which makes it a win/win situation.

Interviewer: Pariomita Saha

Last time we spoke was at the Harvest Blues and Jazz Festival in Fredericton, which launched your career back in 2002, How do you feel your home festival is evolving and how do you see it fitting in within international blues festival circuit?

It’s the biggest festival in Canada east of Montreal and you can tell from the international acts they attract. The organizer Brent is very good at bringing in the big international names as well as supporting the smaller local acts, which I feel festivals loose some time. For a local artist like me, it’s given me opportunities to open up for some great blues acts like Colin James and Little Feat. The festival grows every year and I’ve been there since 2002. It gets bigger and bigger every year.

Also at the festival, you judged the Rising Stars Galaxie competition and you will be doing the same in the UK this year to find a new blues artist who will get the chance to perform at Harvest this year. What kind of things do you look out for?

You have to be original and genuine. It happens a lot in the blues world where people put on sunglasses and they think they are in a blues band. So you have to try to weed through that. Sometimes you see 8-10 bands all at once and you see the similarities sometimes. It’s nice when someone who pops out the hat and does something different, that’s the kind of thing I look for.

Also at Harvest, you played quite extensively over the three days and with some of your Canadian counterparts. Is there a real sense of solidarity within the Canadian blues scene?

I played the Thursday night, Friday morning and then Friday night. On Thursday night, I played with Canadian harmonica player Mike Stevens who I did an album with. Ross Nielsen (from the Sufferin Bastards) and I grew up twenty minutes from each other. His mother taught my mother, so we knew each other before we both got involved in music. We are very lucky on the East Coast because the scene is very close. We are all friends with each other so it’s good on and off stage.

How do you see the Canadian blues scene evolving? For example, your old friend Ross Nielsen and the Sufferin’Bastards went to the Deep South to record with North Mississippi All Stars and Hill Country Revue’s Cody Dickinson.

The scene is now spreading across the States and to different parts of the world thanks to the fact Canada has very good Blues musicians to export. I don’t know if we had that reputation before.

When you won the Memphis Blues Challenge, how did you feel the other blues artists responded to you, as a Canadian Blues artist?

It went really well. I was little nervous after all it’s where the blues originated. I really got a warm reception. It surprised them that Canadians actually listen to the blues. It was a lot of fun showing them what we have got up here.

Are there any similarities you can draw between the Deep South, which is the birthplace of the blues and the Canadian Maritimes, which has embraced the blues?

For start, when I travel to the Deep South, I feel I am at home. I think it’s the type of the community down there which is very close knit, family orientated plus there are a lot of workers. I think that’s the connection between them and the East Coast of Canada.

Tell me about your new album that you will release this year?

Colin Linden is going to be producing it, which I am really excited about. I have been a big fan of his for a very long time. Colin was in a band at home called Black and the Rodeo Kings. He had a pretty huge solo career. He also produced a lot of albums for Canadian singer /songwriter Bruce Cockburn. For us back at home, he is one of those who tied in with the Blues. When he was twelve he was hanging out with Sonny Terry and Howlin Wolf whenever they played at the clubs in Toronto. He would sit with these guys. I consider him to be a link to the first generation of the blues guys. I am just a huge fan of his music too. He’s a fantastic writer and player.

Where are you going to record?

We are going to record at Levon Helm’s studio in New York. He was the drummer from The Band. Colin has worked with The Band. He also worked a lot on the soundtrack to “O’ Brother – Where Art Thou?”

So given Colin’s background- are we expecting an album with a more traditional Blues sound? I’ve taken influences from everything I listen to and blues definitely is one of them. There are also some folk in there too. When I sit down to write, I don’t focus on writing a blues song. I just write a song. I am sure there will be some heartache in there. We have written three tunes. One of them focuses on the shut down coalmines in Cape Breton, Halifax.

Has that environment acted as an inspiration for your material?

Yes it’s in a couple of tunes. Again, it’s that whole working class thing. I realized after playing that tune over here and over at home, that it’s something really universal. We played it in Sheffield, which was an old coalmining town too and the same kind of thing has happened across the States.

How long have your writing songs for?

For me I started out in bars and playing all kind of stuff. Started listening to more and more of Clapton and BB King. I guess that’s how people have started listening to the blues because they are the mainstream guys. I guess I started looking at their influences and that’s when I got into the soul and roots of this.

How do you see your career evolving from here? What is your dream goal?

I guess things have been going really well for me in Canada and I just like to see that spread across everywhere. For example, when I roll up into town, it’s good to know that people are going to come and see me. That’s about it really. I just want to be able to sustain.

How do you look back upon the past six years? What kind of person do you think you have become since you won the Rising Stars Galaxie Competition at Harvest in 2002?

Well I think I play better and I’ve become comfortable in my own skin for sure. Being on stage, I am pretty comfortable whereas before I have been nervous.

Interview with Cody Dickinson

By Paramoita Saha

Since the successful launch of their first album, “Make A Move,” Hill Country Revue has established themselves as a leading southern Blues rock band. It comes, as no surprise, since the brains behind this project, is Grammy nominated producer and North Mississippi All Stars drummer Cody Dickinson. Son of the late legendary Mississippi producer Jim Dickinson, Cody is loyal to his roots in the Hill Country Blues that he blends with hard-edged rock. Comprising of local and international talent, Hill Country Revue successfully brings these sounds altogether. I manage to catch up with Cody for a brief conversation backstage at the Harvest Jazz and Blues Festival in New Brunswick, where he tells me about the band’s new album “Zebra Ranch,” and keeping alive his father’s legacy.

Cody, you were in the North Mississippi All Stars and now Hill Country Revue? Why did you decide to change groups?

I have to keep it interesting and fresh as an artist. One of the main differences between Hill Country Revue and North Mississippi All Stars, is I play guitar and I don’t get behind the drums with Hill Country Revue. Creatively it’s good for me, as it keeps playing shows fresh and exciting.

You have quite an interesting potpourri of talent in Hill Country Revue? How did that come about? It really is. One of my favorite things is to work with musicians that I admire. There is so much talent out there, but it is so untapped. We have such an interesting network of musicians that are lucky to jam with each other. It’s almost kind of inbred. For example, our bass player Doc is from Senegal. On this occasion, John C Stubblefield is playing bass with us here in Canada. He also produced our current record. He’s our international superstar tonight.

Back in 2009, you released your debut album, “Make A Move,” which managed to take off very quickly in terms of exposure. How did that come about?

Hill Country is one of those things that is so almost hard to believe how it happened so quickly. We got together, and recorded our first session and made demo CD that got out, through My Space. Nashville artist Warren Haynes, ended up listening to it and more importantly his wife was program director of a radio show called Jam On. She was really getting stuff out there. It was being played on the radio before we even released anything.

But do you think your reputation with the North Mississippi All Stars helped in securing this exposure?

Yes it definitely helped our attendance at festivals. It’s interesting with a lot of bands, when separate members go their own way as sometimes they fail. It is by no means a guarantee of success. I mean there are so many examples of huge artists that go off and do their own thing but unfortunately it does not work like that. At the end of the day it has to be good. If the music sucks the audience will not respond.

Tell me about your current album that was named Zebra Ranch which was named after your late father’s Jim Dickinson’s studio in North Mississippi?

Funnily today, I was writing about what production is. It’s about manipulating time and space, like making the most of the moment of what you are given. The art is living it at it’s fullest and at that moment you need to capture it and that’s production. This is what my father taught me and this is the sort of knowledge that he passed on. I didn’t really know what it was for years, until I watched him in the studio. I started to understand what was I doing. It was like psychological tricks that you play on people and with one of those tricks, he used to say to me was think about the “Zebra,” which meant stop what you are doing and think about the Zebra. It was like hitting a button in a recording situation and that’s where the name Zebra Ranch came from.

Was Zebra a name given to a particular device in the studio?

Oh no – it’s totally metaphoric. That’s the point - it takes you away from the technical awareness. Basically, it’s the Eureka phenomena.

How did you get to play Harvest Jazz and Blues festival?

That’s a great example of good networking. Ross and the Sufferin bastards came to Mississippi and recorded his album at the ranch. We had such a great time recording with him. It was cool of him to get us this gig. As the All Stars we played here a couple of years ago. The hospitality is great over here.

What happens now?

We were getting ready around the release of the album – we started a little early two month prior to its release and we have been touring the heck out of it for the next six months.

Do you have any plans to come to the UK?

We hope so. I just worked with singer/ songwriter Ian Segal and his manager is working on getting Hill Country Revue a tour of the UK. I hope it works out.

FESTIVALFEVER

EVENTS THAT HAVE HELPED SHOWCASE THE BLUES

CARLISLE BLUES FESTIVAL 2010

12th to 14th November

My advice for anyone who loves blues music is “Don’t wait too late to get your tickets for 2011” many did this year and were disappointed. This was the only UK Blues festival to sell out all three days before the weekend started. Though only in its 4th year, this festival is fast becoming ‘The Festival’ to attend. Called by some “The Civilised Festival” there is no running from one venue to another, or camping out in the cold or wet. The festival is held in the one hotel, which is taken over for the duration of the festival by Blues enthusiasts. All rooms are filled by the audience and extra accommodation is easy to find at this time of year in Carlisle. This year there was a great T-shirt designed by North East artist Geoff Marston, depicting Paul Butterfield in collage form of all the bands that have appeared at the three preceding festivals. Such was the demand that all T shirts sold out, order forms had to be produced for more T shirts .A Festival magazine also proved to be popular, with information and backgrounds of all the acts appearing.

This festival is extremely well organized and the artists appearing are at the top of their genre. There was plenty of variety in the program, something for everyone. Starting on Friday evening was Kevin Thorpe’s Tipping Point, they performed as a tribute to Kevin who unfortunately died earlier this year. The band did Kevin proud and their rendition of the title track of the album “Antidote” with a great guitar solo, and wonderful Hammond organ played by Dale Storr who joined the band on this occasion and also plays on the album. Chantel McGregor carried on the pace with some soaring guitar work and vocals that get better at every performance, showcasing her new band she is definitely a force to be reckoned with. From new to old or should I say old family, Mud Morganfield is the eldest son of Muddy Waters, with his backing band the Dirty Aces. He is not living off his father`s name, but he has an uncanny resemblance to his father, both in mannerisms and vocally. The pace was really hotting up now as James Hunter came to the stage with his skintight band, James is a master of R&B and if you don’t get him on first hearing stick it out, he is an acquired taste and once you get a taste for him you will feast at the table over and over again. Stella performance! Friday night rounded off in the bar, for anyone left with any energy with Dale Storr’s band giving us a great end to the evening with their New Orleans Blues. Check out their new CD it’s great. Saturday lunchtime started off with Steve (Pablo the artist) who really surprised people who didn`t know that he also plays in a band called Karac, playing blues, folk, rock music. Following on with more acoustic delights, Lucy Zirins, an 18 year old from Burnley who plays Mississippi Delta slide on her resonator guitar in traditional fashion, sending shivers down your spine. It’s great to see fresh young talent (especially a woman) keeping the tradition alive. If you haven’t seen her you really should check her out, she is in it for the duration. Easing into the afternoon we were then woken up by the toure de force that is The Revolutionaires. Influences by 1940’s and 50’s R&B this band can certainly get everyone on their feet dancing. Their high energy style most definitely comes from Ed the versatile front man playing guitar, harmonica, dancing and singing, all rounder wouldn’t you say!. Who could follow that …well Nicky Moore’s Blues Corporation. Nicky now a few stone lighter and looking very smart in a suit and waistcoat and standing to sing courtesy of the back operation he had earlier this year. Nicky has perfect pitch, and intercedes his marvellous vocals with

Marcus Bonfanti

Ben Prestage

irreverent banter, which always pleases the crowd, a fitting end to the afternoon’s entertainment. The evening kicked off with one of last year’s favourites, at any festival in the UK or Europe. Hokie Joint, their charismatic front man Jo Jo Burgess is backed by another festival favourite Giles King, the whole band are a force to be reckoned with and real crowd pleasers. They certainly had upped the ante for the next band, Hamilton Loomis from Dallas Texas, who rose to the challenge and put on a performance which enthralled the crowd. True to his late mentor Bo Diddley’s philosophy of bringing on new talent, Hamilton introduced a special guest in the form of 13 year old Alex Mckeon, another young talent ready to take on the reigns in a few years from now. By now the whole audience was buzzing with anticipation and ready to totally let go and enjoy the next band up. Step forward Michael Burks from America who was playing in the UK for the first time and from the reception he got at the festival it will not be his last. After a few encores the audience were into the bar for the last entertainment of the evening The Deluxe a local band who finished the evening off augmented by Giles King joining the band for a jam. Sunday afternoon, and far from flagging, the audience is raring to go, especially as the afternoons entertainment is full of expectation. Marcus Bonfanti wowed the audience last year by starting off the Sunday afternoon with an acoustic set, this time he had brought his band and he once again wowed the audience, performing with his band it was a spellbinding experience, total artistic flare. Could Ben Prestage keep the momentum going? He is another US artists performing for the first time at a UK festival. Ben is in the vein of Seasick Steve, but for my money a more technically adept performer. He has a charismatic style playing the whole ‘band parts himself! It wouldn’t have been the Carlisle Blues Festival without a performance by Ian Siegal, this year with his solo set, singing many festival favourites which included “Gallo Del Cielo”. Ian invited Ben Prestage to join him on stage and it was soon apparent that they both have respect for each other’s musical prowess. Trading singing and playing, with the ease of accomplished artists, definitely worth seeing if they get together again for another tour. Having been disappointed by Chris Farlowe cancelling, Nick Westgarth the organizer pulled in ‘Never The Bride’ to finish off the afternoon. Nikki Lamborn’s stirring vocals complemented the euphoric experience of the weekend. The band stormed through a catalogue of their self compositions including “The Living Tree” a song covered by Shirley Bassey no less. It was a fitting end to a festival which had something for everyone, but every performance could be appreciated for its musical prowess and outstanding performance’s. Roll on next year, I for one can’t wait it’s definitely on my calendar already.

Kitty Rae

BOOGLOO BIG BLUES FESTIVAL

Prestatyn, Wales 3rd-5th September 2010

This was Boogloo’s first festival at Pontins and accommodation wise, luxury was not how it is best described and the weather was not totally kind either. Yet, this was more than made up for by the excellent music on show all weekend and the friendly, warm atmosphere that permeated throughout. Friday night opened with Chix Wiv Pix, a predominately female band with a lot of potential future talent on show. Their set was mainly Blues covers but the band certainly set the event off with drive and enthusiasm, that was to hurtle on in pace throughout the weekend. Nicky Moore’s Blues Corporation was the headline act for the evening and it was nice to see Nicky back in action and on top form after his operation earlier in the year. Nicky’s vocal covers an impressive range and allied to his expert microphone technique, and stage presence, he’s one of those natural front men who can hold any stage, even seated! His rendition of Johnny Winter’s, ‘Mississippi Blues’ was masterfully executed and ‘Hog On A Log’ went down a storm with the punters. The set finished with calls for an encore and Nicky was more than happy to furnish their wishes with a couple more numbers to complete the first night’s main stage entertainment. In the bar, a second stage had been set up and throughout the weekend provided a spot for post gig jams sessions led by Tim Aves, that carried on until the ‘very’ early hours of the morning! Saturday, began with an introductory session in the afternoon on the second stage from The Mustangs. They kicked-off with the solid Blues rocker ‘Let It Roll’ and it was clear they meant business even at this early hour of the day’s proceedings and throughout their performance, set a standard that was to run for the rest of the day’s events. The main stage events began with a youthful feeling, which featured firstly fourteen year old Alex McKown and his band. Alex produced a polished set; his guitar work was technically correct throughout and showing good potential in the making. His vocal was somewhat weak at times, but he’s fourteen and it’s just about to break, so the next few years will truly display this element of his talent for the future. His stage presence was good, with an

Sherman Robertson

Photos by Christine Moore

FESTIVAL FEVER

already established good audience contact. This seemed to come very naturally to him. He was also very confident for his age and he was certainly taken to the heart of the punter. He finished with a good cover of ‘Superstition’, which brought him cheers of approval from the assembled. One to keep an eye on for the future! The theme of younger Blues musician was continued by the next act, The Chantel McGregor Band. The band in this performance were in the middle of a transition period having changed bass players a few days earlier and having to used a stand-in at short notice until their permanent bassist player could join them. This though did not stop the trio giving their heart and soul to the performance and Chantel pulled out some blistering guitar work and emotive vocal throughout. Little Stevie and The Business had the most difficult job of the weekend, as they entertained the punters through the teatime session, but equipped themselves well, even with a changing audience coming and going from their evening meals. The Stumble commenced the second session of the day, with a class performance that befits their reputation as one of those bands not getting the credit they deserve on the circuit at present, even though they are one the UK’s best acts. The band were powered up throughout the performance Paul Melville’s vocal driving through the lyrics , with guitarists Colin Black and Jonny Spencer displaying their guitar prowess. Simon Anthony wooed the crowd with his soulful sax and all nicely held together by the percussion of bassist Dave Heath and drumming Boyd Tanner. The headline act for the night was Texan guitarist Eugene Hideaway Bridges and what a set, it was on fire. As well as filling the dance floor with Blues fans, he even managed to grab the attention some of the dancers from the R’n’R Weekend going on in the other theatre. They weren’t supposed to come in, but the music of Eugene drifting through the night air was too much of a temptation to not join the throng on dance floor for some hot Texas Blues! Sunday arrived and the afternoon session started on the second stage with a performance from Rhythm Zoo. Lead singer Anthea Harrison’s vocal was superb throughout and she also has a captivating stage presence that holds punters in her hands and keeps them there. This four piece band set the pace for a fine day of music. Rhythm Zoo are band to get a look out on the circuit, there’s a lot of talent there. The Jackson Holler Band commenced proceedings on the main stage and Earl Jackson proved himself not only to a good vocalist but also the consummate showman. There a lot to come in the future from Mr Jackson and he’s a name to look out. More on the traditional RnR side than actually traditional Blues but well worth a look. Trafficker got the short straw of teatime set but Tommy Allen and band aced it and managed to retain the bulk of the audience who had hurriedly rushed their teas not to miss out. He brought Chantel McGregor on stage to duet with him. It turned out to be a bit of fun dual of guitars in the end, with Tommy pushing Chantel through a series of complex riffs to see just what the girl had got, including at one point drifting into the realm of classic guitar. Chantel had got talent and the bottle to match him back and the pair produced an exciting and highly entertaining piece between them but most of all, technically highly impressive on both sides of the dual! The man that no festival is complete without took the stage next, Sean Webster. Just recovering from a broken arm, he had not managed to play with his band drummer Phil Wilson and bassist Tom Latham since the beginning of June and was still struggling with the arm. That didn’t stop Sean putting on an absolutely stunning set. His guitar was probably a little more subdued than normal but that awing affect of his emotion driven vocal with its fine register and good intention was still at maximum capacity. Phil Wilson and Tom Latham are masters of their musical crafts anyway and put alongside Sean, you’ve always got a winning act. Sean did drop a bit of bombshell, when he announced he was about to move to Holland to live but promised faithfully, he would be dropping in to play from time to time. It is to be hoped to be so, Sean moving abroad will leave a hole in the UK circuit. It may just be the case; we didn’t know what a treasure we had, until it’s gone. Aynsley Lister came up next and his set was on fire. Not in anyway to downgrade any of Aynsley’s self-penned material, which is first class. The highlight of his set was a performance of ‘Purple Rain’. This is a song that puts a lot of demands on the performer but when done correctly looks easy to the punter and Aynsley’s version ranked with one the better versions. He and his band did it stunning justice! All good things must come to an end and this weekend was closing fast towards its terminus. Yet what a way to end with Texan guitarist Sherman Robertson and his UK based band. A few riffs from Sherman Blues Matters! 68

Paul Melrose - The Stumble

Photo by Christine Moore

John Jackson

Photo by Douwe Djistra

FESTIVAL FEVER

and the dancers from next door’s gig were soon back in the room, strutting their stuff in line formation this time and much to the fascination of Sherman! There was of course the customary Sherman walkabout to the delight of the crowd. Sherman is another consummate showman, but under that show is a technically precise and emotion ridden guitarist of true merit. Thus the weekend came to an end and what a weekend! The best description of events is the words over-heard in the bar at the end. It came from two sets of couples from the RnR festival next door. When asked by one of their fellow RnR friends, if they had watched a, we say not be named band on the RnR Stage. Their answer was, “No, we’ve been in the Blues Stage all night, the music was better.” A bewildered friend walked away saying, “The Blues!”

FESTIVAL BLUES NOTES 2010

Franqueville Saint Pierre, Normandy, France Saturday, 23rd April 2010

Ana Popovic

Carol Borrington

For its second edition, the Festival Blues Notes in Franqueville Saint Pierre (Normandy) aimed high with a line-up including one of the leading stars of European Blues, Ana Popovic. For its second year, the Passerelle association, headed by Alain Gires, wished to welcome an international star as well as regional artists from Normandy, This was a perfect mix, demonstrating how music lovers could give a chance and a stage to bands that haven’t yet reached Ana Popovic’s notoriety. The exceptional organisation of this festival, carried out by volunteers, music lovers who made sure that musicians, press and public were all well looked after, should be an example to many other festival organisers.

It was up to a local quartet, New Line Up, to open the festival and it was a great surprise. Their obvious pleasure to play Blues together was communicative. The public was really enthusiastic about their inspired and inspiring set and the applause matched the performance, everyone happy to partake in this pure moment of Blues magic! The instrumental quality of their performance in tracks like ‘Sometimes’, ‘Trouble In Mind’ or ‘Baby’s Boogie’ was phenomenal and their stage presence in a class of its own. New Line Up: a band worth reckoning with!

Goodbye Joe, the second band to get on stage, displayed an impressive lineup of musicians. The singer’s look and presence was faultless, leading his band like a maestro, mesmerising the public with his talent and charisma. Goodbye Joe’s strong point was to mix compositions and covers, covers which appeared to be originals such as the beautifully performed ‘Blues Monday’ or the outstanding version of the Stones’ ‘Dead Flowers’. Like New Line Up, Goodbye Joe deserves to see concert halls open their doors even if unfortunately, all the musicians haven’t quite yet got the look and visual presence of New Line Up.

Top of the billboard, we were all waiting for her: the beautiful Serbian. It’s in a sexy top, leather

Goodbye Joe

trousers and deadly high heeled boots that Ana Popovic appeared on stage demonstrating her talent with a six string, the only downside being the excessive decibel exposure. A shame since we all knew the blonde guitar player was more than capable of offering a top quality sound without forcing. But unfortunately, on that night of the 23rd of April 2010, her sound engineer didn’t seem to be aware that the sound was on overdose, the voice of the beautiful Popovic being sometimes completely squashed by the bass, guitar and drums. We must make, however, a special mention of her young drummer, Stéphane Avellaneda: a real talent with attitude!

An icon of the six string, safe in the knowledge of her seductive powers, Ana Popovic performed tracks from her various albums including her latest one, “Blind for Love”, bringing her public right up against the stage and even if the sound was not great, the public stayed up till very late in the night, giving her a standing ovation before running to the front of the room for her autograph.

We must thank again the Passerelle association and its president, and all the volunteers who have made the second edition of Blues Notes Festival a very special event in the world of French and international Blues. Frankie Bluesy Pfeiffer and Nat Harrap

Photos: Frankie Bluesy Pfeiffer

THE GREAT BRITISH RHYTHM AND BLUES FESTIVAL

Colne 27-30th August 2010.

Now into its twenty-first year Colne sits high on the list of UK Blues festivals and 2010 was no exception. As the August sun started to fade into a growing night sky, The Blues Train made its way from Preston station to Colne to mark the beginning of events. This is the fifth year that Colne has worked in partnership with Northern Rail and East Lancashire Community Railway. On board the train musicians play and real ale is served. The Colne railway station was also involved over the weekend featuring a timetable of Blues musicians on the platform to entertain commuters. This is just one example of how Colne has brought a whole town involvement into the festival and one of the features that makes a success year after year. As to the weekend itself, three main stages where once again in operation the International, British and Acoustic stage. The pubs and Rugby club around the town provide their stages to supplement the main stages and all credit goes to those bands who played this fringe, the standard of music throughout the whole weekend was very good and added a extra dimension, in that it allowed for new and lesser known bands to be showcased to a more diverse audience than they would have got in their home locations. This in future years may prove to be an important part of the survival of the grassroots, the nursery of the future of the Blues as we enter a period of austerity closing venues and shortage of money for the finer things in life like music! We lose our small venues at our peril but our festivals have to be preserved because they showcase the talent our venues produce. Friday night, saw the International presenting acts that showcased the best of UK Blues and RnB and saw the International Stage completely sold out. The Hamsters kicked off events, followed by Dr Feelgood, Nine Below Zero and finishing with Eddie & The Hot Rods, giving fans not only a series of cracking performances, value for money but also increasing the thirst for the rest of the weekend to come. Saturday was a day of many choices but choices had to be

Oli Brown

Imelda May

by Christine Moore

FESTIVAL FEVER

made! At Crown pub was Feed Me. A new and young band that were the winning entry for The Battle of The Bands at Maryport Festival earlier and who had impressed all who saw them. This performance at Colne saw them win many more new fans and packed The Crown to capacity. It was one of those occasions when people where coming in from the street stopped in their tracks by high quality of music coming from inside and stayed to listen. So, knocked out was landlord that he asked them back to do another set later in the day! The Mitch Laddie trio was next on list and on The British Stage. The first thing that was apparent, Mitch’s style has matured into his own unique guitar fingerprint rather that of his heroes Trout & Bonamassa. He started his set bravely with an instrumental that saw him put his guitar through a series of technical gymnastics, all well executed and with feeling. He’s a guitarist who is not afraid to the breadth and depth of stage to showcase his playing and had a good rapport with his audience throughout the set. ‘Goin To Get You Back’ was a solid Blues rocker and displaying that Mitch’s vocal was starting get its full adult sound. It had good, depth and just enough grit. The trouble with these younger male artists especially, is that guitar skills are mastered quite early but the vocal has to wait for nature to do its bit but on this showing Mitch is well on his way to living up to the potential we have seen over the last few years. Credit must also go to the rest of band in Rhea Wilkinson on bass and Lee Clifford. These two are good musicians in their own right and in combination form a trio with a long future in front of them. Lyndon Anderson’s Electric Fez came next and gave an equally impressive performance. Lyndon Anderson proved himself to be a first class harmonica player who can skilfully blend Blues, jazz and funk with truly intense emotion with the best. Supported by a talented and tight band, they are one to catch in the future. A change to the International for Sandi Thom was the next order of the day. This was an interesting set by Sandi. She was one talented musician and an extremely confident performer but on that Saturday night at Colne for the first couple of numbers she felt a little on the tense side. Not surprising though, she’s bravely fought a lot of prejudice to move from pop to the Blues and this was her first real big test of a knowledgeable and choosey Colne audience. It wasn’t long before her talent for the Blues took over and those who were critics when the arrived left shaking their head in approval; this was very good set by Sandi and band that won over many converts. A dash down to the British Stage was met with an astonishing sight of people queuing out of the Leisure centre and up the hill to get inside because the British Stage was awaiting an appearance by Chantel McGregor. People had to be turned away for this performance because the hall was at maximum capacity and packed in like sardines in a can! Even Sandi Thom who had come down in mutual respect because Chantel had turned-out to see her performance was unable to get in because of capacity crowd! Chantel despite a dying amp didn’t let the audience’s enthusiasm to see her play be disappointed and she soldiered on with a display of guitar techniques and passion that many guitarists twice her age would die for! Sunday offered another packed day of choice. On the International Stage The Danny Handley Band started off Sundays events. This was a collection of Blues musicians from the Colne area who perform around the singer, guitarist and songwriter Danny Handley and performing rhythm and Blues. This proved to be another enjoyable set of high quality and an excellent start to the day’s proceedings. The Popa Chubby Band came next and he set the crowd alight from his first number. Popa proved to be a big guy with a big sound, full of passion and energy, who is a high powered guitar player but also has the skill and subtlety to take the mood down when the song demands. Sunday was on roll, especially as Popa was followed by Alan

Sandi Thom

Chantel McGregor

Nimmos King King, who were out to blow the roof off the Muni with sheer musical power and energy being transmitted by the Band. King King produced a faultless display and left everyone truly wanting more! Hans Theessink from Holland did a set displaying masterful electro acoustic Blues guitar, harmonica and deep gritty vocal. It was down then to The British Stage to pick-up The Sean Webster Band, which as usual proved to be as brilliant a set as ever and a good end to a top class musical day. Monday and on to the final frontier of a great weekend. Things opened up on the International with The Jay Tamkin Band. Slightly rockier in content than his earlier sets but still full of some top class Blues and Blues infused with jazz and funk. Jay’s guitar skills have never been in any doubt and now with his matured vocal is looking a real contender out on the circuit and this was underlined by those he has chosen to surround himself and his band. There a cracking performance to end the afternoon proceedings from The Oli Brown Band. Then came one of the major highlights of the weekend Imelda May. If you want top class music in a party style to get your punters wanting to come back, for yet another year, them Imelda is your girl! Her stage presence was superb and she had that packed Muni Hall eating out of her hand from start to finish. It was one those performances where the note book goes in the bag and you just savour the moment and join in with rest in enjoying a damn good set of music from a lady and band with a lot of talent before contemplating the long journey home but with good memories in your mind.

Carol Borrington

PONDEROSA STOMP, NEW ORLEANS. SEPT 2010.

Set against the backdrop of musically unique New Orleans, Ponderosa Stomp certainly takes after its host city as being one festival of a kind.

Named after a song by blues artist Lazy Lester, the event is devoted to celebrating the contributions to popular culture from the “unsung heroes,” of American music. It’s produced by the non-profit “Mystic Knights of the Mau Mau,” whom every year in the third weekend of September, bring together an amazing line up of obscure yet groundbreaking artists from the genres of blues, rhythm and blues, soul, funk, swamp and country. As a result, Ponderosa Stomp attracts an interesting plethora of people comprising of blues fans, music journalists, historians, avid record

Tommy Brown

The Relatives

FESTIVAL FEVER

collectors and obscure DJs. Ten years later, after having started out as a wedding party, hosted in the backyard of festival founder Dr Ira Padnos (aka Dr Ike), it has grown to take the form of a two-day music conference at the Louisiana State Museum followed by live music in the evenings at the House of Blues in the heart of New Orleans’ French quarter.

This year’s lineup of unsung heroes includes soul greats such as Ronnie Spector, La La Brooks to rockabilly punk Duane Eddy. Representing the blues corner are the likes of Honey Boy Edwards, Tommy Brown, Lazy Lester, Guitar Lightnin Lee, as well as rhythm and blues artist Barbara Lynn. To add, the music conference attracts the crème de la crème of America’s music journalists who are specifically chosen to host talks with the featured artists.

As a blues fan and first time visitor to Ponderosa Stomp, I find myself walking through the grand doors of the Louisiana State museum, not knowing what to expect from this boutique festival. The austere chill inside is refreshing and provides shelter from the merciless early afternoon Louisiana heat. There are a few individuals hovering in the foyer, and in the courtyard outside, I can see southern home snacks being served out for the attendees of the festival, courtesy of the organizers. As I head into the hub of the festival, I come across a room taken up a multi media exhibition called Unsung Heroes, which is on put on by the museum and the organizers of the festival. Presented in the same vein as the Stax Museum in Memphis, the exhibits tell the stories of the “secret history of Louisiana Rock ‘n’ Roll” and the figures that shaped it, from Lazy Lester, Jimmy Reed, Slim Harpo, soul singer Ernie K Doe to legendary rhythm and Blues producer Dave Bartholomew. The exhibition with its well-crafted narrative combined with rare film footage of past performances from the featured artists, provides an engaging and informative lesson in the history of American roots music. A record fair occupies the main thoroughfare of the museum, which is constantly busy with attendees rummaging dusty crates for obscure Soul, Rhythm and Blues, and Blues records. Throughout the course of the day, two big rooms are occupied with talks with the festival’s featured artists. The highlight for me, on the first day, is a rare public screening of the documentary “Hill Stomp Holler,” which was made in the late nineties and follows record label Fat Possum founders Matthew Johnson and Peter Redvers Lee’s journey into the depths of the Mississippi Hill Country in search of Blues artists, many of whom have never recorded before. Consequently, the camera follows the pair into the homes of the greats such as R.L. Burnside, T Model Ford, and Junior Kimbrough. The production is slightly rough round the edges; however there is excellent footage which captures elements of rural life in Northern Mississippi, such as local women cleaning cat-fish as well as the local late night juke joint revelry. There are also poignant moments in film that show the labels attempts to salvage T Model Ford’s home after it’s been damaged in a

Guitar Lightnin Lee

Barbara Lee

FESTIVAL FEVER

flood as well as a interview with the late R L Burnside who candidly talks about his murder conviction. The film also reveals the vagaries of running a small independent record label and the bold creative decisions Fat Possum made such as teaming up R L Burnside with the punk blues outfit Jon Spencer and the Blues Explosion. In the evening, the festival punters head round the corner to The House of Blues to catch the live performances from the artists who are already featured in the daytime bill. The next day, everyone is talking about the euphoric performances from the last night in particular from La La Brooks who was accompanied by Jenny Dee and the Deelinquents as well as a rare appearance from Honeyboy Edwards. As can be expected with these events, there is always going to be a conflict of trying to be at two places at the same time. And on the second day of the music conference, I find myself tossing a coin to decide whether I should see 60s bluesman turned record making comedian, Tommy Brown being interviewed by LA journalist DJ Chris Morris or Cajun guitarists Leroy Martin and Johnnie Allan in a talk with Louisiana music authority, British born author John Broven. I find myself sitting in the front row and hearing Tommy Brown, with his captain’s hat, rolling out various anecdotes from his career in particular in the fifties when he scored a number of rhythm and blues hits. The stories range from encounters with the likes of James Brown to swinging of balconies whenever he performed in venues in New York and England. As can be expected from a comedian, Tommy is animated as he tries to break down the stories behind his long career. The afternoon draws in big numbers as everyone flocks to see La La Brooks and Barbara Lynn who tell their experiences of surviving the male dominated music industry over the past forty years. Just finished supporting Robert Plant on part of his Band of Joy tour, Barbara Lynn is happy to give her tips on how to be a good guitar player which include soaking one’s fingers in tar to develop the calluses on your fingers, so she was advised by her doctor. The end of conference culminates in chat with Dave Bartholomew, the legendary New Orleans rhythm and blues producer. The session attracts an interesting mix of people including Jim Jones from the Jim Jones Revue. Interviewed by festival organizer Dr “Ike” and John Broven, the discussion ranges from the making of hits such as “I Hear You Knocking,” and working with Fats Domino. The last night at the House of Blues acts as a great finale to this unique festival. Supported by the excellent Lil’ Buck and The Top Cats for the first half of evening, the packed House is treated to performances from Soul, Rhythm and Blues legends such as Roy Head, Ronnie Spector and Sugar Pie Desanto. Unfortunately, due to having spent a good hour trying to find a new parking space in the French Quarter, I miss Lazy Lester, who I hear was slightly late for his own performance. Luckily, I make it in time to see the Gulf Coast guitar empress Barbara Lynn. Unassuming, modest yet commanding on stage, the 68-year old kicks off with her first ever hit, “We’ve Got A Good Thing Going On,” and halfway during the song casually throws on her guitar as if she were putting on her coat. Her playing is effortless and it’s clear to see the guitar is she and she is the guitar. The rest of her set showcases her diversity in

RonnieSpector

Photo Joe Rosen

Huelyn Duvall & Eve Menses Buck

her guitar playing from rock and roll to blues riffs. A particular highlight is her rendition of her first ever song, “You’ll Loose A Good Thing,” which is accompanied by a sultry brass section from Lil’ Buck and The Top Cats. Overall, Lynn is set is tight and is an excellent example of her showmanship. Immediately, Wendy Rene comes on stage to perform her classic hit “Bar-b-q,” which gets the audience going. At this point, conscious of the night’s schedule and keen to see the other blues artists on the bill within the limited time I have, I head over to the patio to see New Orleans Blues artist Guitar Lightnin’ Lee with whom I have the honor of bumping into at the bar. A larger than life character, born and bred in New Orleans, Guitar Lightnin Lee comes across as being more of a Bluesman from the Delta Mississippi. Mentored by the likes of Boogie Bill Webb and Jimmy Reed, Guitar Lightnin Lee tells me how he has spent the years grafting away at his own blues sound and crossing paths with the greats such as Freddie King. Joined by his rather looking youthful band, he plays his mix of Chicago and Mississippi Delta Blues with splashes of New Orleans from the accompanying Fats Domino style honky-tonk piano. The set is tight but fails to stand out as a result of the chatter on the patio, where punters come to grab a bit of fresh air and a smoke. I rush back to the main stage to catch the night’s most memorable performance from Rhythm and Blues artist Sugar Pie Desanto. Aged 74 years old, clad in a glittering silk black dress, Desanto could certainly give the likes of Lady GaGa and Christina Aguilera a run for their money. Like a panther, she slides barefoot across the stage, while seducing the audience with her distinct, dulcet and husky tones. For the rest of the evening, Deke Dickerson and Eccofonics take to the stage to play alongside the likes of Red Simpson and Duane Eddy into the early hours of the morning. Unfortunately due to an early start the next day, my night is cut short, but as a first timer to this unique festival, I leave in awe of some of the performances I have seen, and enlightened by the musical knowledge I have acquired from listening to the likes of author John Broven and the artists that have been interviewed. To an extent, it is sad, that a festival is needed to acknowledge the contributions from these “unsung” heroes who have got lost in the growing abyss of American popular culture, but at the same time, I couldn’t think of a better way to celebrate their music.

Paromita Saha

Photo Joe Rosen

JOANNE SHAW

TAYLOR

Diamonds In The Dirt Ruf Records

It’s been a good year for Joanne with a rapidly rising profile and a move to the USA, the truly surprising event of the year was that she was voted Female Vocalist of the Year in the British Blues Awards. So this album has been much anticipated. It was recorded in Detroit and contains ten original songs by Joanne. It’s a pretty pared down line-up – Joanne plus Steve Potts on drums, Dave Smith on bass and Rick Steff on keyboards. As you would expect Joanne’s guitar features extensively, there is lots of electric plus a few nice slices of acoustic – in particular the intro to the first track ‘Can’t Keep Living Like This’, this track also has some additional production with choir like vocal lines added to give atmosphere. I don’t know too much about Detroit, though I do recall the opening scenes of the film ‘True Romance’ where the opening theme plays over street scenes of down and outs. It is portrayed as a very hard edged place and the sound of this album reflects that – this is hard edged music, it’s tough and sinewy. Joanne’s vocal is right to the fore, placed very well in the mix and the vocal sound is breathy, tough and sinewy as well. Surprisingly for an American based album the rhythm section is much more on the beat than on the back beat. The overall effect, in terms of feel, is much more a rock album than blues, Ok, so it’s Rock Blues. After the opener we get ‘Dead and Gone’, ‘Same As It Ever Was, ‘Jump That Train’, ‘Who Do You Love’ leading to the title track ‘Diamonds In The Dirt’ – this is the FM friendly track – a slowish tempo soul tinged tune with echoes of Tina Turner in its musical construction. Then it’s back to the Rock edged sound until the closer ‘The World and Its Way’, another soulful mid-tempo tune. If you like guitar dominated rock blues you’ll like this; if you’ve seen her live you’ll find there is less Blues and more Rock in this than in previous albums and live shows; it’s a matter of taste from then on in. Personally Joanne’s voice is not really for me and I also found that the songs lyrically did not engage me, I also prefer a rhythm section that is more on the backbeat; but the lady can certainly play and it’s an exciting sound so I recommend you have a listen and decide for yourself.

setting curtain raisers and in ‘Everything’ the dismantled, haunting solo lick is perfect for contemplative dark room introspections, with not a bent string more than there needs to be. One man and a guitar have fewer options for variety than most, but ‘Fade Away’ exemplifies the light and shade that Hughes has managed to weave into the ensemble; a bit more of a commercial and countrified sound, and a pleasing contrast to 12 bar. ‘The Return of the Man in the City’ evokes lying on the bed listening to The Shadows, while ‘First and Foremost’ is another albeit sad highlight. Just before your mood becomes too reflective, you are elevated by the rascally “The Nature Of The Blues’, adding another dimension and layer of sound just at the right time, showcasing a certain sensitivity for his audience. Plenty of people sit alone, with nothing but a range of stringed weapons, a collection of homegrown tunes and a vocation to entertain. On this form, with his aptly titled mixture of lyrically adept melancholy and misbehaving, Hughes is in the higher echelons. Bravo indeed.

Richard Thomas

A BIT ON THE SIDE

A Bit On The Side Independent

You might wonder why no-one had previously thought to name their band ‘A Bit On The Side’ before this London & South-East foursome did. Their name is as evocative of their musical style as their music is powerfully derivative of the rockier end of the Blues spectrum. Drawing their influences from a list of true Sixties and Seventies greats, too many to list them all here, but significantly including both Dr Feelgood and Eric Clapton, you can hear the connection. The lyrical content is candid, sometimes rather too graphically descriptive, such as in the opening track ‘Trashed’, dealing unmistakably with the sobering reflections in the morning after the night before. Roy Hudson supplies rhythm guitar and most of the lead vocals, and the delivery is world weary and husky, reminding me occasionally of the Bluesier songs by the Doors. He also adds some simple harmonica fills, such as in the salacious ‘Waiting In The Dark’. What sets this band apart from a host of pub rock groups is their lessis-more approach to the arrangements, where producer Will Pike’s lead guitar is consistently understated and admirably suited to each song. The subtle fills and solo in the superb ‘Believes In Me’ is a high spot, as is the chiming introduction to the dramatic ‘Falling Star’. ‘Red Sky’ has something of a country feel, and the variety of styles makes this a truly rewarding repeat listen.

Vicky Martin AL HUGHES

Sad Songs and Tall Stories Vaudioville Records.

Hughes’s face suggests a life lead, a viewpoint arrived at, a plan formed and a personality constructed from a bricolage of experiences. One of his conclusions perhaps, is that simplicity is a virtue. Here is a collection of a dozen originals, where the stylistic flourishes are not stylistic at all, they are essential and core. ‘Laughing On The Other Side’ and ‘Everything You Get’ are strong, agenda-

Noggin BARRY BARNES

Rory Independent

This album is dedicated to the artist’s favourite guitarist, namely Rory Gallagher; while there are several original Rory songs here, the majority are Blues covers of songs that would have certainly influenced Rory in his formative years, by the likes of Leadbelly & Big Bill Bronzy. All the material is acoustic based & while I was originally sceptical that this would work, I have to admit that everything sits together very well and Barry Barnes has produced an engaging Acoustic Blues album that delivers far more

than just being a “Rory Gallagher” tribute. Besides two live tracks recorded at the Temple Bar Centre in Limerick, the remainder are studio based recordings, the majority recorded in a studio in Athens, not normally known as a hot bed for the Blues but the recordings are faultless. I am not qualified to comment on Barry’s technical playing or the likeness to Rory’s playing but what I can comment on is that this album is full of great Blues material that is played expertly; it is an enjoyable way to spend 60 minutes of your time. Barry demonstrates his love for the blues throughout and he adds some welcome humour on the live tracks, particularly Leadbelly’s ‘On the Western Plain’, of the original tracks, all unknown to me, I would pick ‘Moonchild’ as the highlight, which has an emotive vocal delivery. You do not have to be a Rory Gallagher fan to enjoy this album.

MICK SIMPSON

Hard Road

Livewire Records

Adrian Blacklee

Mick Simpson is a name that will be new to many music lovers yet they will all have heard some of his playing. As a session musician he was asked by Elkie Brooks to play guitar in Vinegar Joe. Tommy Vance had him play some of the original instrumental tracks on his Friday Night Rock Show. He has had tracks used in films by Schwarzenegger and Tom Selleck, toured with Bill Wyman’s Rhythm Kings and more. He guested at BB King’s 80th birthday at his Blues bar in New York and played with Gary Moore & Snowy White, an impressive CV for an unknown. Listening to “Hard Road”, I get the impression that he is ready to make a lasting and contributive solo statement. Consisting of 14 quality original tracks, written with keyboard player and producer Andy Littlewood, the songs explore melody and at times tug at the heart strings. ‘A Father’s Son’ sounds much influenced by Gary Moore’s ‘Still In Love With You’, the guitar tone replicating that aching tone of Moore’s. It would be unfair however to compare him to any one guitarist as his style, sound and particularly his fills are original and in some cases breathtaking. He can solo with the best but the wealth lies in some of the understated playing behind the vocals. Styles vary from a straight acoustic Blues in ‘Can’t You Hear The Wind Howl’ with amazing finger runs on the fret board, the soulful slow Blues of ‘Somewhere Down The Line’, a ZZ Top style boogie in ‘Green Light’. There is even a nod to the power ballad in ‘Looking Through My Eyes’ and of course the title track ‘Hard Road’, a hard hitting, solid Blues/Rocker with some great flowing guitar playing. ‘Walking Back To India’, which I believe has been issued as a single with differing mixes, segues east with west as distorted guitar and sitar meet. I look forward to more from Mr. Simpson.

Merv Osborne

New Jersey history of this legendary outfit, with their strong association with Bruce Springsteen over the years. This is big, mature, grown-up American rock, in ’yer face and proud of it. Johnny’s grainy vocals on such bluesinfused titles as Woke Up This Morning and the mighty Heartbreak City are complemented by a gathering of brilliant musicians and a soulful, driving trio of backing singers. The five piece brass section alone is to die for; Andy York and Bobby Bandiera’s guitars likewise. C heck out the world-weary lyrics on Strange, Strange Feeling ‘My woman … still sends a Christmas card complete with plastic snow … there’s never any return address’. Johnny’s no mean harp player, too. Everything you want from a classic American band is here. It’s funky, bluesy, and rocks like hell with a fine sense of cynical humour. The way Johnny, now into his sixties, comments on his irrepressible enthusiasm for life, for example on Umbrella In My Drink, is bound to raise anyone’s spirits, and One More Night To Rock could raise the dead. This is the ultimate party album for grown-ups, the kind of thing Tony Soprano would have blasting out in his SUV. Loud, proud and indispensible.

Roy Bainton

MISS FREDDYE

That Kinda Woman

Mojo Boneyard

Miss Freddye has that raunchy and fulsome kind of voice that immediately puts ou in mind of a gospel singer that has turned to the dark side. She sings Bluesy soul with the emphasis on soul and a kind of sassy sexiness that, in these days of overt and in your face aural pornography is really pleasing: she gives all the clues in her song titles and verbal hints but it has a huge wadge of fun and games rather than bump and grind. The band behind her are superb with fat horns and scratchy guitar signatures as well as driving rhythms but it is all set up for her vocals and that doesn’t fail at any point either. On the opener, ‘(My Name Is) Miss Freddye’ she sets out her stall with a strong vocal and almost burlesque rolling beat – your mind’s eye puts a woman on stage with a huge smile and ever bigger bustline strutting in front of a band of besuited musicians. With the next number ‘That Kinda Woman’ the whole thing is slower and funkier and her vocal is now sultry and raunchy. ‘Pink Lemonade’ sees her in jazzy mode but still with that welcoming and suggestive tone to her. Obviously this is a lady whose vocal prowess is up in the higher echelons and one can hear long years at her craft all leading to this point. The whole album reeks of quality and you can hear a very talented lady here but my only gripe is that I wonder if the music is really relevant today. She used to front Pittsburgh outfit Blue Faze and they appear here on the album closer ‘These Are My Blues’ and the number has an altogether leaner and more stripped down tone than the rest of the album but the song actually comes over as the most ‘together’ number on the set. I’m not sure that this isn’t a better direction for the lady to follow.

Andy

Snipper

SOUTHSIDE

Pills & Ammo

JOHNNY

& THE ASBURY JUKES

Freeworld

The subtitle for this album is ‘A little chaos is good for the soul’. It’s a worthy sentiment, considering the chequered

MARK LAMARR’S Rhythm & Blues Christmas Fantastic Voyage

Every home needs a Christmas party album. Indeed, every home needs a Christmas Blues album. It’s a necessary novelty. Debate may continue regarding its

position as a vessel to champion if on a Christian mission, or perhaps an opportunity to party with an intoxicating beverage. In either scenario, it can prove a challenge as well as a curiosity. Mark Lamarr’s selection is a robust entry and not one to be passed over. There is plenty to entertain here for the sake of the season, and also plenty to investigate in terms of interpretation and innovation. The roster contains artists that are known, Louis Armstrong, Lightnin’ Hopkins, and artists that are less known, Gatemouth Moore, Thelma Cooper. There are tracks that engage regardless of the festivity theme, Lloyd Glenn’s instrumental ‘Sleigh Ride’ for example, and those that invest in nostalgia, such as The Ravens’ ‘White Christmas’. The sequence of the tracks tends towards boogie at the beginning, and slow blues at the end; with some of the latter tunes guaranteed to bring on the tears. Twenty-five tracks and seventy minutes of the happy and the sad, of the up and the down, just like Christmas.

JUSTIN

TOWNES EARLE Harlem River Blues Bloodshot Records

Gareth Hayes

I loved this record; it is raw roots country at its very best. Justin is the son of Steve Earle and named after the celebrated singer songwriter Townes Van Zandt (among many classic songs he wrote ‘Pancho & Lefty’ made famous by Emmylou Harris). This album of Justin’s songs was recorded entirely live over a two day period – as far as I can tell there are no overdubs – its warts and all, except there aren’t any warts. Justin is a pretty wild character, he just postponed a UK tour to go into rehab, and for a youngish guy this album displays a voice and songs with a real ‘lived-in’ flavour. The lyrics touch on the darker side of life, death, murder, unemployment (maybe we could get him to write a song about being a musician in the UK?) and the melodies are very catchy. The opening track ‘Harlem River Blues’ is a corker – rockabilly flavoured with a really catchy chorus, great guitar and an acapella ending that is briefly reprised in the closing track. Next up is ‘One More Night In Brooklyn’ a dark country ballad; after this is an almost pure modern rockabilly sound with ‘Move Over Mama’. The fourth track ‘Working For The MTA’ is another great song – melancholic and mournful with wonderful fiddle and steel guitar. The rest of the album is up to the same standard, there is not a weak track. I highly recommend this to readers – it sounds really alive; it’s soulful, it rocks and most importantly it rolls – right down at the roots this is music to cherish.

Vicky Martin

soul singer who was voted Female Vocalist of the Year at the Australian Blues Music Awards in 2009, and on this showing it’s easy to see why. The record itself has been out for a wee while down in the Antipodes, but I’m glad it made the journey North, as Ms Marr has a fabulous, rich voice that copes effortlessly with the swinging soul and Blues on offer. It’s mainly original material with only three covers, and it’s gratifying to see new tunes like ‘Stream Up The Windows’ and ‘Don’t Touch What You Can’t Afford’ holding their own against Dinah Washington and Etta James songs like ‘Soulville’ and ‘I Prefer You’. The boys in the band are no slouches either with some particularly nice guitar work from Greg Dodd. It’s nice to hear a horn section parping away merrily, as it’s not something that prevalent nowadays, along with some punchy backing vocals. Andrea Marr and her band are operating in that world of Southern soul and Blues crossover, the kind of thing that Memphis and Muscle Shoals became famous for, and anyone who has a yearning for the classic sound of the late sixties and early seventies will find a lot to love here.

Stuart A Hamilton

VARIOUS

The Rounder Records Story Rounder

This is a four CD, 87 track, set and any review could easily descend into simply listing the artists – Rounder has over the last 40 years achieved highly-respected status among lovers of Blues, folk, bluegrass, vintage country, soul, Cajun, roots, rockabilly, West African kora sounds and Americana – plus probably a few other rootsy genres I’ve missed. From banjo breakdowns to Robert Plant, it is all here, with the CDs grouped by decade. The standard is uniformly high, and that is down to the label’s quality control, not merely cherry-picking for a prestigious and deservedly congratulatory release. There are some lovely juxtapositions too – try that from the reggae of Culture to the ska-styled Zydeco of Buckwheat Zydeco’s version of Lee Dorsey’s ‘Ya Ya’ to Professor Longhair to Cajun revivalists Beausoleil’s zydeco. The Blues make an explosive entry at the end of the first disc with George Thorogood’s version of Bo Diddley’s ‘Who Do You Love’, and then we encounter Clarence ‘Gatemouth’ Brown, Ted Hawkins, Roomful Of Blues, Johnnie Copeland, James Booker… but I did state that I was not going to write a list though it seems a shame not to mention Sleepy LaBeef, Flaco Jimenez, Wilson Pickett, Irma Thomas, Willie Nelson, even Steve Martin (yes, that Steve Martin) – no stop! Sorry guys, you’ll just have to check it for yourselves - and have your credit card at the ready. I guarantee you’ll want to investigate Rounder’s catalogue in more depth after listening to this.

Norman Darwen

ANDREA MARR Little Sister Got Soul! Blue Skunk Music

This is album number four from the Australian Blues /

TIM WOODS

The Blues Sessions

Earwig Music

Pennsylvanian based Tim Woods has been a part of his local music scene for 25 years playing with various blues and jam bands. An encounter with legendary blues musicians David “Honey Boy” Edwards, Homesick James, Sam Lay and Pinetop Perkins sowed the seeds of what was to become “The Blues Sessions.” A six month period saw Woods lay down this collection of commonly heard and obscure Blues songs in studios in Clarksdale, Atlanta

and Chicago. An impressive list of Bluesmen join him on the album, including Edwards, pianist Allen Batts, guitarist John Primer and Kenny “Big Eyes” Smith. The songs range from Howlin’ Wolf’s ‘Spoonful’ and ‘Who’s Been Talking’ the later restyled as a Southside strut to under-exposed songs by Edwards and Big Jack Johnson, and thus a range of styles from the Delta to the harder Chicago sound. Recorded over different sessions, it might sound disjoined, yet these songs combine will provide a sincere document to Woods’ influences, where is own contributions are most prominent. The unaccredited ‘Deep Ellum Blues’ is a sparse introduction, before the recognisable ‘Do The Do’ with Woods providing convincing Wolf vocals. ‘Bad Whiskey & Cocaine’ is a superb example of deep traditional Blues, before the pace is lifted several notches with ‘Clarksdale Boogie.’ Edwards trades vocals with Woods on ‘Wind Howlin’ Blues,’ apparently unrecorded since 1942. The two harder edged songs are standouts. ‘Built For Comfort’ is given a more funky reading with notable contributions from Johnson on guitar and Batts on organ, while the more drawn out version of Willie Dixon’s ‘It Don’t Make Sense You Can’t Make Peace’ is edgy with Woods singing the tune with particular conviction, as the anthem seems just as appropriate today. The one thing lacking from the album is original material by Woods, but it appears the main intention of the album is to bring focus to the music and its composers which brought him inspiration and for that Woods cannot be faulted.

Duncan Beattie CROSBY TYLER ‘Lectric Prayer Bohemia Music

This is a very good record of down-home American roots music. It’s Tyler’s second album and it hits the spot. It sounds especially good on a good car stereo. The mix is such that you can always pick out the underlying groove. Looking at Crosby’s website didn’t tell me too much about him, it opens with his comments on the first album, and he apparently loves LA, whether he lives there or not I couldn’t discern. He’s tall, rangy and it seems likeable. Good job that as I’m going to be meeting him soon, as he’s tall and I’m not I’ll be very careful – maybe call him Mr. Tyler. All that aside this is very enjoyable, the songs are simply constructed with lyrics about all the things that trouble folks worldwide – the economy, the rapid change all around; is there anybody out (up?) there, if there is somebody is he benevolent (thought it was time for a long word); that sort of thing. The songs contain several with religious & theological references and echo that kind of wry and wistful agnosticism that abounds. ‘Oh that it was all so simple, Oh that I had something to really believe; but we don’t live in a time of certainty, only of struggle – the only people who are certain are those who claim to be certain that we can’t really believe in anything. Crosby voices much of that with good humour, great rhythms, super backing musicians – it says fiddle – but I thought I heard a viola. Actually I thought I heard two – but it matters not – its real good American music. Ten tracks and I liked them all, but ‘Tears of Blood’, ‘Lectric Prayer’ and ‘Pitchfork Brigade’ especially. I highly recommend this – have a listen, buy it, it brings you down to earth in a nice way.

Vicky Martin

BUDDY GUY Living Proof Silvertone

When mere trifles and passing fashions excite over-the-top superlatives this venerated old-timer has again delivered the goods in a way that only an authentic Bluesman can. Sometimes autobiographical, often amusing and invariably entertaining, Guy has put together his strongest work since “Damn Right I’ve Got The Blues” nearly twenty years ago - and he was called a veteran then! It is little coincidence that he has gathered what feels and sounds like a proper band backing him, with the combined talents of songwriter Tom Hambridge on drums and renowned session man Michael Rhodes on bass. Add to that, luminaries Reese Wynans on organ and David Grissom on guitar, and this band is stellar. The liner notes list each instrument Guy uses, and naturally this includes the famous polka dot guitar. The opening two songs set the tone, and the overtly biographical Hambridge / Gary Nicholson song ’74 Years Young’, has reflective lyrics and a slow opening, but develops into barnstorming Blues rock, with some staggering guitar work. The choppy ‘On The Road’ is a classic. The only disappointing track on the album is a quite unnecessary and seemingly contrived duet with B B King, complete with an embarrassing extended spoken expression of mutual admiration at the end. Thankfully, after that there is nothing but brilliance, including a great guitar duel with Carlos Santana during ‘Where The Blues Begins’. Other highlights include some heartfelt testifying background vocals by Wendy Mote and Bekka Bramlett, especially during the title track. Elsewhere Buddy Guy sings about, as he puts it, “chasing tail”; uncomfortably so for a man in his seventies, but there is simply no denying the man’s talent. One listen to ‘Too Soon’ and there is no doubting that his powers continue undiminished.

CLYDE MCPHATTER

Clyde & Rock & Roll Hoodoo Records

Noggin

This is a reissue of Rhythm & Blues singer Clyde McPhatter’s first two albums recorded for the Atlantic label. McPhatter, like Sam Cooke was one of the originators of soul with a significant gospel influence which hailed back to his early singing in his North Carolina church. Leaving this background, his first professional performances came at the age of 18 with the Bill Ward led vocal group, the Dominoes. After falling out with Billy Ward, McPhatter formed his own vocal group in 1953, who later became the Drifters. This CD covers his first two Atlantic albums plus an additional 5 bonus tracks to make collection of 31 tracks over 80 minutes. “Clyde” is the stronger and more balanced of the two albums, the tracks from the album have a greater emphasis on the beat. Unsurprisingly it opens this disc and the first track ‘Since You’ve Been Gone’ featuring Richard Perry on trombone and Bert Keynes on keyboards is a gem. Other upbeat

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standout from the album include ‘A Lover’s Question’ and ‘Lovey Dovey,’ which contrast to ballads ‘Let Me Know’ and ‘Island of Dreams.’ Meanwhile ‘I Can’t Stand Up Alone’ harks back to McPhatter’s gospel roots. Following these is his early release, “Rock & Roll” which combines songs recorded by the Drifters, with the prominent backing vocals of Andrew and Gerhart Thrasher on ‘What’ Cha Going To Do’ and the rare McPhatter composition, ‘Honey Love.’ Other teenage anthems of the period include ‘Such A Night’ and ‘Money Honey.’ The additional tracks were recorded in New York in 1956, the pick of which is ‘Bam Bam’ which has a great Bluesy opening guitar riff yet the contributor of which is sadly unidentified in the otherwise comprehensive sleeve notes. In summary this is a superb reminder of an unsung influence on many of the later and better remembered rock ‘n’ roll singers who emerged in the subsequent decade.

WOODY RUSSELL

Up Against It CUTS

Duncan Beattie

There is a fine legacy of Texas Blues and Woody Russell is well up there alongside many of his heroes. His guitar playing on this album is excellent, his hardedged vocal style is perfectly suited to his self-written songs and the whole thing has the feel of an album that is a part of the man and not just a project. From the first moments of ‘Make It Tough On Me’ with its’ chugging rhythm and ringing guitar he sounds like he means business. ‘That’s Just The Way My Wheels Roll’ has a funky and choppy riddim with some fine harp from Jose Ruiz. He really explodes on ‘They Won’t Know What Hit Them’ getting the full power of the track belting along with his guitar fluid and riffy below his throaty and harsh vocals. When he does solo he shows a real flair and speedy fingers but when he gets soulful as he does on ‘Under My Door’ he can play sweet as well. He even manages to mix up both sides of his nature on ‘Right Side Of The Grass’ with some honeyed vocals against his harder guitar side. I don’t think anyone is going to stand back and say “Wow I never heard anything like that before” but he has taken the influences around him and made an album that sounds like the work of a man whose life revolves around his music and he writes and plays well enough to put him well ahead of most of his peers.

Andy Snipper RONNIE WOOD

I Feel Like Playing Roadrunner

Ronnie first studio album in about ten years, and quite possibly the first one that he has made without the support of certain well documented substances. When you are an adopted son of Rock royalty, it is not difficult to pick up your little black book and call in a few favours, and the list of band members playing on this album reads like Who’s who! On guitar (Apart from Ronnie) you have in no

particular order, Slash, Bob Rock, Billy Gibbons & Waddy Wachtel. Flea on bass, Darryl Jones on bass Ronnie on bass, and Rick Rosas. Ian Mclagan on keyboards, Bobby Womack, Bernard Fowler, Kris Kristofferson, Blondie Chapin on vocals. The list goes on, but I won’t bore you with it all. So does all of that make for a good album? You can bet your sweet life that it does! Starting off with Ronnie sounding pretty much like Bob Dylan, it cracks on through a further eleven tracks, that are all highly enjoyable, the disc that I had was a promotional copy, so I didn’t have the full sleeve notes and I can’t be sure how many of the numbers were Ronnie’s own work, but there is a cracking version of Spoonful on there, that you may well have heard on the radio. Don’t wait another ten years Ronnie.

Dave Stone

JP BLUES

I Will Not Go Quietly Independant

The cover photo is a dark and moody shot of John Pagano, looking like a weight lifter with a guitar. It consists of twelve tracks and plays out for almost an hour, with the longest number on their coming in at eight and a half minutes ( Tampa Red’s Love her with a feeling) The album is dedicated to Sam “Bluzman” Taylor, who was Johns friend, mentor and one time golf partner, and has two of Sam’s songs on there, as well as 6 numbers written by John and the band. He also isn’t afraid to put his stamp on Tony Joe White or Eric Clapton, and starts the album off with a hard hitting version of As the Crow flies. For such a big guy, he plays the guitar with quite a soft touch, but can really cut it when its needed. I would almost say that this should be more in a Rock category than Blues, but on reflection, no more so than Joe Bonamassa. There is always a danger of playing a song for too long, but although several of the numbers come in at over 5 minutes each, I never got bored listening to them. I am not sure if this is their first album, but I for one am certainly looking forward to hearing more!

Dave Stone

LES COPELAND

Don’t Let the Devil In Earwig Music Company

Nothing wrong with a late developer – I am myself living a Benjamin Button inspired life. Les Copeland is 43, and the opener of this debut - “That Needing Time” -suggests it was well spent - as good and memorable an opening track as I can remember. ‘Ry Cooder’ is a true and skillful homage to LA’s finest slide man – a smorgasbord of nostalgic licks with essence of ‘Vigilante man ‘ with even something of Blind Owl at Woodstock there too - I was hooked and helpless. Earwig president Michael Frank turns in some stellar guesting harp work and some distinctive string bending by David “Honeyboy” Edwards complements Copeland’s finger gymnastics and velvety warbling. The odd anonymous track (‘Distant Train’ and ‘I’m The Little One’) doesn’t detract from the whole ; the warmth and understated subtlety is indicative of experience dictating that amplifiers are generally rather pointless after 7 on the dial. ‘Silently’ is lilting and sad, marking something lost, and this is a recurring theme reflective of the permanent scarring of family tragedy, and if anything positive can come from such a thing, it informs the thoughtfulness of the playing and production. The title track is another standout - a mellow, menacing riff that alarms and alerts and a

wailing siren of a harp to remind you why Blues is the most visceral music form of all. A deliciously crafted mixture of light, shade, depth and congeniality.–make another record before you’re 86, Les Copeland. This job is almost always fun but today it was great. Splendid stuff indeed.

Richard Thomas

JIM BYRNES

Everywhere West

Black Hen

This one caught me unawares, as the cover of the CD is a low key water colour, and appears to show a solo acoustic performer, so that is what I was expecting. WRONG! Jim and his band are another of Canada’s Blues secrets, and I for one am glad that their secret is out. This is a fabulous album, being everything that I want my own band to be, tight, beautifully crafted numbers with Hammond organ and brass where it’s needed, nobody hogging the limelight and a great overall feel. Twelve tracks that pay tribute to the greats ( Lowell Fulson, Jimmy Reed, Robert Johnson, Louis Jordan and others) Three self penned songs that all stand up on their own merits, and some great vocals. Jim honed his craft with the opportunity to play alongside Furry Lewis and Henry Townsend and has absorbed all of that and more Highlight tracks? Difficult to say as they are all so damned good, but if I had to pick one, I would say. He was a friend of mine. But hey, try to find this album and make your own minds up!

Dave Stone

LEWIS HAMILTON & THE BOOGIE BROTHERS

Promo

Hamilton hails from Perthshire and having cut his teeth in a local blues band, has now released his first EP. 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 bluesman of clear distinction.

Duncan Beattie

MR BOOGIE WOOGIE AND THE FIRESWEEP BLUESBAND

Just Like That

Firesweep Records – Stemra

You just need to read the name of the guy to know that on this thirteen track album, you’re going to get some boogie woogie and nothing but boogie woogie. Eric-Jan Overbeek, also known as Mr Boogie Woogie, is a piano player and singer with such an explosive energy, you can’t help but be taken in a whirl of wild hip shaking. True, there are quite a lot of covers on this album but Mr Boogie Woogie spices them up with his own secret ingredients and positive energy. Your hips will never be the same again after tracks such as ‘Read Me My Rights’ by D. McClinton, ‘Junk Yard Blues’ by A. Toussaint, ‘Rocket 88’ by I. Turner or ‘Big Chief’ by E. King. This album is stamped all over with pleasure… the pleasure of performing, the pleasure of listening, the pleasure of

dancing. Recorded in two days, on the 12th and 13th of June 2010, there is in this album the incredible energy of music created in an emergency which must have inspired Eric-Jan and his three musicians. This is why you feel this album sounds like a ‘live’ with an impeccable recording quality. There are no instruments in the background, the bass guitar is as important as the vocals, piano, guitar or drums. This album has a wild, communicative energy you can’t resist even if you’ve had a very bad day. One of those CDs you’ll listen to over and over again.

MEL BROWN

Frankie Bluesy Pfeiffer and Nat Harrap

Love, Lost and Found Electro-Fi Records

The late Mel Brown was very much an unknown figure outside of the blues, but that was the world’s loss. Players from the blues firmament knew his importance though, from Buddy Guy, to many of the music magazines that wrote of his talent, as a guitarist, pianist, and vocalist, and this anthology of work from the last ten years is both a fine introduction, and sadly, a fitting tribute to the man’s talent. From the instrumental title track, which opens the album, which features Mel Brown on guitars and keyboards, it is classy package. A number of guest artists add to the mix, from Enrico Crivellaro’s guitar on the co-written ‘Red Wine and Moonshine’ to ‘My Baby wants to Boogie’ and ‘Feel like Jumping’ which both feature Snooky Pryor on vocals and harmonica, to Sam Myers who makes a telling contribution to ‘Little Girl from Maine’ to Miss Angel who’s soulful vocals add a lot to ‘Blues in the Alley’. This is blues, but it is closer to Jazz in some places, with Mel Brown’s guitar playing not just playing the normal first, fourth and fifth changes, but finding new notes and chords to bring something distinctive to the sound. Blues from the standard songbook is also included, from the piano and vocal version of Freddie King’s ‘You were wrong pretty baby’ or the similar treatment of Ray Charles’s ‘Come Back Baby’ to the version of ‘Hoochie Coochie Man’ which finishes the album. This is a fine showcase for a much missed blue musician, but it is fitting way in which he can be remembered.

Ben Macnair CLAUDE BOURBON We’ll Meet Again Frog Records

It had been several years since I last met Claude and it was certainly good to meet him again. Performing and heading the bill at this year’s 1st Annual Cropton Acoustic Folk Festival near Pickering North Yorkshire. Where his prescience and music weaved its magic to an appreciative audience. Playing music from his latest CD with 15 tracks, a fine collection from this virtuoso guitar player. The End Of The World a quiet gentle track with a warm Spanish feel to it evoking warmer climates. White Wine a classical influenced flowing like wine itself and reaching

all the right parts. Angie Claude’s instrumental cover of a Rolling Stones classic putting his own interpretation and seal to. Me Cache Pour Pleurer a medieval sounding song sung in French which you might of gathered from the title. I Need Shelter a haunting Spanish style softly spoken that rambles along with a acoustic blues influence. Ghosts Classical Renascence with moving heartfelt emotions conjures images with in one’s mind. Rodrigo Claude’s rendition of Rodrigo’s guitar concerto. Welsher Tanz medieval instrumental that would be at home in an Elizabethan court. Rhyme Or Reason a rolling song taking us on a journey of self awareness of our surroundings and questioning our very existence. Fourteen Fifteen, and English Dance two short interlude instrumental period songs. There’s Somebody Missing a wonderful love song sung with deep meaning of a special person a loved one or family member who we all at times miss for whatever reason. The Mirror a song of reflection that you can’t hide from. We’ll Meet Again Claude’s version of that popular Vera Lynn classic played in ragtime with a feel good factor which is guanteed to put a smile on your face, and for audiences to join in with. Bockington’s Pound an Old English medieval instrumental. A magical diversity of musical offerings on this CD capturing Claude’s many styles of playing skills. A must for all serious collectors to have this in their collection

Andy Nisbet

DAVE

ARCARI

Devil’s Left Hand Buzz Records

Dave Arcari, who by the sound of his vocals, probably breakfasts on “razor blades & 20 Fags” each day, is a national treasurer, who delivers a unique brand of hearty blues, built on a traditional Country Blues platform. Dave is an exceptionally skilled guitarist, on this album he predominately uses a ‘National Resophonic guitar’ which creates the authentic Country Blues sound, which is then overlaid with his rasping vocal which because of its aggressive nature has been likened to the punk movement but this is pure acoustic Blues music at its best. The twelve tracks on the album are mostly all short & sharp songs that mean the total playing time on the album only comes in at circa 33 minutes, short for a CD these days but they do sit together well, if you want to hear more you will have to press the repeat button, as I have repeatedly done. The covers on the album like ‘Trouble in Mind’ and ‘Blue Train’ sit comfortably with the original compositions, Dave even gets a chance to highlight his Scottish heritage on ‘Macpherson’s Lament’. Established Acoustic blues artist rarely deliver as much excitement as Dave Arcari has done here, a very promising release.

Adrian Blacklee

JOAN ARMATRADING

Live at the Royal Albert Hall CD & DVD

Hypertension Records

This is an impressive package –a live Double album plus a DVD of the Albert Hall Concert – the two CD’s total 111 minutes run time and the DVD has all of that plus bonus tracks. Joan Armatrading is totally her own person in terms of her music and writing and the songs here represent most aspects of her career. There are the classics like ‘Love and Affection’ ‘Drop the Pilot’ and if you’re a fan then there’s something for you. The DVD is very well produced and if you didn’t get to a concert this is a pretty good substitute – high production values and good sound. This concert was the culmination of a worldtour which was undertaken to support the release of her album ‘This Charming Life’. During that tour one song from the album, ‘Best Dress On’ really took hold. It has almost a chain-gang / work-song type chorus that opens and closes the song – audiences took a hold of it and joined in the chorus, again and again…and again…this happened to such an extent that a league table was started to see which audience sang it the most. ‘Best Dress On’ is on here and it is one of the highlights. Joan did a radio series on the Blues not too long ago and obviously loves the blues; but I have to say that there isn’t too much blues on this album. The music here is a pop-tinged fusion of smooth soul with a touch of funk- it sounds a bit ‘eighties’ to me and it’s a touch to smooth for my own taste. But as a whole it is well done and fans will be well pleased.

Vicky Martin

MYRA MAIMOH

Answer’d Me.

Hitsmith Musikverlag Records.

This Germany –based Cameroonian singer-songwriter‘s debut is self described as “modern R&B/Soul/Pop with some Afro influence”. She is a beautiful, sweet, God-fearing girl with honourable motives and laudable inspirations like Skeeter Davies, James Brown, Ella Fitzgerald, and Louis Armstrong. Unfortunately for Myra, I had just spent the afternoon listening to “At Fillmore East” by The Allman Brothers. Duane’s grungy Gibson, the duelling with Dickey and filthy, raunchy R&B get the blood pumping and ensured a bounce in my step on the foggiest of Monday mornings. Myra’s electro pop was never going to hit the spot after that I’m afraid. Granted, she has a strong vocal delivery and impressive range but it’s more Miley Cyrus than Ma Rainey, and with production slicker than Jensen Button’s dry weather tyres and all manner of robotic wizardry to make you crave some acoustic string bending to remind you you’re still alive. Having said all that, I really enjoyed the unexpectedly jolly ‘Killing Me’ and some occasional African beat compulsion. My “X factor generation” daughters may have liked it, but even that I doubt, given that they are both developing a penchant for Peter Green. Perhaps for them , and certainly for balding fat blues dogs like their father who likes his music twangy, twitchy, tardy and troubled, this was a rather uncomfortable trip into bright, sunny pastures still mercifully unknown ; the musical equivalent of zero percent beer with too much carbon dioxide. I’m rambling. Sorry Myra, maybe you just caught me on the wrong day.

Richard Thomas

PAUL JONES

Crucifix In A Horseshoe – Paul Jones Collection Vol. 4

RPM Retrodisc

The voice of British Blues and front man for The Blues Band for the last 30 plus years, Paul began his career with Alexis Korner’s Blues Incorporated before becoming a hit-maker with 60s stars Manfred Mann. By 1971, when this New York recorded solo album was made (the original running time is supplemented by the addition of six unreleased tracks recorded for Vertigo the following year), Paul regarded himself primarily as an actor rather than a singer, as the detailed notes point out, and his blues leanings were certainly not uppermost. Besides some of the regulars at the Motown Studio, the musicians involved in making this set included people with experience of working with soul singer Walter Jackson and Doctor John, but much of the style is that of the pop and rock music of the time – the opening two made me think of David Bowie. There are blues inflections though – try ‘The Pod That Came Back’. Lead guitarist Charlie Brown supplies blues licks on many numbers, Paul blows harp from time to time, and the bonus number ‘Wrestler’ is a solo harp and vocal outing. Overall, an interesting set but not one for stone blues lovers.

Norman Darwen

TOM FELDMAN AND THE GET RITES

Tribute Independent

The singer-songwriter and acoustic guitarist Tom Feldman and his band pay tribute to his first inspirations with Tribute. With his Dobro and slide, and a pleasingly gruff voice he tackles songs by the likes of Muddy Waters, Lightnin’ Hopkins and Charley Patton. Although the album was recorded this year, it has the same care-worn sound that made the early Delta blues records so memorable. With Jed Staack on Drums, Paul Liebenow on upright bass, and Jed Germond on Pedal Steel, new life is breathed into old songs, but always in a respectful way. This is gentle, melodic music, with musicianship and soul pushed to the front. It is in the solo performances, though that the full talent of Tom Feldman comes to the forefront, such as in the bluegrass of ‘Lord I’m Discouraged’ where slide and vocal dovetail to alternate bass picking, or in Booker White’s ‘I am in the Heavenly Way’. This is a worthwhile release, and well worth further investigation for fans of the original artists, or anyone wanting an easy entrance to some of the classic blues songs.

Ben Macnair

THE BUSHWACKERS Bushwacked Independent

From the northeast of England, this is a 5 track appetizer before the main course full CD, like a portion of pies and peas in Spanish City before a full sit down fish supper overlooking the gonad-shriveling North Sea at Seaton Sluice. Clearly local Geordie legends, this lot come from the red and white side of the North East and the have settled as a 4 piece after a period picking up itinerants for a changing line-up depending who was available from “week to week”. Opener and title track is an arousingly grungy blues anthem with more than a hint of antipodean earthiness. This is followed by the hardy annual ‘Parchman Farm’ which is always a home banker if you’ve

got a tidy harp player like “Ned”. Bravely, they also take on another cover in ‘Vigilante Man’, and make a nonetoo-tardy job of it ; it may lack the atmospheric poise and gravitas of Ry Cooder ‘s famous version but nonetheless it demonstrates splendid sensitivity for the old sound and shows that the Tyne Delta can doff a hat to the to Mississippi right enough. There are some serious musical roots here, and while this is perhaps unremarkable as an EP, it epitomizes lives dedicated to the Blues, local fan bases, the unquenchable sprit of live music, a carefree mission to entertainment, raucous nights of bending strings, tapping feet and quaffing ales. Champion lads, keep it up.

BRUCE MISSISSIPPI JOHNSON

The Deal Baby Independant

Richard Thomas

Sometimes you look at an album cover and you know it’s going to be good. Such is the case here – I wasn’t disappointed when I was eased into Let It Rain (Intro) by a voice of such strength and blues conviction that you’re immediately hooked. I’d have to make clear at this point that if I were to choose my blues album of the year, then this would be the one. Twelve fine songs, all written by the man himself. He started out in Europe touring with the late, great Big Joe Turner and everything Big Joe stood for, musically, at least, has rubbed off onto Mr. Johnson. His voice puts me in mind of other great vocalists such as Lou Rawls with a touch of Dr. John – hope you don’t mind the comparisons, Bruce! Songs like I Can’t Shake The Blues could be a testimony for all dedicated bluesmen, and if you go to the man’s superb website at www.brucemississippijohnson.co.uk there’s a heap of terrific material including a documentary where he discusses the album with his amazing keyboardist, Johan Dalgaard. This is 21st century blues incarnate; soulful, funky, erudite and extremely lyrical. And you can load it down from iTunes. The arrangements are impeccable, tight and uplifting, yet it’s the man’s voice and clear diction which shines through every time. Just listen to The Neighbour Next Door and you’ll know what I mean. A terrific piece of work – can’t wait to see him live.

Roy Bainton

STEVE WIGGINS BAND Precious Cargo Independent

‘Precious Cargo’ finds the pianist Steve Wiggins and his well drilled band playing a set of well chosen covers and originals in front of a live audience. From the lively opener ‘Steve’s Boogie’ the band is tight, with the on the money rhythm section of drummer Lenwood Cherry Jnr, and bassist Bruce Herbert supporting the piano and Hammond organ of Steve Wiggins, and the throaty saxophone of Wally Tirado. Songs such as ‘Cold Shot’ and ‘Dimples’ are re-arranged for a guitar less band, and the piano allows for more unusual pieces to be played. Herbie Hancock’s ‘Watermelon Man’ has a good reading, as does ‘Ain’t no Sunshine’ which closes the live section of the album. The

vocals of Lenwood Cherry Jnr are particularly good on the live version of ‘Doing my Thing’ whilst bassist Bruce Hebert vocals are a perfect fit for both ‘Cold Shot’ and James Taylor’s ‘Steam Roller’. A studio version of ‘Doing my thing’ finishes the album, although it seems a little superfluous when compared to the more lively studio version. All in all, a good release.

LATVIAN BLUES BAND

Unreal

Blue Skunk Music

Right from the opening bars of ‘Evil’, the Willie Dixon classic, the classy tones of this band hit you hard. Yes, as the title suggests, they are from Latvia and were formed in the late 90’s after listening to the classic Blues artists such as Willie, Muddy, the Wolf and others.

Ben Macnair

Having won many competitions and accolades, they have been befriended by many American artists and have developed under their tutelage. I saw them in 2005 at the Chicago Blues Festival, where they were introduced by Bob Margolin. He later sat in with them as did John Primer and others. I remember being impressed by their abilities but felt their set of mainly classic covers needed to change. “Unreal” is that change! Recorded in 2009 and comprising fourteen tracks, ten of them are band originals, and what quality they are. The CD benefits from the production skills of Duke Robillard, but as musicians this four-piece can easily stand alone. Throughout, the vocals and guitar playing of Janis Bukovskis is of an extremely high standard. The band are also comfortable playing a range of styles, from the soulful Blues of the opener ‘Evil’ with it’s horn arrangement, through the melancholy blues of ‘Feel Like Crying’, complete with the deep George Benson sounding guitar, to ‘Unreal’ an up-tempo slide guitar led tune or ‘Wake Up’ a reggae tinged song and ‘Nut Shuffle’, a strutting shuffle with attitude. The band has come a long way in five years, developing into a formidable writing and playing combination and “Unreal” is the culmination of their development. Long may they continue to do so.

Merv Osborne

TAJ MAHAL

Music Keeps Me Together / Satisfied ‘N Tickled Too BGO 2 CD SET

It seems inevitable that over the years Taj Mahal has been designated as a ‘bluesman’ when, in fact, blues simply forms just a small percentage of this man’s prodigious range of talents. The blues tag is well-earned, and probably results from his Statesboro Blues on that seminal compilation album of the late 60s on CBS – The Rock Machine Turns You on. I saw the great man live in France a couple of years ago, and as these two re-issues, 1975’s Music Keeps Me Together and Satisfied N’ Tickled Too, from 1976, will confirm, there’s a lot more to Taj than ‘woke up this morning’. The majority of the tracks are original Mahal compositions in a variety of styles. There’s

reggae, funk, soul, all underpinned by his classic 6-man band line-up. Every song’s a gem – from the lilting ‘When I Feel The Sea Beneath My Soul’ to the bouncy ‘Black Man, Brown Man’, with some fine lyrics to match. And what Taj does with Chuck Berry’s ‘Brown Eyed Handsome Man’ is an act of creative bravery which must surely have brought a smile to Chuck’s face. I’ve had hours of fun playing these albums in the car, but wherever you play them, you’ll enjoy them, too, because, as with all great music, they’re as fresh and timeless today as they were when they were cut over three decades ago. Taj Mahal doesn’t just make music – he expands it into a kaleidoscope of joy. Highly recommended.

Roy Bainton

MEMPHIS SLIM

Legend Of The Blues Volumes 1 and 2

Beat Goes On

BGO must be congratulated for taking back catalogue recordings from the long-gone label Beacon and the non-blues label Jubilee, and reissuing them as reflective collections. What we have here are twenty Memphis Slim tracks from the late 1960s. It’s a fascinating selection as it allows the expert fan to listen out for influences, such as old pal Big Bill Broonzy, on ‘Ramble This Highway’ and ‘I Feel Like Ballin’ The Jack’. These numbers more commonly appear as ‘Key To The Highway’ and ‘I Feel So Good’. It proves to be a fascinating collection for the newcomer and casual listener too. Expertly remastered last year, the sound quality only occasionally shows signs of dust, and could quite easily have been recorded live yesterday. Both albums are produced by the legendary Clyde Otis and he appears to have recognised the best balance for Memphis Slim’s vocals, piano and his supporting musicians, notably Billy Butler on guitar and Eddie Chamblee on tenor sax. There are typical comedic moments as funeral innuendo slips in to ‘I’m Too Poor To Die, but It’s the slow blues that really capture the imagination here, and ‘I Am The Blues’ is depressingly perfect.

Gareth Hayes

TODD WOLFE BAND Live Psychedelic Blues

Listening to this assured Blues rock album, I was taken back to when Todd Wolfe first came to prominence as a guitarist in Sheryl Crow’s live band of the mid-1990s, and played on the eponymous album that shot Crow to international stardom. Despite that exposure, his first love has always been psychedelic and jam-band Blues. Having relocated to California to be nearer his Crow’s gigging work, he eventually gravitated back to the East Coast, and has been producing driving power trio Blues rock for some years. This album was recorded live at McCoole’s Arts Place in Quakertown, Pennsylvania and in addition to Wolfe (guitars and vocals), the set features Suavek Zaniesienko on bass and Roger Voss on drums. Wolfe aluminates the set as a master of many techniques on his guitar, from funky wah-wah chops, to slide and some epic solo-ing. All the material is self or co-penned. Over seventy minutes of exciting live rock gives ample time and space for the band to stretch out and extemporize, particularly in the epic fourteen minute closing track ‘Shame’. The finest Blues track is ‘Cold Black Night’, where Wolfe’s adopts a growl to his voice and staccato runs and chops on his guitar, which capture all the

essence of late 1960s Johnny Winter.

ANDY COHEN

Built Right On The Ground Earwig

Noggin

As I was playing this album, I was trying to decide who would buy it and why? It is a 15 track album of acoustic traditional Blues, played by a trio of very accomplished musicians, playing very much in the style and patterns of such a combo in the 20s and 30s. I can see that if you had attended one of their concerts, then you would probably buy an album afterwards, take it home, play it once or twice, wonder what possessed you to buy it, and tuck it away from the light of day for a long time to come. But, listen to it again, close your eyes, sit back, Preferably in a rocking chair out on the porch, pour yourself some fine sipping whiskey and turn up the volume! OK so the vocals are distinctly X Factor audition reject quality, but hey, what the hell, it really doesn’t matter! The instruments are played superbly, particularly the piano, and the songs are some that you will know, and some that you can’t quite recall, but seem vaguely familiar. I am afraid that like a lot of Blues records, this is never going to grace the charts, and I can’t ever see it being played on the radio (Go on Paul, give it a plug!) but I have to admit that I quite liked it.

KIRSTEN THIEN

Delicious Screen Door Records

Dave Stone

This is the third CD from New Yorker, Kirsten Thien It features a number of guest instrumentalists including Hubert Sumlin and Billy Gibson. There are eight selfpenned and three cover tracks. ‘Please Drive’ is a slow urban Blues, which has a talking Blues intro by Thien, who also plays acoustic guitar on the track. Sumlin’s signature guitar feel is present from the off as he drives the emotion with delicious vibrato and string bends. Underpinning the vocal, Sumlin and Tommy Mandel, on piano, swap riffs whilst Thien’s vocal takes on a sultry breathless quality before culminating in a Joplinesque head vocal, matched by Sumlin’s wailing guitar. The title track is a Blues rocker with a quiet vocal intro, leading to a vocal and instrumental crescendo of quality, as Thien sings out her food metaphor for intercourse whilst Arthur Nielson on guitar leaves no doubt as to what she means and underpins the theme whilst Thien’s sensual vocal leads out the track. Ida Cox’s ‘Wild Women Don’t Have The Blues’ features just Thien on Acoustic guitar and Billy Gibson who provides some highly evocative wailing harp, in what is a good original interpretation of this standard. ‘A Woman Knows’ is lyrically a song for the domestic abuser as Thien sings how she would take him back even if he goes. More in a country style than the rest of the CD but featuring some quality resonator slide guitar from Erik Boyd. ‘Get Outta The Funk, Get Into The Groove’ reverses the lyrical stance of the previous track exhorting you to

take control over your life. It features funky Wah Wah guitar from Neilson and is very much a good time song in a traditional Blues ethos if not style. Definitely one to watch.

Carol Borrington

DEB CALLAHAN Tell It Like It Is

Blue Pearl Records

Appearances can be misleading, and I’d assumed this was probably a jazz tinged singer with little in the way of Blues, yet it’s actually a well-crafted collection of funky Blues. As Callahan sings over the upbeat opener ‘Gonna Get There’ it is immediately apparent that she’s a confident vocalist and song writer and also had a very competent band, which includes guitarist Allan James and Jason Crosby on piano and Hammond B-3 organ. ‘Sun Is Rising’ is played at a far slower tempo and it’s bluesy guitar licks lead to a Gospel styled chorus. Callaghan’s vocals are rich and strong, with excellent range and phrasing and on this release she tackles a wide variety of material from slow blues such as ‘In My Bones’ to the swinging jazz leanings of ‘Sweet Words.’ The material is largely selfpenned by Callaghan with guitarist James, and the lyrics cover far more than the usual Blues topics, a matter close to Callaghan’s heart is the prevention of violence against women and this is tackled in ‘Long Suffering Woman.’ Her key influences on her vocal style include Etta James and Janis Joplin and another is Tina Turner and the album contains a pretty convincing version of ‘Funkier Than A Mosquito’s Tweeter’. James is a stylist guitarist who appreciates that less can mean more and this is apparent to great effect on ‘I Got It Bad’ which is reminiscent of Peter Green. Underpinning it all is the rhythm section of Garry Lee and Tom Walling hold a steady backbeat to allow Callaghan and the lead instrumentalists flourish. A challenging cover of Dylan’s ‘Cold Irons Bound’ closes the disc with conviction and the addition of violin, played by Crosby adds to the atmosphere as a memorable closer to a very strong release.

Duncan Beattie

EDDIE MARTIN Folk & Blues Blueblood Records

I sometimes wonder how Eddie Martin manages to juggle everything around in his life. Whether he is playing in a duo, trio, four-piece or any other combination, you can always guarantee quality with his output. Here on “Folk & Blues” Eddie is playing solo, the album having been recorded live with no overdubs, Eddie plays a range of acoustic guitars including a National Resophonic, harmonicas, bass drum and various feet percussion. Maintaining the solo stance, he also composed, arranged and produced the set. Throughout, the quality of musicianship is the highest. Whether it’s the slow Blues of ‘Underwater Woman’ with underlying bass line and riff menacingly picked out, or the jollity of what could be a banjo rag in ‘I’ll Find My Way’, Eddie’s playing is crisp and sure. On ‘Butterflies’ his picking replicates a butterfly moving around seemingly without a set destination, recalling the best of Ralph McTell’s ‘Streets of London’ in this three minute instrumental. On ‘(Help Me Through This) Month Of Mondays’, Eddie’s voice resonates with the pain and anguish of lost love. The simplicity of the backing to a beautifully melodic song adds poignancy to the whole

thing. ‘Still Chasing That Fox’ is another instrumental, with Eddie huffing and puffing through a great harmonica rag. Eddie’s lyrics are also simple but effective in relaying the story, whether autobiographical or otherwise. In ‘Canada’, a story of his love having gone abroad, with no idea as to whether she will return, he finishes the song with the curt “…but I ain’t gonna wash that pillow where her head used to lie”. Eddie has a style all his own and this album is a gentle acoustic set, full of songs of quality played by one of Britain’s foremost talents.

Merv Osborne

THE PRETTY THINGS

Parachute Deluxe 40th Anniversary Edition/S.F.

Sorrow + Live At Abbey Road

Snapper Music

These are two re-released albums by the band The Pretty Things. The band started their career in 1963, taking their name from the Bo Diddley song. They began as a hard-edge Blues rock band taking their major influences from Bo Diddley and Jimmy Reed. Over the forty years of their career

The Pretty things have seen many personnel changes and the road, at times, has not always been as smooth as it could have been. Yet, they have survived and under the guiding hands of Dick Taylor and Phil May are still out-on-the road. Parachute was The Pretty things fifth album and the album was voted by Rolling Stone Magazine, as their Album of the Year of 1970. It is classed as one of those albums that rank among the classics of modern music, so this release in CD format may be welcomed by those still playing the original vinyl! In this anniversary release it is presented as a remastered beautifully presented 2CD set in a rigid digibook package with integral liner notes. The art from the original album has been re-worked and the notes are by journalist Pierre Perrone. The first CD is the original album and the second offers a series of A and B sides singles that were released around the album and there is an acoustic interpretation from Parachute recorded recently for inclusion. S.F. Sorrow followed ‘Parachute’ and was also the band’s first album without Dick Taylor and marks a landmark in the bands career. Its release marks the fortieth anniversary of the band’s long career. The sound on both of the Parachute CDs is excellent and does true justice to this classic album. The second release is S.F. Sorrow + Live At Abbey Road. S.F.Sorrow was a classic of its time and originally recorded at Abbey Road Studios in 1967. It is classed as the first Rock Opera and precedes the production of Pete Townsend and The Who’s Tommy by a year. It is again in a rigid digibook with liner notes format but this time it a CD and DVD set. The artwork has again been re-worked and the liner notes are by Phil May and Mark St John. The CD has been remastered and includes bonus and rare tracks. The DVD showcases a one-off performance of S.F.Sorrow that was recorded at The Abbey Road Studios in 1998 and includes interviews with the band. The first broadcast of this recording was sent out live over the internet and it

features Dave Gilmour on guitar and narration by the ‘God Of Hell Fire’ himself Arthur Brown. The DVD is excellent and the camera changes from colour, to black white and sepia giving a feeling of the past meeting the present and are well executed and effective. The sound on both the CD and DVD is excellent but only what music of this quality demands. Both these CD’s are a must on the collector’s shelves and an excellent learning curve for young musicians, in fact anyone that likes class Blues rock.

Carol Borrington. CEE CEE JAMES

Seriously Raw: Live At Sunbank FWG Music

Two words are going to spring to mind as soon as the opening track kicks in and Cee Cee James launches into Robert Johnson’s ‘Crossroad Blues’. And those words are Janis and Joplin. Oh, yes, Ms James has got a huge, gritty voice that comes leaping out of the speaker, causing any small animals in the vicinity to dive for cover. And it keeps on getting better on this down and dirty, rootsy, roadhouse Blues collection. Ms James put out her debut album, “Low Down Where The Snakes Crawl “, back in 2008, but second time out, and it’s the full, live Cee Cee experience that’s on offer. There’s a sprinkling of originals on offer, mixed up with the likes of tunes by Willie Dixon, Hound Dog Taylor, BB King and, yes, of course, Janis Joplin. However, she is smart enough to put her own spin on a lot of the songs as a funkified ‘I Ain’t Superstitious’ will attest. To be fair, the Joplin section is a bit too close to tribute act for comfort, but that’s more than made up for with the blistering takes on ‘Nutbush City Limits’ and Luther Allison’s ‘Living In The House of the Blues’. She’s also got a mighty fine live band in tow, and the slide guitar work of Rob “Slide Boy” Andrews is absolutely fantastic. Definitely one to buy for those who like their Blues on the raw, and wild side.

Stuart A Hamilton

IKE TURNER

That Kat Sure Could Play! - The Singles 1951-1957 Secret Records

WOW! Where to start with this 4 CD set featuring 118 tracks compiling Turner’s work with various big name blues artists and also material recorded with his own bands. Turner was a child prodigy and later a master bandleader long before he struck gold with Annie Mae Bullock after renaming her Tina Turner and creating the Ikettes to shake their butts while he lurked menacingly at the back of the stage. Opening track ‘Rocket 88’ is credited, much to Turner’s chagrin, to Jackie Brenston & His Delta Cats. Brenston was actually sax player in Ike Turner’s Kings Of Rhythm and this track is an absolute storming classic featuring Turner’s pounding piano and a great honking 3 man horn section. Brenston soon quit to tour under his name but did cut the follow up ‘My Real Gone Rocket’ which, although a bit derivative, is still an absolute cracker. Also on CD 1 is my favourite Howlin’ Wolf track ‘How Many Years’ featuring Turner’s unmistakable thumping piano intro, great primal guitar from Willie Jonson and Wolf’s fierce, threatening vocals and gutbucket harmonica playing all backed up by Willie Steele’s crashing drums. The same lineup contribute ‘Riding In The Moonlight which is also a fine example of Wolf’s early work. Bobby Bland features on a couple of tracks notably the slow moaning blues ‘Crying All Night

Long’. BB King’s massive hit ‘3 O’Clock Blues’ features typically smooth and emotive guitar and vocal work from King plus restrained piano from Turner. Other highlights include Roscoe Gordon’s fabulous and oft covered ‘No More Doggin’’ and Baby Face Turner’s wonderful slide guitar on Drifting Slim’s ‘Good Morning Baby’.

Dave Drury

ERIC JOHNSON

Live from Austin Texas, 84

New West Records

This newly released archive recording finds the influential and acclaimed singer song-writer and ground-breaking electric guitarist Eric Johnson plying his trade in front of a lively audience. The music was recorded in 1984, a year before his first album, Tones was launched, and it would be many years before a lot of the material recorded here found its way onto official releases.

‘Soulful Terrain’ and ‘Friends’ were from that first album, whilst the acoustic piece ‘Tribute to Jerry Reed’ would have to wait twenty years, and an electric re-invention before finding its way onto 2005’s ‘Bloom’. With support from drummer Steve Meader and bass player Rob Alexander, they plough many musical furrows, from the straight pop of ‘All I Need’ to the searing physchedelia of Hendrix’s ‘Spanish Castle Magic’, via the superior rock of ‘Bristol Shores’ and an early version of Johnson’s signature piece ‘Cliffs of Dover’, to the Wes Montgomery style jazz of ‘Down here on the Ground’. Three acoustic pieces form an attractive centrepiece to the release, with a solo acoustic reading of Simon and Garfunkels’ ‘April Come she will’ being a particularly strong feature. The DVD that accompanies the album is a straightforward concert recording, but recent technology has pushed the quality to a much higher one. This is a fine addition to Johnson’s output, with much of the music surviving the 26 year gap between first recording and release, but Johnson’s releases are like buses. You wait years for one, and then two come along at the same time, with his new album Up-Close seeing release at the end of December.

JOSH BRAY

Whisky & Wool New Tide

are clear and comprehensible. It’s always incredibly unfair to look for pigeon holes in music, yet whilst listening to this deeply moving album I had other artists parading through my memory; Nick Drake, Roy Harper, Tim Buckley. My only criticism may be a paltry one – the packaging of this CD is a smart piece of thoughtful design but if you’re going to include the lyrics in a booklet, written in handwriting, then it’s a pity poor old codgers like me have to get a magnifying glass out to read them. But that’s nothing compared to the quality of the content. Keep your eyes and ears open – I think we’re going to hear a lot more of Josh Bray.

Roy Bainton

MAMA ROSIN

Black Robert

Gutfeeling/Cargo UK

Mama Rosin’s first two albums showed a great deal of potential – Zydeco with a huge punk ethos and wonderfully danceable to boot – and I have been looking forward to this album as Cyril (Yeterian – Melodeon, vocals, guitar) and Robin (Girod – guitar, banjo, vocals, washboard) suggested that it really shows the band in their best light. They are right too; this is better than ‘Brule Lentement’ in almost every way. The music is far more dense than their previous outings as well as seeing a darker side. There is a strong taste of true calypso (not the steel band malarkey) and the feeling is far closer to New Orleans / Bayou Zydeco with its insistent beats and mesmerising melodeon playing and the vocals seem to have become far more musical than previously. Anyone familiar with the great Zydeco players will understand the need to keep the music in the forefront so as to allow the dancers to show off their talents and this is a really good example of the genre. Before anyone accuses me of gushing over the band I have to say that there are still plenty of rough edges but one of the delights of the original form is that it isn’t overly clean and cultured and Mama Rosin have a rough and ready attitude – anyone who has seen them live will attest to that. This was originally pressed on vinyl and the album has that wonderful analogue sound to it rather than the brashness of digital with the bass drum really driving the music along. The playing is, at times, rough as a badgers bum but the brio and the heart in their playing make that unimportant and the vocals are all in French but it doesn’t matter – the music is universal enough. Dance to your hearts’ content – these guys are the real deal.

Andy Snipper

Ben Macnair

Let’s get one thing straight from the start – this isn’t really a blues album. Josh Bray is an enviably handsome young man who writes poetic, introspective songs with some beautiful accompaniments including strings, flutes and trumpets. If we’re looking for blues, however, it is here – Hard Living is a classic crowd-raiser, with a line which goes ‘It ain’t easy, growing old – hard living takes a heavy toll’. Tell me about it, Josh. There’s a deep, emotional yearning quality to songs such as Indian Gin and the exquisite The Sea and The Inbetween, with its soaring violins and gentle guitar. Throughout his voice and lyrics

MISSISSIPPI FRED McDOWELL

Come and Found You Gone

(The Bill Ferris Recordings with Annie Mae McDowell and Napolean Strickland)

Devil Down Records

It’s a balmy evening during the summer of 1967 and the young blues scholar Bill Ferris finds himself in a living room of a house, deep in the North Mississippi Hill Country. Following in the footsteps of legendary blues archivist, Alan Lomax, he finds himself recording the music of Mississippi Fred McDowell, the godfather of hill country blues. Back in the late fifties, he was just playing at local house parties while working as a pump attendant. By the time, Ferris had arrived; McDowell was an established blues artist who had recorded several albums and toured across the US and Europe.

Accompanied on vocals by his wife Annie Mae McDowell

and legendary harp player Napoleon Strickland, this intimate special performance showcases Fred’s dexterity and skill as the king of the bottleneck style. Forty-three years later, this recording comes as a beautiful packaged release on the new blues label Devil Down’s Records, thanks to Professor Bill Ferris and his team at the Centre of Southern Folklore at the University of North Carolina. Considerable effort has gone into the artwork courtesy of Phil Bank and the notes, that comprise of photos from Bill Ferris’ archive collection as well as written contributions from him, French blues scholar Vincent Joos and North Mississippi All Stars’ Luther Dickinson. They all eloquently recall his life story and the legacy he has left behind since his death in 1972. The recordings take the form of 17 songs where the first half comprises of solo performances from McDowell, including songs such as “Letter from Hot Springs,” and the hill country blues classic “Shake’em on down,” which was later covered by the next generation of local blues artists such as R L Burnside and the North Mississippi All Stars. In the latter half, his wife joins him on tracks such as “Death Came In,” and “Come and Found You Gone.” With the sounds of his foot tapping and the muffled laughter of his guests in the background, the listener is taken to that living room back in 1967 which is vividly recalled by Bill Ferris in an interview featured at the end of the CD. This is a very special recording and one that shows off the musical form that defined the North Mississippi blues that has been carried on by the likes of the Burnsides, Junior Kimbrough, T Model Ford and the Dickinson siblings. This is a must have for any blues fan.

Paromita Saha

THE JOHN O’LEARY BAND

Two for the Show

Trapeze TRCD2

This is a nice package two CD’s under the title of ‘TWO FOR THE SHOW’. You actually get a newly issued studio album called ‘SINS’ and a live album

‘LIVE’ AT MR KYP’S’, and both albums are very good. Let’s be honest here this is no frills down to the bone British Blues, some of the best of its kind. On the menu are lashings of John’s masterful harp playing and top quality side dishes of Jules Fothergill’s mercurial liquid sounding guitar. They weave around a selection of classic blues and R&B covers and some originals. The studio album tracks were recorded in 2004 and according to Paul Watts informative liner notes this was originally privately produced by John O’LEARY, who sold 1000 plus copies. It’s now officially released on the re-launched Acrobat label. So thank you to Paul Watts and co for making this available. It is difficult to say which of the two sets – live or studio has the edge; there are in any case similarities –‘EARLY IN THE MORNING’ is on both albums – the same number is credited to John Lee Williamson (the original ‘Sonny Boy’ I believe) on the live set, and ‘Traditional’ on the studio set – this seems to be a favourite tune of John’s, he opened with it at the Cyril Davies tribute at the

Eel Pie and it is a great groove – both versions are very good but the studio version has a strange ending. The Nick Gravenites’ song ‘BORN IN CHICAGO’ on the live set is good. There is much to enjoy on both albums- good playing, especially Jules Fothergill- his special qualities – he stretches to the places where most players don’t venture – and he knows how to build – to build tensionvariations on a phrase- and most importantly where to release tension and finish. John O’Leary’s harp is excellent and the vocals are good as well, peaking on ‘HOUSE OF ICE’ and ‘MOVE AWAY’ on the studio album. All in all I recommend this to readers, it’s very good.

Vicky Martin

VARIOUS

Let Me Tell You About The Blues: Nashville

Fantastic Voyage 3 CD Set

75 shots of pure joy over three CDs. When we think of blues locations we usually come up with Chicago, the Delta, New York and LA. Nashville usually means country, but as this collection affirms, throughout the late 1940s and 1950s, alongside the fiddles, banjos and the Grand Ole’ Opry, Nashville had a thriving blues and R&B recording industry. Labels like Bullet, Republic, Tennessee, Nashboro and Excello were turning out a stream of fine blue records to match anything the big blues cities were issuing. As well as some familiar names on these three CDs, such as Rufus Thomas, Earl Gaines, Cecil Gant, Wynonie Harris, Christine Kittrell and Sherman Williams, there’s a whole plethora of artists who have, sadly, remained buried in overall blues history. With a set like this you can play musical Russian roulette with confidence because every track is a revelation. If you’ve never heard of Lillian Offit, Good Rockin’ Sam, The Leap Frogs, Charles Ruckles or the fascinating Dixie Doodlers, then there’s a whole lot of fun here just waiting to be had. There’s some amazing Boogie Woogie piano throughout, and check out the fine guitar accompaniment on Lewis Campbells’ ‘Call On The Phone’ and the riotous honking band on Tom Douglas’s ‘Down on Cedar Street’. Overall, this isn’t guitar-wailing, Chess-style urban blues, and the quality of some of the recordings can be slightly iffy. However, it opens a window on a scene as vibrant and exciting as any chapter in R&B history, and if collecting the best in historical blues is your bag, then you ought to have these three CDs.

Roy Bainton

SOPHIE BANCROFT

Bird of Paradise

LisaLeo Records CD

Again, not a blues album, but a well-crafted collection of excellent songs from an artist who may be unfamiliar to many, (although she has appeared on BBC Radio 2 and Radio Scotland) yet judging by this CD, that could well change. Scotland’s singer-songwriter Sophie Bancroft has a beautiful voice, and her ability to write fine lyrics comes through on all ten tracks. One thing’s certain –she’s steeped in music and was at one time Britain’s first Jazz Education Development Officer. Her compositions have appeared on various soundtracks, including Six Feet Under, and she’s a much in-demand Jazz vocal teacher. However, this album seems distanced from jazz. It’s folky and wistful, gentle and breathy in a very seductive way. On some tracks, such as the eponymous Bird of Paradise, with its tasteful string arrangements, I couldn’t help thinking of Suzannne Vega, and I found the atmospheric ‘When The Geese Fly South’ haunting me for ages after playing it. Not entirely my cup of tea, yet romantic,

thoughtful fine creativity such as this will always find a place on a music connoisseur’s shelves.

Roy Bainton

NUNO MINDELIS

Free Blues

Independent

This is the seventh studio album by Nuno and his band, and as a dutiful reviewer, I looked him up on Google and lo and behold “Nuno Mindelis, also known as the Beast from Brazil” Apparently, in Brazil, he is bigger than Clapton, and he certainly has an impressive pedigree, having recorded an album with Double Trouble, Stevie Ray’s backing band! I am always complaining about a lack of variety, and this is certainly not the case here, as you have a mixture of Latin Blues, Funk, almost edging into jazz. Of the twelve tracks, as far as I can see, there are eight covers, although as there are no writing credits, I am not sure about a couple of the others! I think it was Buddy Guy who said that if you’re going to play covers then make them your own, and they certainly do that! From the opening bars of ‘Messing With The Kid’, it is apparent that this band are not afraid to put their highly individual mark on anything, and that’s just what they do, from While my guitar gently weeps, right through to ‘The Thrill Is Gone’, and a few others on the way, they make these numbers all their own. Did I like the album? On balance, yes I did, although it probably wouldn’t be one that I would have bought, because of the Beast from Brazil, I kept expecting an explosion of guitar pyrotechnics, and it didn’t happen, so this time the Beast turned out to be a pussycat!

Dave Stone

BUZZARD LOPE

Daybreak

Lost Toys Records

“Off-pop” trio Buzzard Lope are not straw-chewing ornithologists, but are undoubtedly equally reflective and patient, and this debut suggests they don’t take themselves too seriously. It’s thoughtful lounge music with a cynical vocal substance –tales of “disease, death, love, tax and immigration” and ballads reminiscent of “Small Change era Tom Waits”. Atmospherically melancholy throughout, classy strings on ‘Miner’s Son’ build to a pleasant jouissance and the lead vocals from Roger Illingworth (who sounds like he should be for batting at 7 for Yorkshire) have a hybrid Clifford T Ward quality about them. The much more upbeat ‘Gentleman’ is classic “one man and his piano” stuff and cleverly tongue-in-cheek without overdoing the sugar. Nothing here for 12 bar worshippers but anyone with a penchant for intelligent lines and accomplished jazziness may enjoy the detour. ‘The Great I Am’ is a distruster of egos, nicely mixed with discordant horns and smooth rhythm work from bassist Adam Jervis and exotic stickman Raphael Saib. Enigmatic sleeve notes suggest a central theme of the “absurd difficulty of simply making a start; perhaps ironic, in light of the trivial and tragic delays on the road”. I must know more. Downbeat but not miserable: understated without hiding its light: intelligent but not elitist; clever without being pleased with itself, ultimately good without being outstanding. Lyrical skill must be praised when it’s this good though, and “when the shit hits a fan the best place to stand is right behind one” will be my abiding raison d’être for 2011.

Richard Thomas

LUKE DUCET & THE WHITE FALCON Steel City Trawler Six Shooter Records

The follow up to 2008’s ‘Blood’s Too Rich”, this album contains ten originals and a Gordon Lightfoot cover, kicking off with a pair of full-on rockers, “Monkeys” and the riff-laden “Thinking People”. Track 3, “Hey Now” finds Luke’s other half, Melissa McCelland, contributing vocals. “The Ballad Of Ian Curtis” is Ducet’s tribute to the legendary Joy Division frontman, ending with the poignant lyric “rope will take my breath away, if the shakes don’t do it first”. A clever diversion, “Magpie” has a touch of mid-lake about it and provides a breather before Ducet cranks things back up with four more rockers including the Lightfoot cover “Sundown” and the bluesy “Dirty Dirty Blonde”. Worthy of mention is the original comic book style insert art by Hamilton Ontario-based artist David Collier. Overall this CD errs more on the side of Americana than Blues, and my only complaint would be that clocking in at just over a meagre 30 minutes, for the uninitiated listener, this CD is not a good representation and is a bit of a letdown.

SLOWMAN & FRIENDS PLAY HENDRIX

Hey Jimi Independent

Clive Rawlings

Slowman, aka Svante Torngren, is a Swedish blues songwriter/ guitarist of some quality. Sorry, but that’s as far as the praise goes. Why, oh why, do we need yet another Hendrix tribute album? There are only so many ways the backcatalogue can be interpreted. Joined by fellow Swedes Bengh Almon on bass and Stefan Rosen on drums, Slowman takes us through all the old chestnuts after the CD opens with a new song, “Electric Angel”, written by Torgren himself. Probably the less said the better. Search out Slowman’s own “Best of” album from 2008 for a brilliant insight into the artist himself. For Hendrix covers, Popa Chubby or The Hamsters are your best bet, or better still listen to the man himself.

THE DESPERATE DAN TRIO

Clive Rawlings

Unplugged, Unhinged, and Almost Live- at the ‘Old Blue Coconut’

SRS Organisation

This album is a treat, a re-issue from a band of musicians deserving more recognition. It is fair to say that this band is ‘legendary’, and I mean deserving of the accolade ‘legendary’ because these are all guys who have trod the boards, paid the dues, played thousands of gigs and given a huge amount to music at grass roots level. Their legend is particularly strong in Sussex where it is jokingly rumoured that ‘grown men tremble’ in anticipation of a live show. There are two incarnations of the Desperate Dan Band the electric and the acoustic – on this CD it’s the acoustic band and it is very good indeed. The leader

of the band is Bob Brookes, a vocalist and harmonica player. He also sings and plays with ‘The Three Tenors of the Blues’ – that’s Bob, Chris Farlowe and Miller Anderson – look at those names and you’ll know that Bob has to be the real deal. Together with his Lady, Sue, and Stuart Cambell Bob ran one of the South of England’s most celebrated venues ‘The Half Brick’ in Worthing and they are about to launch a new venue. On this album Bob is joined by Jon Wigg on fiddle, mandolin and pipes plus Roger Adams on guitar and vocals, there are a few later overdubs – Dobro / Cello – but it all sounds very live. The music is a real down home soulful selection of – gospel tinged country & blues – it swings gently, rocks at times, and at times it quietens right down and draws you in real close, the musicianship and gospel style vocal harmonies are excellent. Stand-out tracks are the Frankie Miller song ‘Keep Sending Me Angels’ and Bob Brookes’ own ‘Long Neck Bottle’. I recommend this as a quality roots album and if this is anything to go by punters will be in for some musical treats when they open the new venue.

Vicky Martin

RON HACKER & THE HACKSAWS

Burnin’

Blue Skunk Music

Ron Hacker is a fifty something white Bluesman with a wealth of Blues history at his side and the ability to play it through his fingertips. Introduced to the music as an eleven year old in Juvenile Detention Hall when locked up with Blues loving counselors, he lapped up this world so far from his own. Yet he didn’t begin playing until he was 27, by teaching himself to play. It was his close friendship with mandolin legend Yank Rachell that gave him his deep insight to the Delta Blues tradition. “Burnin’” contains twelve songs yet only three are originals. ‘Prison Blues’ and ‘Mailman Blues’ could be described as Ron’s own life story. Six are covers that Ron has played since his solo days, Johnson’s ‘32/20’, Williamson’s ‘Welfare Store’ and ‘Peach Tree Blues’ by Yank Rachell to name just a few. They are all given the Ron Hacker makeover however, as is Chuck Berry’s ‘Almost Grown’ complete with Elmore James style slide and ‘Stranger Blues’, one of the few Elmore songs that he played without slide. Suffice to say, Ron gives it the slide version. Even ZZ Tops ‘Fool For Your Stockings’ is given a heavy Blues makeover. Ron’s heavy and sometimes gravelly sounding voice suits his style of music. His guitar work, whilst heavily influenced by the Delta Blues and to some degree Country Blues is vast and stylish. As a three piece, with only bass & drums for backing, there is never any hole in their sound. The album closes with the title track, ‘Burnin’’, a “...little ditty I do when I’m warming up to practice”. It highlights his slide work and the band groove tightly behind him. It is a shame it is just three minutes long. Ron is truly a gem of a musician that I wish more people would come to appreciate.

GRADY CHAMPION

Back In Mississippi Live Earwig

Any live album that begins with the call of “Let me hear you say ‘yeah’” has a good chance of satisfying the punter looking for that true live-set feel. Grady Champion doesn’t disappoint. Champion may be a relative unknown but that doesn’t stop these fourteen tracks and over seventy minutes of non-stop party Blues being genuine value for money. He started his musical career as a rapper, this doesn’t come across in this live show, so don’t be worried about it being genre cross-over. For the last decade it has been Blues and more Blues. The album features Eddie Cotton Jr. on guitar and his lively funky playing compliments Champion’s singing and harmonica playing with enough highlights to make him worthy of further investigation too; in particular on ‘Lonesome Bedroom Blues’. About half the songs are penned by Champion and his energetic style comes across in ‘Policeman Blues’ and ‘Love And Memories’. That intensity is also seen in his covers of Chester Barnett’s ‘Spoonful’ and B.B. King’s ‘Why I Sing The Blues’. With affiliations to highly regarded producer Dennis Walker, the overall musicianship comes recommended. Much to admire and enjoy even if it he doesn’t break any new territory.

Gareth Hayes

FLOYD MCDANIEL West Side Baby (Live in Europe) Crosscut Records

We must give a big thank you to Crosscut records for releasing this wonderful CD and its eleven tracks, beautifully performed by Floyd and his four guests during his European tour, and more specifically during the truly memorable concert of the 21st May 1994 in Bremen, Germany. The sound is perfect and the quality of the instruments’ recording is such you could easily believe it has been recorded in a studio. This is certainly the work of a perfectionist, a craftsman working on his masterpiece, proving that a ‘live’ CD, recorded then reworked with all the possible skills, can sound like a great studio album. Recorded one year before his eightieth birthday and one year before his death, this album takes us back to this fabulous concert in Bremen, with covers songs from Bessie Smith, Gene Amons, Roosevelt Sykes and T-Bone Walker, artists who Floyd had the deepest respect for. Let’s not forget a special track, ‘West Side Baby’, written by the ‘father’, Floyd Mc Daniel himself. You’ll remember the great man and the huge charisma, the one who liked to call his young musicians and all those who came to listen to him in concert his ‘children’. Why did he have to leave us so soon after his eightieth birthday, celebrated at the Chicago Blues Venue? There remains, however, this beautiful gem of a CD, an absolute must to those who love the Blues, the one that touches your soul… Let’s have a thought for your ‘father’ Floyd Mc Daniel.

Frankie Bluesy Pfeiffer and Nat Harrap TENSHEDS

Crazy Beautiful

White Wail Records

Merv Osborne

Tensheds is not a punk artist as the CD cover art would lead you to believe but is the pseudonym used by multiinstrumentalist Matt Millership, a classically trained pianist

who has produced a stunning album here, very much in the mould of singer song writer like Tom Waits. While the majority of the album has fairly stark sounds, with Matt accompanying himself on guitar & piano there is some subtle orchestration on a couple of tracks, all material is self written and Matt bears his soul throughout the album, especially on ‘Love the one your with’, a duet with Aurora Schmidt. A very gentle and thoughtful set of songs that has enough variety to hold your attention, occasionally the tempo increases and you can pick up strains of Johnny Cash style Rockabilly, the final track ‘Paradise’ is the cream of the crop, it starts slowly with just gentle acoustic guitar & vocals but gradually builds with the help of a more prominent electric guitar, while it is the longest track on the album at just over five minutes, it ends leaving you wanting more & I am sure most people playing this CD will push the ‘Play Again’ button immediately. Tensheds has created an image for himself that will gain reaction, which may not be a bad thing these days, as it may help him get noticed above the competition although with the quality of songs and musicianship on show here, he does not need to worry.

TONI SPEARMAN

Adrian Blacklee

Can’t Get No Loving Over The Telephone Nasswetter Music

Having been inspired by the likes of Luther Allison, Louisiana Red and Aron Burton, this young AfricanAmerican vocalist, born in Greenwood, South Carolina, has established a strong Blues reputation for herself in central Europe over the last couple of decades; she is now based in Switzerland (though she spends a lot of time back in The States), and this CD, her seventh since 1986, was recorded in Germany. It is probably her best yet, with her strong singing well in evidence whether on the highpower ‘Boogie At Stokies’, any number of tough Blues (but try ‘Toni’s Groove’), a dance flavoured ‘Who’s That Girl’, the percolating ‘Good Love Gone Bad’ or the closing, almost ten minutes long live recording of ‘Jumping Jack Flash’ – though my only criticism of the set might be that this could have been edited down a little – a minor point. The backing musicians are spot-on throughout – some lovely guitar work, with hints of Peter Green, and the material is largely original, intelligent and tends to avoid the obvious clichés. Toni deserves to be better known and maybe some promoter could bring her to Britain – she would go down well at a festival or two...

Norman Darwen

“joint was jumping” and the dancers strutting their stuff. A heavy left hand boogie riff introduces a speedy run through ‘Diggin’ My Potatoes’ featuring a wailing sax solo and fantastic piano work. Fats Domino’s old favourite ‘The Fat Man’ keeps the party going and it’s clear why audiences love this high-energy jam band with their New Orleans flavoured jump and funk stirred with a touch of blues, country and rock. Hank Williams supplies a couple of covers with that old chestnut ‘Jambalaya’ and then the pace slows for ‘Your Cheatin’ Heart’. The original song ‘Sweet Little Woman’ gets the dancers gyrating again and it’s easy to tell why this band have already completed 3,000 gigs in their 14 year history with their crowd pleasing show. The pace is relentless and I’m guessing that Ulf Sandstrom’s fingers must have been worn down to stumps by the end of this gig. Amos Milburn’s ‘My Baby Is Boogying’ is taken at a furious pace and the album closes with Robert Parker’s funky dance song ‘Barefootin’’ featuring a Hammond organ solo and plenty of honking sax from Bo Gustafsson. It sounds as if a good time was had by all.

Dave Drury

ALEXANDER WOLFE

Morning Brings A Flood Redemption

Caught somewhere between Jon Bon Jovi and John Martyn, Alexander Wolfe exposes himself as sometime genius, sometime misfit. This unclear hybrid sums up his music too. Some of it is breathtaking in beauty and construction, and some it is approaching the dreary. Many of the tracks begin with hushed studio squeaks and vibrations before launching into soft southern rock acoustic sounds. On the whole, this works. Gentle strumming is accompanied by harmonica on ‘Lazybones’ and Blues genealogy is evident. Much of the album also has an air of singer-songwriter about it. An enthusiastic Americana backing band turn tracks like the wonderfully contagious ‘Song For The Dead’ into suitable soundtrack songs for the HBO television series like True Blood and Justified. There is a star track, and one that plays against the type of the loose genre of the album, entitled ‘Movement’ it has the madness of insightful innovation and indie paranoia. Sadly though, there probably is not enough Blues in here and whilst street cred is high and energy undeniable, any recommendation from BM must be hesitant.

Gareth Hayes

JUMP4JOY

Made In Norway Groove

This is a piano/Hammond organ fronted four piece which plays goodtime jump & boogie music. They are from Sweden but have played festivals and venues all over the world and are currently touring China! The stomping ‘Walk’ opens the show featuring sturdy vocals, honking sax and excellent boogie piano and organ from frontman Ulf Sandstrom. Judging by the audience reaction the

BIG CHIEF

Big Chief On Broadway- Live at the Ealing Jazz Blues & Roots Festival 2010

TeePee Records

This is a really special album and contains, to this writer’s mind, one of the very best Blues tracks of the year. Big Chief is a North London Band an institution that has run for over 30 years, led by Saxophonist John Fry and featuring Tony Reeves on bass the eight piece unit has had some of the major names in British R&B and Jazz

through its ranks – Dick Heckstall-Smith no less, and Adrian Paton of Curved Air – all part of a CV that takes ones breath away. Thirty odd years and a few decent albums- but this is the best – it crackles with life as the band plays a storming set – the music is a mixture of R&B with brass, Township / Afro, Ska and some funky jazz edged tunes, some blues tinged classics by such as Eugene McDaniels, Tom Waites and Randy Newman – it moves, it swings, it excites, it grooves and it lifts the spirits as you will hear it raised the spirits of the audience on that night. The band is introduced by Tim Aves who also leads the demands for an encore – every track is good but for Blues fans ‘You Gotta Move’ by Fred McDowell is really good and ‘Drowning On Dry Land’ is outstanding; a real corker of a slow blues – with superb solos on Trumpet, both saxes and guitar –great dynamics and a soul filled vocal by John Fry that rings every ounce of desperation and regret from the lyric. Yet the best track of all follows – ‘Africa Rag’ written by John Fry and guitarist Barry Langton it’s an Afro groove and the percussion section is let loose to dazzling effect – it closes with everyone in the band and many in the audience playing something and builds to a climax that close with the audience roaring for more. I recommend this very highly indeed – it’s Big Chief at the very top of their game – it’s an hour plus of really good music.

Vicky Martin

ADRIAN NATION

Fall Or Fly

Laburnum Bridge Records

Acoustic singer/ songwriter Nation has enlisted some high profile contributions for this second album of self-penned songs. Among the high quality musicians featured are Gerry Conwaydrums (Jethro Tull, Fairport Convention), Brad Lang - bass (Robbie Williams, Ray Charles, Elkie Brooks), Canadian guitar player and session man Colin Linden and internationally renowned Troy Donockley on low whistles and Uillean pipes. Opening track’Don’t Turn Away’ immediately draws the listener in with a sturdy backbeat and rocks along fuelled by acoustic and Resonator guitars from Nation and lively fiddle from Jonathan Potts. ‘All Our Yearning Moments’ is a much gentler, introspective song featuring upright bass and low whistles which add a Celtic sensibility. That Celtic connection is also evident on the beautiful ballad ‘The Other Side Of The Night (Song To Maria)’ a sad tale of a lost love who passed away far too early. Nation’s songwriting skills and excellent vocals and guitar playing are at the heart of this fine album. A cello adds beautiful touches to the sensitive ballad ‘Brightest Star’ but then a complete change of pace comes with’ The Heart Beats On’ which is introduced by a blast of wailing harmonica from Graham Pike. This song rushes along urgently and features atmospheric slide guitar from Colin Linden and a percussive and insistent rhythm. ‘Balance’

is a lilting ballad with a pretty guitar refrain which was inspired by watching a boat struggle to make headway against the prevailing wind and waves and chronicles lifes struggles. The instrumental ‘Five Finger Rapids’ is a rolling and melodious piece featuring just Nation on acoustic guitar. A howling wind and keening Uillean pipes make an atmospheric intro to ‘Sweet Molly’ which was inspired by watching a storm on a dark winter’s night. The album closes with ‘Set Fire To The Sky’ a dreamy meditative song which features just Nation’s gentle vocals and acoustic guitar. This album is full of good songs, well played and well sung, and is easy listening in the best sense. Adrian Nation should go down well on the folk circuit and at festivals. A fine album well worth a listen.

Dave Drury

SIMON HOPPER with ANDEE PRICE

Resolute Love

Simon Hopper Prod

After their 2010 summer tour, Simon Hopper and Andee Price locked themselves in Quantum Leap Studios, Kent for a few days in order to capture the songs and the essence of the live performance energy they enjoyed on tour. They wanted to give their album the spontaneity and raw edges of a ‘live’ album with the minimum of edits. It’s true that the vocals and instruments sound as if they are actually ‘live’, with Simon playing mandolin and mandola, and Andee on double bass. Both their voices complement each other, each with their own space, alternating whenever necessary… Just listen to ‘Solid Ground’ and ‘Oh, Sally Ann’, or the magical ‘What You Do’. The ‘live’ recording gives this album a warm sensation, an emotional feel too in spite of the rather playful rhythms found in most of the tracks. Simon Hopper’s voice is warm and deep, bringing you close to him and wrapping you up tight. In tracks such as ‘Two In The Margins, it becomes even surreal, unearthly when accompanied by the sound of the double bass. There are only eight tracks in this album, unfortunately only eight because we would have liked the journey to continue for ever and ever. The only thing to do is press ‘Play’ and you can go on your travels again together with Simon and Andee in a world where everything, absolutely everything is love. This is the kind of musical journey we would like never to end.

Frankie Bluesy Pfeiffer and Nat Harrap

THREE CARD TRICK

Sellout?

Launchpad Records

Recorded in two days at the Lofi studios, Glasgow, Sellout? is the first release by Three Card Trick, who over the last few years have played regular pub gigs, weddings and festivals as a covers band, and even appeared on John Bishop’s Britain TV show. The album has a rough and ready feel, yet does not detract from the quality of the group penned compositions. Vocalist and guitar playerGary Johnstone leads the catchy ‘I’d Rather Have Money Than Fame.’ A confident vocalist, his lyrical narrative is followed by a sharp and melodic guitar solo. ‘Cut These Chains’ with Steven Adamson’s throbbing bass-line might elicit comparisons with fellow Glaswegians, the Nimmo Brothers. The slow blues of ‘Pay The Bills (With This Guitar)’ piques the attention immediately with some slow blues harp, which as the song develops blends in with some restrained melodic electric guitar and convincingly tender vocals. The jangly title-track shows commercial promise contrasting to the hard edged ‘Second To None’ with powerful drumming from Neil

MacDougall. The six and half minute ‘My Own Device’ is a psychedelic standout, clearly influenced by Hendrix and Funkadelic; commencing with Steven Adamson’s bass intro, a bluesy guitar line steadily reaches a peak. ‘Everyday’ features great dynamics, ‘Thick As Thieves’ touches on some funky Steve Ray Vaughan licks with a strong rock chorus, before the rock n roll jive of ‘The Sauchiehall Street Shuffle’ playfully showcases the talents of each band member. A collection of bluesy seventies style rock and occasional rock n’ roll leanings makes this an enjoyable listen and this is enhanced by tight musicianship and the great camaraderie which was evident during the recording. With the right exposure, rather than being a sell-out, this record could be a good solid step to a long-standing music career.

THE BRITANNICAS

The Britannicas

Kool Kat Musik

JAMES COTTON Giant

Alligator Records

Duncan Beattie

Anyone here for jangly, guitar based, powerpop filled with soaring harmonies and catchy hooks. Then look no further! The Brittanicas are a trio comprised of Herb Eimerman (USA), Magnus Karlsson (Sweden) and Joe Algeri (Australia) and all three are vocalists, multi-instrumentalists and seasoned songwriters with various other bands. This is their debut album and they have captured the sound and feel of classic-era pop music redolent of The Byrds, The Beach Boys and The Beatles. Opening track ‘Those Good Vibrations’ kicks in with a short blast of wailing harp which is soon overtaken by jangly guitars, sweet harmonies and a good feeling which takes me right back to 1964 when I wore out my copy of “Mr Tambourine Man”. Wonder if my flowery shirt and bell bottoms are still in the loft and what is that funny odour drifting on the warm breeze? Pull yourself together man! ‘Baby Say Yeah Yeah’ is garage rock with a light, melodic touch while ‘Friday Night Alright (Come Out And Play)’ features an Eddie Cochran style rhythm and rocks along splendidly. A much harder rocking feel is evident on ‘The Girl From Malasana’ and it’s clear that these guys share a love of classic 60’s British pop. The playing is superb throughout and plenty of colour is added by use of mandolin, banjo, clarinet, harmonica and vibraphone along with the usual beat group line-up. ‘Don’t Go Back’ and ‘Stars’ feature lots of catchy jangle and Roger McGuinn style guitar soloing. ‘Blue Sky Grey’ has a real retro folky feel with a gently lilting melody and pretty harmony vocals.There is something about ‘Love Trap’ that reminds me of the wonderful Al Stewart - maybe it’s the slightly twee confessional vocal performance. The album closes with the psychedelic ‘The Other Side’ which is a spacey gem featuring shimmering guitars and trance like vocals. There is a distinctly retro feel to this album that evokes memories of a classic pop era and it’s impossible not to love the great songs, catchy melodies and chiming guitars which fill every corner of this excellent album. Spread a little sunshine.

Dave Drury

The title says it all. Of the great surviving bluesmen, Cotton really warrants the title ‘giant’. Here he is with an album dedicated to the memory of another great, Koko Taylor. Twelve tracks help to showcase the legendary harmonica prowess of a man who’s played with all the greats, too many to mention – but Muddy was among them. These days James leaves the vocal demands to Slam Allen, who here shares guitar duties with Tom Holland. The rest of the fine band, who groove ferociously, especially on the track Change, is made up of Noel Neal on bass and Kenny Neal Jr on drums, and it rocks from the first track, Buried Alive in The Blues. There’s three nods to Muddy Waters with Find Yourself Another Fool, Sad, Sad Day, with some authentic Morganfield style slide and great harmonica, and there’s the moody Going Down Main Street. And check out the bass solo on How Blue Can You Get? – amazing. This memorable set is impressively rounded off with a poignant Blues For Koko. This is big city blues played by someone who has his very roots in the genre. When it comes to legends, they don’t get any larger than James Cotton – a giant indeed.

Roy Bainton

LYNWOOD SLIM AND THE IGOR PRADO BAND

Brazilian Kicks

Delta Groove

Richard Dennis Duran aka Lynwood Slim is something of an itinerant musician, who has not established the worldwide recognition his undoubted talent deserves. He is best known for his harmonica playing in his native California, and is associated with a style of Blues which invariably swings in that special and unique West Coast way. When the first California Blues revival of the seventies waned he took up residence in Minneapolis, just as fellow harp maestro Kim Wilson left. He has both lived and recorded in Europe, and this is his first album since 2006 in a fifteen year recording history. The genesis of this album was serendipitous, with Igor Prado approaching Slim about producing his band. This turned into a two week joint recording session in Sao Paulo, Brazil a couple of years ago. What is more remarkable is that three twenty plus year olds from a radically different culture could gel so harmoniously with a US West Coast Bluesman. The sheer vitality and variety of musical offerings is amazing, (a word Slim rightly pens to describe his own feelings about the project), and the tracks vary from soul, like Buddy Guy’s ‘Shake It Baby’, the only track where Prado takes lead vocals, to the self-penned late night ballad ‘Maybe Someday’ and from the relatively obscure ‘The Comeback’ to Igor Prado’s superb jazz composition

‘Bill’s Change’. Slim’s harp playing on the final instrumental track ‘Going To Mona Lisa’s’ is worth waiting for too.

Noggin

THE HEADCUTTERS Back To The 50’s Chico Blues

First off, this is not the Headcutters from Rhode Island or The Headcutters from Malmo or the Headcutters from Brighton – this is the Headcutters from Itajai Brasil. That’s right, the Blues has a home in Brazil

and, as the title suggests, this is chock full of tracks that were originally hits in the 1950’s. The album includes 5 Little Walter numbers as well as Sonny Boy Williamson’s ‘She’s My Baby’, Fats Domino’s ‘Please Don’t Leave Me’ and Jimmy Rodgers ‘Little Machine’ and the playing is fine. They play all the notes in the right places and at the right tempo and even pronounce ‘Baby’ the same way that Jimmy Rodgers did all that time ago but there isn’t a single spark of originality or really understanding the music they are playing. Back in the earliest days of the British Blues boom there were legendary arguments between the British Blues lovers over the exact intonation of Mississippi Fred McDowell or whether the guitar being used was a 1932 Resonator or the 1929 with the Ivory tuning pegs – this album strikes me that these guys are in a similar place to those Brits: they haven’t yet learnt that the music has to be played from the heart and not just by following the dots. The final track on the album IS an original and it is actually pretty good – a fair piece of Bluesy rock & roll called ‘T-Bonin’ that gives all the band a chance to show off a little; hopefully that will be the pointer to some new Blues coming out of Brazil but not if they haven’t got an Alexis Korner up their sleeve. If you get to go to Brazil they are definitely a band worth checking out if you happen to be in town while they are playing but probably not worth a trip there especially.

WILLIE NILE

The Innocent Ones

River House Records

The Singer-songwriter

Andy Snipper

Willie Nile is something of a musical magpie, but always managing to fashion something new out of older material. His voice is part Elvis Costello, part Bob Dylan, part Tom Waits, par Tom Petty, but always his own. His music is part Punk, part New Wave, part retro, part rock, part blues, part jazz, but an attractive hybrid nevertheless, but what he sings about is not your usual boy meets girl, boy loses girl, boy learns something type narrative, there is something more at work here. With a stripped down band personal of multi-instrumentalists Willie Nile, Steuart Smith, doing most of the musical heavy-lifting, and Frankie Lee as co-songwriter, backing vocalist, and provider of the groups powerful drum sounds, the album has a multi-layered full sound, using more than the two guitar, drums and bass format, with piano, organ, harmonicas, sitar guitars ,banjo, and pump organ adding to the mix. The album goes from the protest song ‘One Guitar’ which recasts the rhythm parts of Bowie’s ‘Heroes’ to good effect, to the ballads ‘The Innocent Ones’ and ‘Sideways Beautiful’, to the punky ‘Cant stay home’ and ‘Hear you Breathe’. This is a fine album, full of something new using something old, perfect for older punks and new wavers who are not ready for the pipes and slippers.

Ben Macnair

TODD SHARPVILLE Porchlight MIG

Just around the time you look back to assess the Blues releases of 2010r, up pops another one to make you reconsider. This return to the Blues by Sharpeville sees a changed man. The linear notes refer to Sharpville’s experiences on the Legendary Rhythm & Blues Cruise, which placed him in the esteemed company of artists like Duke Robillard, Kim Wilson and Joe Louis Walker; each of whom contribute to this album. Lyrically the songs on this double CD set refer to Sharpville’s personal experiences, his marriage break up and the passing of his father, to whom the album and its particularly poignant title track, is dedicated. While that might sound sentimental, there is plenty of light and shade to produce a deep and rich collection of soul-tinged blues. The intriguingly midpaced ‘If Love Is A Crime’ opens the album before the autobiographical ‘Lousy Husband,’ where Sharpville trades Blues guitar licks with Robillard. While Sharpville chose not to follow his father’s career into politics, ‘Legacy of Greed’ and ‘Can’t Stand the Crook,’ the latter with fiery harp from Wilson, do not miss their targets. The raw emotion of Sharpeville’s recent personal experiences are channelled through the introspective ‘Old Feeling’ and bitter melancholy of ‘When The Blues Come Calling’ while the centrepiece of the second disc is the emotion charged slow blues of ‘Misery,’ with an outstanding guitar solo and Wilson’s haunting backing. In contrast the New Orleans styled ‘Everything Will Be Alright,’ delightful melodic shuffle ‘Whole Lotta Lady’ both with full brass section and the sole cover, the playful take of Shel Silverstein’s ‘If That Ain’t What Love Is’ provide light relief. This is a superbly assured release, producer Robillard has helped bring the best out of Sharpeville. Yet regardless of the guest contributions, Sharpville’s compositions are inspired and insightful, his guitar playing measured and mature; and his vocals superbly suited to this style of music. On the evidence of “Porchlight”, Sharpville stands with Ian Siegal and James Hunter as one of the most naturally suited Bluesmen to emerge from the UK in many years.

Duncan Beattie

THE GOLDEN GATE QUARTET Incredible Dixie Frog

It’s a mere seventy six years since The Golden Gate Quartet first got together. I’ll repeat that in case you missed it. Seventy six years. And here they are in 2010 with a brand new album to their name. Naturally, there aren’t any original members left, but The Golden Gate Quartet, along with the Blind Boys Of Alabama, are probably the best-known gospel group in the world. However, unlike the Blind Boys, The Golden Gate Quartet have rarely strayed into the world of secular musical backing, sticking instead to the traditional gospel sounds that made their name. Most of the songs here are from the pen of tenor Clyde Wright, the longest serving member of the group with 56 years under his belt, and songs like ‘I Want To Be Ready’, ‘Yes, Jesus Loves Me’ and ‘Crossing Deep River’ could have come from any time in his tenure. But that’s what makes this album so enjoyable. The simple sound of men of faith singing of their belief. And the current line-up of Clyde Wright, Frank Davis, Paul Brembly and Anthony Gordon can hold their heads high when it comes to singing gospel. There’s nothing here that will convert non-believers, but gospel fans will take this to

their hearts. The album contains a seven minute video, which is fairly worthless, but comes in a digipak with a great 40 page booklet detailing their history.

VARIOUS

Jump, Blues & Ballads

SPV/ Blue

Stuart A Hamilton

The end of World War II saw the rise of rhythm & Blues in America, and a whole slew of new independent record labels sprang into existence to push the new style. Jim Bulleit’s Bullet Records was one of the earliest – it also released pop and country music - but until guitarist Fred James began in-depth research in to the Nashville Blues scene in the late 80s, it did not have much of a reputation among latter-day Blues lovers. This set examines the label’s R&B output between the years 1946 and 1952. Most of the music is as described in the title – and there is nothing wrong with that at all, particularly as the jump and Blues outnumber the ballads – but there are a few surprises. Willie Dixon’s Big Three Trio is indeed the legendary blues bassist/ songwriter’s harmony group, Walter Davis is the well-known pre-war blues piano player, and there are two recordings from the debut session of a young guitarist and singer from Memphis who went by the name of BB King – which for many years was the only reason why the label was remembered by blues lovers. That was more than a little unfair and this release thankfully helps to redress the balance.

Norman Darwen

BEN PRESTAGE

Real Music

Nugene Records

We’ve been hearing great reports of Ben Prestage’s live shows – he’s currently around the UK; by all accounts he delivers a great live show and has something of the music historian about him – he entertains the audience with anecdotes and informative accounts of the history and background of the songs and the instruments. He’s a sort of hybrid one-man band, being accompanied by Mark Campbell on Tuba and Jug and Bruce Johnson on harmonica. The live shows and the record together form a campaign for real music and he takes us right back to the root and branch of the blues. For those who haven’t studied this stuff a lot it is very informative. For those of us who have looked into this music in some depth it’s more a case of preaching to the converted. Ben is a quality musician, fine guitar, and percussion and he does an authentic job on lots of classic old songs here. For me, on a strictly personal basis, the weakness of this approach can often be in the vocals; Ben sings well enough, but he’s picked songs by some mega great singers and the vocals stand slightly in the shadow of the originals. Is it unfair to make such comparison? It’s hard to say really, but it is probably what stops me personally from buying such records. But for readers, well if you’d like an album of very well played acoustic and roots blues presented with passion and love for the music then go for it.

Vicky Martin

PAUL MARK MIRAGE CARTOGRAPHY Radiation Records

I have to declare that I am not a fan of instrumental music regarding it as mostly suitable for travelling in lifts or to fill the gaps between TV programmes. This largelly acoustic guitar CD with it’s elaborately designed artwork appears to be based on a theme but as often with modern art seems destined to remain in the head of the artist rather than that of the bemused beholder. The esoteric titles ‘Kings Counsel’, ‘Bug Jar’ and ‘One Inch World’, for example, did not offer a clue to me. Starting with an intro of bus and car noise ‘Mirage Avenue’ is like the rest of the material, pleasant and melodic with no technically difficult passages to admire. In fact the first three tracks passed by seamlessly like background music before the tempo is raised on ‘Land Rush’. ‘Mud River Blues’ is fluid and measured but not Blues to my ears. ‘Rail Yard’, one of two tracks augmented by other instruments, is the pick of the crop, with harp and bass providing something to get one’s teeth into. The rest of the material has some classical and certainly country influence but again totally unmemorable. Part Two of ‘Mirage Avenue’ though with drums, bass,organ and electric guitar is more dynamic, rockier and listenable in it’s own right. ‘Enterrement’ the final and thirteenth track is a Country song without the words, thereby seeming to omit the very raison d’etre of the genre. Rootsy, not really and certainly not blues, this inoffensive release would be suited as background music for a dinner party where it doesn’t really matter whether you miss anything. The two more elaborate tracks however do make you intrigued as to the nature of the artist’s other releases.

Bob Chaffey

GOT LIVE

SOUTHSIDE JOHNNY & THE ASTBURY DUKES @ HMV Picture House, Edinburgh, 25/10/2010

It was one of those nights when everything seemed to fall comfortably into place. The Astbury Jukes opened proceedings with ‘Nothing but a Heartache’, and the audience applause rose as Johnny himself came stage centre to orchestrate a super evening’s entertainment. A real frontman and fine vocalist, he was keen to share the acclaim with his 9 piece Dukes, including a four strong brass section which were provided the opportunity to showcase their talents in ‘Passion Street.’ The dirty groove of ‘Coming Back’ then contrasted nicely with the New Jersey soul of ‘Walk Away Rene. ’ While Glen Alexander drew heavy attention it was his cohort Billy Walton who took the acclaim on the soulful ballad ‘Lost’ with a wonderful guitar solo. The Blues influence to Johnny’s music is apparent and no more so than in ‘All Night Long’ which he played some outstanding blues harp in an extended instrumental workout combining with Alexander on slide. ‘Talk To Me’ allowed drummer Ton Seguso a share of the spotlight. Vocally, the pick of the 20 plus songs was perhaps ‘Gladly Go Blind’, as the crowd silenced to concentrate on each emotion tinged word. As the evening continued between songs there was an apparent moment of indecision before Johnny stated” This isn’t programmed – we’re not the Eagles.” The crowd would not have had it any other way! The performance of the band as a whole was unrelenting. A reading of Wilson Pickett’s ‘If You Need Me’ was another soulful moment before the introduction ‘You Can’t Bury Me’ from their current release “Pills & Ammo”. The third of four encores even saw Southside take the piano with keyboardist Jeff Kazee’s pushed to the front to lead ‘Keep On Moving’. A climax of duelling saxophones and trombones within ‘Better Way Home’ brought what was a superb night’s entertainment to an end.

Duncan Beattie

BILL SHEFFIELD & DAVE SAUNDERS @ Stables Bar & Cafe,

Lulworth Castle 25/10/10

Blues from the Deep South performed by Bill Sheffied from Atlanta, Georgia and Dave Saunders from Wimborne, Dorset. Big Bill is a regular visitor to the UK and he just loves singing and playing and the Delta runs through his soul. Whether it’s blues or his own rootsy songs infused with gospel, bluegrass, country and the occasional cover you can always be sure his heart and soul is in there. Bill has just arrived from a European tour and as ever Dave Saunders (Producers) provides backup on his acoustic bass as the pair open with ‘Down On Me’ swiftly followed by a wonderful cover of Willie McTell’s rolling country blues ‘Georgia Rag’. Bill’s superb finger picking is well featured on the jaunty ‘Cherry Blossom

Photo : Stuart Stott

Time’ and the heartfelt ‘Back In My Baby’s Arms’. A stunning and emotional cover of Richard Thompson’s ‘1952 Vincent Black Lightning’ is followed by Bob Dylan’s ‘I Want You’. Bill straps on his rack harp for the harrowing and topical tale ‘The Legend Of John Montgomery’ the miner who died “down in the hole” while saving 25 men from being buried alive. A beautiful version of Tim Hardin’s ‘If I Was A Carpenter’ is followed by an unlikely, but effective, and well received cover of ‘Dedicated Follower Of Fashion’ complete with audience participation. Apparently Bill regards Ray Davies as his favourite English songwriter - “Oh Yes He Is”! Further evidence of Bill’s excellent guitar technique comes with a cover of his Atlanta compatriot Duane Allman’s ‘Little Martha’. As Bill says “The Allman’s were never the same once Duane went”. The first half of the evening was an absolutely superb set of blues, roots and Americana and we were in for more delights as Harry Skinner (Producers) joined the pair for the rollicking ‘Help Me Spend This Dough’ followed by a romp along ‘Route 66’ with the hood down and the stereo blaring. Bill again showed his liking for 60’s British pop with versions of ‘Eleanor Rigby’ and ‘A Whiter Shade Of Pale’ both featuring Harry on mandolin. We then took a ride on the ‘Mystery Train’ and were regaled with the humorous tale of ‘Sweet Lorraine’ an ex-wife who quickly spent all of his paycheck. Harry took the vocals on the loping ‘No More Doggin’’ before the evening finished with crowd favourite ‘Got My Mojo Working’ featuring Harry on slide guitar. Huge smiles all round after a superb night of music and an excellent example of Anglo-American special relations. Catch Bill when he visits again in May 2011 - I’ll certainly be there!

Dave Drury

THE TREVOR BURTON BAND @ The Wetmore Whistle Burton-Upon-Trent

The Wetmore Whistle offers the ultimate service to a punter on a Sunday after, a drink including a good choice of Real Ales, a very tasty and good value Sunday lunch, with no preparing, cooking and the usually pile of washing up. Then sit back for a few hours, chill and listen to a band! The band in question on this particular Sunday was The Trevor Burton Band. Having seen Trevor Burton in many other line-ups, this was actually a first opportunity to see him in this Blues setup and it was a real treat. The gig was on the lighter side of Blues and a more eclectic set. With stomachs full, Trev Burton set off to take their mind to higher things musically and the Blues, as he kicked off with ‘Big Boss Man’. ‘Down Rollin’ proved an interesting number, Basic RnB that was infused hints of latino, very 60s Shadow’s feeling but with much more Blues content. Highlighting Trev’s gritty vocal, beautifully underpinned by his guitar riffs and tight percussion section. That brought images of Mexican sunset to a damp and dull Sunday afternoon. ‘Buffalo River Home’ dedicated to the Buffalo and in its plight was an Americana number in construction, with Trev in traditional Blues story telling mode and an impressive guitar solo in the middle. The band’s rendition of the Bruce Springsteen’s ’No Retreat, No Surrender’ was given not only respect for any song by ‘The Boss’ but turned to be a display of how talented the band where, to take on a song of this magnitude and give an excellent performance of it in return. Another surprise in store for these Sunday diners was Trev’s own interpretation on The Troggs classic “Wild Things’. Taken in deeper Blues style than the original RnR and, providing an opportunity for a bit of audience participation. Trev and the band set the atmosphere of the gig just right for this unusual way the Blues was showcased but in the present austerity, lateral thinking is needed for the Blues to survive and in this is musical experience and professionalism will win out for the genre!

Carol Borrington

THE FORTUNATE SONS @ HMV Picture House, Edinburgh, 25/10/2010

The majority of the show for Southside Johnny’s Edinburgh show were rewarded for coming early with a fan winning performance from The Fortunate Songs, from the Southside of Glasgow. The band made of up Sam West on vocals and acoustic guitar, Callum McCann on electric guitar and backing vocals, Cameron Maxwell on bass and Gary Johnson on drums. With Maxwell commencing the set on stand-up bass, the set was opened with ‘Slave Train’. The song is melodic yet with a thumping backbeat from drummer Johnson, it showcased Sam West’s superb vocals reminiscent of a young John Fogerty. This achieved their objective of gaining the attention of the expectant crowd. While the track is a highlight from their superb eponymous debut album, it was clear the band have a large number of songs composed for their 2011 follow-up. Playing a range of diverse originals might have been considered a risk, yet the Fortunate Sons songs are of quality that they keep the crowd entertained. ‘The Joker & The Devil’ which featured a distinctive bass-line combined with a Bluesy guitar riff and the band’s trademark well-rehearsed vocal harmonies. West’s acoustic guitar commenced the mature sounding ‘Cherry Blossom’ and like ‘Josephine’ confirmed the band have fused elements of their disparate sources as diverse in timeframe as the Rolling

Photo : Marc Marnie

Stones and The Kings of Leon to create their own timeless sound. Their recent single ‘Queen Of Hearts’ saw them play to their strengths and their direct approach will surely see attract fans from a wide range of genres. Despite the large audience in attendance, the confident manner of guitarist Calum McCann and bassist Cameron Maxwell shone through. The vibrant ‘Walk On Fire’ preceded ‘Dreams’ with slide guitar and Bluesy vocals. The successful slot was completed with the barnstorming ‘This Train.’

Duncan Beattie

DOUG MACLEOD @ Green Note, Camden, London. 11/11/10

The Green Note is as good a place as any you could find for a close-up experience of the finest in acoustic blues music, and Doug MacLeod is as good an acoustic blues artist as you could hope to find. He wowed a sell-out audience, all of whom had come for the sole reason of listening to him, and a very good time indeed was had by all. Unlike a great many artists in the genre, Doug MacLeod does all original material, and his songs cover a wide variety of themes. There are fun songs, such as the selfexplanatory I’m So Broke I Can’t Even Pay Attention, sad songs such as My Love’s Grown Cold, bawdy songs like Your Bread Ain’t Done and serious songs like Whose Truth? Whose Lies? Rather than sticking to familiar subject matter, Doug MacLeod writes material that wanders into the political and songs that present whole attitudes to life. He’s a superb guitarist too, with a style all of his own, and his in-the-zone rendition of My Love’s Grown Cold showed his wonderful slide work at its finest, holding a spellbound audience’s attention as only the best artists do. His voice is also completely non-standard-issue, no gruff impersonations of what a bluesman ‘should’ sound like, but a higher register thing that soars and swoops. Add to this his considerable skills as a between-songs raconteur and you have one of those evenings that make people who witnessed them feel just that bit better about things for a while. Doug MacLeod’s message is essentially an optimistic one, as shown for example by the feel-good Coming Your Brand New Day, and new song (and title track of the forthcoming new CD) Brand New Eye. The optimism, however, is balanced in the repertoire by acknowledgement of the less desirable aspects of life and people, and there’s a depth to what he does. At the end, as the audience filed slowly out, Doug MacLeod was like the vicar at the end of a particularly funky service, receiving the appreciative words of people who felt they’d just been part of something a bit special. They were right.

Mark Harrison

FOGHAT @ Iridium New York City – Last Train CD Release Party Dec 1

Foghat is a band that has quite a history related to “Blues Matters”. The mainstay of Foghat came from the band Savoy Brown (Lonesome Dave Peverett, Tone Stevens and Roger Earl) up until1970. The historic beginning of Foghat started in 1971. Over the decades, the band had many hits- ‘I Just Want To Make Love To You’, ‘Slow Ride’, ‘Fool For The City’ ,”Stone Blue’ etc. Foghat had multi- platinum albums and became a stadium band in the USA.. Over the years, the band had many different line ups (Lonesome Dave and Rod Price passed away) and went in many directions musically. However, in 2010 Foghat decided to go back to their Blues roots with the release of “Last Train Home”. The current line up in sound and spirit is coming from the same place the original Foghat came from. The line up is Roger Earl on drums, Charlie Huhn ,vocals and guitar, Bryan Bassett, slide guitar, Jeff Howell, bass, Colin Earl, keyboards and Lefty Lefkowitz on harmonica. The show at the Iridium in New York City captured the same energy as “Last Train Home”. The show also featured the legendary Eddie Kirkland, who is also on the new album. Eddie played the two songs that he is featured on, “Last Train Home” album, ,(‘Good Good Day ‘,’In My Dreams’) and much more. Foghat and friends played two great blues sets which included; ‘So Many Roads’, ‘Shake Your Money Maker’, ‘Rollin And Tumbling’, ‘Needle And Spoon’, ‘495 Boogie’, ‘Driven Wheel’, ’Slow Ride’, ‘Road Fever’, ‘ Stone Blue’, ‘Fool For The City’ and many more classics. Foghat has come back 360 degrees to their Blues roots. This is a show that all Blues and music fans should not miss. It would be great to bring Foghat back to the United Kingdom where it all began.

Arnie Goodman

BUDDY WHITTINGTON @ Boarhunt Blues Club, Hampshire October 15th 2010

My first visit to this venue found me in the depths of Hampshire where this renowned blues club has presented worldclass acts for the past 25 years to a friendly and knowledgeable crowd, who enjoy the benefits of real ale and the great atmosphere generated by the hosts, Steve and Angie. I was in time to have a chat with Buddy and the band. Just arrived from New York that afternoon, the affable Buddy was reacquainting himself with his touring band, Roger Cotton (keyboards), Pete Stroud (bass), both ex-Splinter Group, with Darby Todd (Hot Legs) on drums. As Steve and Angie were welcoming the sell-out crowd, Buddy started in fiery form with his rendition of B B King’s “You Upsets Me” before launching into “Minor Blues”, his take on drug abuse, street gangs, homelessness, overcrowded jails and much more. “I Love You More And More” (Freddie King) preceded one of my personal favourites, “Jacksboro’ Highway”, highlighting Buddy’s slide skills. The first set ended with “Big Legged Woman” (in a mini-skirt). “Woman Across The River” got us under way again, followed by “Ain’t No Brakeman”, dedicated to yours truly, the Willie Nelson classic “Nightlife” and his respectful tribute, “Stevie Rave On” (get it?). We had dancing ladies for the brilliant “Hideaway Medley”, through to the closer “Awestruck And Spellbound”. There was not a dry eye in the house for the final encore, the brilliant “Sure Got Cold After The Rain”, proving that even ZZ Top do the blues! For all you geeks out there, he managed to get all these changes of tone from his Strat through a Dr Z combo, excellent Texas Blues tone throughout. He may have felt anonymous playing “second banana” behind John Mayall but if every Buddy Whittington gig is as great as this one, with credit also to his band, the former sideman will be spending a lot more time in the main spotlight from now on. For more information on upcoming gigs at Boarhunt, go to www.boarhuntblues.com - but be advised, they sell out quickly!

Clive Rawlings

THE STUMBLE @ Millers’ Snooker Club Kirby-inAshfield 28/10/2010

The Stumble as a band are one that never disappoint at their gigs but this night at Millers’ felt like someone had put high octane fuel in their individual and collective tanks! They launched into performance mode with gravity defying energy, from which they did not re-enter from orbit until the last note of the gig was played. Their rendition of the Chicago Blues number ‘All Choked Up’ taken from their third CD, with its very authentic big band feel defied the fact there where only six musicians on stage and not a full orchestra. It was all instrumentally beautifully executed and topped with Paul Melville’s superb vocal. ‘It’s A Lie’ with emotional slide guitar and all expertly underlined with saxophone riffs, gave the audience a good variation of tempo to get their teeth into. Moving into a more 60s feel RnB song called ‘Flesh And Blood’, you got that feeling, that if these guys had been around in the 60s itself, they would have been standing alongside the pick of bunch. Colin’s lead solo was sensational on this with Simon Anthony’s Sax adding a bit of spice to the mix and the rest of the instrumentals flowing tightly into the whole, it was seamless. Once again Paul Melville showing what a great vocal ability he has, all allied to textbook microphone technique and mastery of stage presence. They started the second set with a musical muscle blow to the solar plexus as they powered into ‘You Upset Me. An uptempo Blues, jazz rockin’ number. ‘Evening’ a saxophone lead song was exquisite Blues jazz tinged ballad and if you closed your eyes and let the music flow through you, gave images of time past in smoke filled Chicago bars on a sultry evening! ‘Sugar Sweet’ soon had you back to reality ,a rockin R&B number with a good display of off the back-beat drumming from Boyd Tanner. The call for “3 more” is common encore call among Millers punter at the end of a good performance but on that night, so good was that performance, the call was, “10 more”. Enough said!

Carol Borrington

THE BOLAJI BLUES BAND @ Stormy Monday Club, The Bulls Head Barnes

Every now and then one can catch an unknown band that just blows you away. This band was one of those! Fronted by Dave Lawrence who has a great mellow liquid voice; backed by Dan Smith [a stinging guitarist]; John Bolaji [a visually stunning keyboard player]; Peter Back [one cool sax player]; Ken Redding [six string bass] and finally Steve Denton on drums. The evening started with ‘Baby Don’t Do It’ followed by ‘Worried Life Blues’. Their rendition of The Allmans’ ‘Don’t Want You Anyway’ and ‘Sweet Melissa’ was an eye opener. A song by local musician Alan Phillips ‘Three Long Years’ had the audience cheering, ‘Rambling Man’ and Freddie King’s ‘Going Down’ certainly began to set a groove. Derek and the Dominoes ‘Got To Get Better’ was simply wow! A soulful passion-filled vocal on Bessie Smith’s ‘Gin House Blues’ by Dave nearly bought the house down. But the highlight of the night for me was their interpretation of Clapton’s ‘Old Love’ everyone on stage got a chance to show their metal. Simply Awesome! If they had recorded this set it would have been a live album to die for. This band is certainly one to look out for and they will definitely be back here at Barnes in the near future.

Bob Bonsey

Photo by Liz Aiken

Paul Melrose

WALTER TROUT/DANNY BRYANT @ Mick Jagger Centre, Dartford October 31st 2010

Danny Bryant opened to an enthusiastic audience - must be like a home game for him! His short set was culled mainly from his Live and the new Just As I Am c.d.s and excellent it was too. I am not one for making comparisons but, with Danny touring alongside Walter, a little of the latter’s style has rubbed off! In thirty minutes he managed to cram in standards like “Yonder’s Wall” but more of his own catalogue - all in all a brilliant appetiser. Walter Trout walked on stage with his band mates of varying years service, probably the most recognisable being his keyboard player Sammy Avilla. Within a minute Walter revved up a solo intro that rose in intensity into “Dust My Broom”. Trout’s fingers sped along the guitar neck tearing solos through the stacked speakers. There was a problem with the sound (caused by a spilled drink on a speaker) and some people voiced their disapproval but Walter’s retort “I don’t come to your workplace and shout at you!” soon silenced them as they retreated to the bar! Nothing detracted from a fantastic set that continued with “Life In The Jungle”, “As The Years Go Passing By”, “Living In The Danger Zone” and “I’m A Fool”. Dropping a gear to play some more down-tempo blues, Trout showed he can equally perform slower, more heart-felt lead guitar whilst singing emotive authentic lyrics. A surprise “guest” appearance by his tour manager of the past decade, Andrew Elt, went down very well contributing stunning vocals and rhythm guitar - I vow to check out his own band Sleeze Beez. The jamming didn’t finish there with Danny returning to stage for the now obligatory “Goin’ Down”. Trout frequently makes searing solos look so easy that it’s tempting to forget just what an achievement each one is. Material from the new album Common Ground was a joy to listen to - yes, it’s cut from the same cloth as existing material but at the end of the day that’s what the audience pays for.

Clive Rawlings

THE BLACK KEYS @ The O2 Academy, Glasgow, 28/10/2010

The age old question of how to attract younger people to Blues shows often raises its head, yet The Black Keys have no concerns on that score. The majority of this sold out crowd being in their twenties or thirties. Having consistently attracted larger crowds on each UK tour, their popularity has risen further due to their largely less bluesy current release “Brothers.” Regardless of how each attendee discovered the band, the first part of the set focussed on the Akron duo’s early releases, opening with the heavy bluesy riff of ‘In Your Arms.’ Borrowed Junior Kimbrough licks introduced ‘Girl On My Mind’ which followed the standard formula of heavy opening riff, which softened for the vocals, loud instrumental mid-section, repeat of lyrics and then close. It may seem simplistic; yet perhaps rather it’s smart to recognise that most young music fans are turned off by self-indulgent guitar solos. Instead it’s mutually absorbing, none more so on the tight groove of ‘10AM Automatic’. Dan Auerbach soulful vocals came across well over his economical guitar playing, while his understanding with drummer Patrick Carney was almost telepathic. The slide guitar of ‘Stack Shot Billy’ may hark back to Mississippi Fred McDowall as the lyrics refer to Stack O’Lee yet the response was unified clapping and foot stomping. Early gem ‘Busted’ preceded The Kinks’ ‘Act Nice & Gentle’ before the appearance of a bass player and keyboardist to play songs from “Brothers”. A large cheer and onstage disco ball welcomed for ‘Everlasting Light,’ the keyboard sound was dominant and Auerbach commenced singing the lyrics in falsetto. It worked and in truth subsequent songs performed like ‘Next Girl’ bared many of the band’s hallmarks. Carney pounded a memorable beat through ‘Howling For You,’ yet that great early connection seemed a little removed, until the sidemen departed for the double encore of ‘Strange Times’ and ‘I Got Mine’. A superb night’s entertainment yet it did leave this reviewer undecided as to whether to endorse the increased variety or regret the diluting of a winning formula.

Duncan Beattie

REVEREND PEYTON’s BIG DAMN BAND: Cluny2 Newcastle: 24/10/10

This is the last show on the UK leg of a seventy-five date European tour, and the Band hit their mark straight off. Opening slide driven thrash ‘My Soul to Keep’ saw the mike-stand fly into the audience, hastily duct taped to the stage while the Reverend segued into ‘Oh When the Saints’. During the encore ‘Two Bottles of Wine’ I swear Breezy Peyton jumped into the crowd with her washboard in flames! In between these this three-piece from Brown County Indiana entertained with a selection of punk’d-up country-blues.

Backed by wife Breezy on washboard and Cousin Aaron on thumping drums, the Reverend moved between his two Nationals, occasional mouth harp, and a stand in for his hospitalised 1929 Gibson copy. Oh yes, and a home-made cigarbox ‘two by one’ three string affair for ‘Easy Come, Easy Go’. What came across was a band who enjoy a good time and this infected the audience very quickly with people dancing and joining in the fun. He had an easy rapport with the audience and whipped us up for a room shaker during ‘Clap Your Hands’. That said the Reverend has a serious side when voicing his objections to artists who play ’live’ with backing tracks.

Photo by Christine Moore

Danny Bryant

He then gave an object lesson on how he plays bass and lead runs together, Yankee-Doodle on the bottom strings and Dixie on the top, at the same time. This was preceded by the breakneck ‘Fort Wayne Zoo’ and followed by the infectious chorus of ‘Everythin’ Raisin but the Wages’.

Number-wise it was a good turn-out for a Sunday night, and they won’t be back this way for a while so check out their albums. If you like your country blues loud, your slide up to the bridge and your pickin’ real fancy. You missed a treat.

Set list: My Soul to Keep/ Mama’s Fried Potatoes/Worn Out Shoes/Sugar Creek/Fort Wayne Zoo/Guitar Lesson/Everythin’s Raisin/Redbuds/Clap Your Hands/What Go Around/Sure Feels like Rain/Easy Come/Miss Sarah/Your Cousins on Cops/Train Song/Born Bred Corn Fed/Two Bottles of Wine

PAUL COX AND CHARLIE FABERT @ The Eel Pie Club 6 October 2010

I saw Paul & Charlie on successive nights – The Horns in Watford on Tuesday and the Eel Pie on Wednesday. The Horns was hard work for Paul & Charlie. They performed superbly but the sad truth is they don’t go out to hear music of this quality on a Tuesday in Watford; when they do go out its mainly for a diet of 80’s, 90’s cover bands – So Paul / Charlie –should forget Watford; lie back and think of the Eel Pie. Because they blew the place away – this was one great show –and they are one entrancing partnership. Paul the elder statesman with a wonderful voice – Chris Farlowe / Joe Cocker eat your hearts out- (why Paul is not a zillionaire with that voice is a mystery to me) – Charlie Fabert – the young crown prince of French Blues guitar whose musical taste is impeccable- and a selection of great songs, some covers and several originals. The excellent band was completed by Nigel Hardy on bass, Mick Clews on drums and Charlie’s compatriot Vartan Fau on keys. The first set included a few covers and lots of Charlie singing. His version of Caldonia with some unaccompanied guitar wizardry to open it was brilliant, but the highlight was Charlie’s own song ‘Something Special’. This is a slow bluesy ballad, and it is the first time that I have ever heard distinctive French characteristics in the blues, Charlie captured the lyrical romanticism and sensitivity that is inherent in French style and applied it to the blues; it was brilliant; this was a Frenchman bringing French character and a French voice, something new to the Blues’. The rest of the show and second set in particular was truly excellent – several songs from the new album containing elements of Sam Cooke and classic soul; Paul’s great voice to the fore and Charlie’s lyrical but sharp edged guitar weaving all around. It was very good indeed and this partnership deserves to go far.

Vicky Martin

THE PRODUCERS @ Black Bull Blaydon 4th

Dec 2010

The Producers returned and produced the goods yet again! Not too many gigs I suspect were as eagerly anticipated as this one proved to be. All credit to the band, the organiser and the audience also who had to brave the atrocious weather conditions and sub zero temperatures in order to get to the ‘Black Bull’ at Blaydon on the south bank of the Tyne.

It’s all thanks to the late and much missed Keith Latimer that the Producers struck up a unique relationship with this ‘way up north’ Blues outpost.

The first of three lengthy sets kicked off with ‘New Money’ one of several

Mel

photo by Todd Fox

Reverend Peytons Big Dam Band The Producers

brilliant Harry Skinner originals to be given an airing on the night. Other noteworthy material included ‘Bittersweet & blue’, ‘Killing Floor’, ‘Sugar coated Love’ ,’Somewhere down the line’, etc , etc .However it was some of the newer songs that gave the gig the lift and provided the set with its light and shade . The bluesy ‘Love gone bad’ the totally infectious reggae inspired ‘Little Miss Sunshine’ and the swing based ‘Tell me why?’

When Harry reminisced about his visit to Hartlepool which prompted him to write ‘All the way home’ some wag in the audience suggested he should write another number linked to Hartlepool. Further suggesting ‘Too much monkey business’. Harry laughed and was obviously clued up on his Napoleonic history. He replied saying he had no wish to share in the same fate as the infamous monkey and be hung also !!!!!!!!!!!!!!

When time finally ran out and it was encore time two fantastic titles remained to be pulled out of the hat - ‘Mule’ and ‘Try a little faith’. One tremendous gig one to savour for a long time to come ‘produced’ by a must see band.

Geoff ‘The silver fox’ Marston

KING KING @ Millers’ Snooker Club Kirkby-in-Ashfield 09/12/2010

Millers’ never books a bad or second rate act but 2010 has seen some well above average performances from bands old and new. It’s hard then to know what to offer for the final act of the year and Christmas Special. Millers’ aced it with their choice of King King. The gig was a bit touch-and-go because of snow. After two days, Alan Nimmo bravely made it out of Glasgow in time though, and he looked that night as if he’d been musically’ stir crazy’ with the energy let loose by him in that gig. King King to say the least, were truly on form that night. There was a replacement to the line-up as Wayne Proctor took over on drums and with his power and technical skill and fluency throughout the night you had the feel that there would be avalanches of snow off the roofs of surrounding houses descending on unknowing passersby! Onto the show itself and where to start, because, there wasn’t a song that wasn’t outstanding. ’Good Time Charlie’ saw that incredible and impressive vocal of Alan Nimmo’s set the number on fire. Only one thing surpassed Alan’s vocal and that was his guitar playing. Why oh why isn’t Alan’s guitar playing getting more credit on the present UK circuit? One of the highlights of the evening was that King King performed new songs off their upcoming CD. The first new song on display was ‘All Your Life’, the keyboards gave this a distinct RnB feel but add in funky guitar, good vocal harmonies and a guitar solo with almost a tinge of latino that was exquisite in emotion as well technique and King King’s new CD has already grabbed the interest from the punters. The second number,’ Take My Hand’, was a top class Blues Rocker with a hell of a lot of musical clout, power drumming, percussive bass riffs, excellent keyboard, good lyrics and with Alan Nimmo on vocal and guitar, an out and winner of a number! This was one a hell of a gig, with the promise of much more to come from King King in 2011!

Carol Borrington

SIMON McBRIDE 25th November@ The Cluny Newcastle

Being a cold snowy night in November I thought the crowd at my favourite venue would be somewhat sparse. But no such thing there was a very healthy crowd out to see Simon on his visit to Newcastle after supporting Joe Satriani in October on his UK tour. The Cluny for anyone who is not familiar with it is an old Whiskey Warehouse with plenty of character, good food good beer and good music. The atmosphere is always consistent with a great night out, and this was not to be an exception.

For anyone who hasn’t witnessed Irishman Simons show he is exactly what it says in his pre promotion literature. He evokes the spirit of such greats as Jimi Hendrix, Free and Led Zeppelin. Comparisons are often made with Rory Gallagher and Gary Moore, although he is like neither in particular, having developed a style and sound that is all his own. There was some fine guitar work from him. I especially like his slide work on “From the Other Side” for me more slide would have been the order of the night. But the appreciative audience just loved his axe man dexterity on the fret of his other guitars. He certainly excited the mostly male audience who cheered his guitar solo’s. Ably backed by his excellent drummer Paul Hamilton and Bass player

Carl Harvey the night came to a close all too soon for the assembled crowd, but all good things must come to an end and I am sure Simon will be back at this venue in 2011 for another helping from this great young guitarist.

Kitty Rae

King King

Simon McBride

IAN SIEGAL w/ BEN PRESTAGE

Ropetackle Centre, Shoreham-bySea. 21 November 2010

One man band Ben Prestage (“I’m from way down South so I’m a little bit countrified”) got the show underway with his array of handcrafted instruments; most interesting was his ‘diddleybow’, constructed from a cigar box, two broom handles and a car clamp holding it together. Mississippi born, now Florida resident Ben shared this tour with Ian and thoroughly entertained us not only with his superb playing but with the enlightening explanations that preceded each song, detailing either, the musical background, the original artist or the instrument used. This opening act created a buzz of eager anticipation as headliner Ian Siegal took the stage and settled into the spotlight before an attentive seated audience of younger and older blues aficionados. After a heartfelt rant about rail travel on a Sunday and replacement bus services, Ian kicked off his intimate set with ‘Chisholm Trail’, ‘Stagger Lee’, ‘Razor and Gun’, then a cracking cover of Nick Lowe’s ‘All Men Are Liars’, especially for the ladies in the crowd. Following a great selection of songs including Steve Earle’s ‘Cocaine Cannot Kill My Pain’ we were privileged to hear a new composition (“the best I’ve ever written”). Not yet published or recorded, this cry from the heart carried with it some of the darkest lyrics you could hear: “fear in my heart, fear in my soul, fear that everything is out of control”. A silent hiatus followed the last chord then an audible gasp as we all realised that we had heard something very special and deeply personal. After closing his set with ‘Ain’t Nobody’s Business’ and Warren Zeavon’s ‘Don’t Let Us Get Sick’ Ian teamed up with Ben for half an hour of rock and roll; ‘Nadine’, ’I’m Ready’, ‘You Gotta Move’, ‘Jitterbug Swing’, finishing with a couple of songs about their shared passion - fishing! Mature song-writing skills, a seriously-studied blues vocal style, fierce and at times frenetic guitar technique coupled with an engaging stage presence make Ian Siegal an artist I cannot recommend highly enough. Ian shared his thoughts as well as his music that night and was a truly special evening for those of us lucky enough to be there.

Clive Rawlings

GYPSY BILL WILLIAMS and the RESONATORS @ Redcar Blues Club Dec 11th 2010

Bluesman Gypsy Bill Williams could be referred to as a New Yorker. Bill has lived virtually all his life on the eastern seaboard. However that particular seaboard does happen to be our very own north eastern coastline. Although born and raised up on Tyneside he now lives on a converted coal barge moored on the River Ouse in York. Hence the ‘New Yorker’ tag!

Bill is a truly amazing talent both as a guitarist and as a singer. He has a great technical facility but more importantly still a great ‘ feel’ for whatever he plays. It was sometime since I last saw Bill perform. Also I had never witnessed him playing within a group - previously only hearing him play solo or as one half of an acoustic duo. I pondered ............. would my previous expectations be met?

The bands opener ‘Too Hot’ a number I at least always associate with Johnny ‘Guitar’ Watson. ‘Charlene’ and ‘Baby Bye Bye’ followed alongside ‘Call me if you need me’ and then the quirky ‘The angel blew the whistle and the fireman rang the bell’. The first set concluded with ‘Alberta’ and then ‘ Feel so good ‘ which contained some incredible slide work.

When the second set got underway it was a case of picking up where the band had left off with some more excellent slide guitar work on both ‘Don’t let my baby ride’ and the Elmore James inspired hardy annual ‘Dust my broom’. This in turn led to a stonkin’ version of ‘St James Infirmary’. Next it was the turn of one of several Tom Waites numbers Bill introduced into his set brilliantly. Coming full circle Bill tied up the set with Fred McDowell’s ‘Kokomo’ and yet another Tom Waites number - ‘Lord I’ve been changed’ with echoes of the Rev Gary Davis ringing in my ears.

Were expectations met? Most definitely ............. Bill and the rest of his excellent band really need to be heard to be believed!!!

Geoff ‘The Silver Fox’ Marston

Gypsy Bill Williams and Del Potter

HILLBILLIES FROM OUTER SPACE

DECEMBER 2010 @ The Tyne Bar Ouseburn

Newcastle & The Sour Grapes Morpeth

Northumberland

QUESTION: ‘When is a blues band not a blues band?’

That’s a little conundrum that you are unlikely to find in any Christmas cracker over the festive period. However it is still worthy of teasing out and testing your brain cells with it as a New Year benefit challenge!

THINKING TIME.................

ANSWER: When a number of seasoned blues players choose or opt to play something that bit different and take a break from that well trodden straight ahead twelve bar blues path

Hillbillies from out of Space are one such outfit and comprise of three, four, sometimes even five members who each individually have a back catalogue of blues bands bursting out of their C.V.’s. None more so than vocalist and slide guitarist supremo, John Dickinson. Johnnie ‘D’ as he is affectionately known as in these parts was a founder member of Paul Lamb & the Kingsnakes before pursuing a solo career. (That partnership remains still active to this day when Paul and Johnnie team up occasionally as an acoustic blues duo). Johnnie like the rest of the band would all be holders of a D.S.M. (Distinguished Service Medal) if the Blues were ever to have one!!!!!!!!!!!!

Well what is it that they do that’s different I can hear you ask? Well in essence something quite simple. They present the audience with a list of song titles then ask somebody to choose one. Then they produce a second list which contains a whole wad of musical genres including the likes of Blues, Folk , Heavy Metal, C&W, Ska, Waltz Time, Polka’s, Reggae, Skiffle, etc, etc. Asking another member of the audience to choose a musical style he or she would like the title played in! A simple idea - but not that simple to execute - certainly not for the faint hearted. I nor the ‘Hillbillies’ themselves would not try claiming the idea is totally unique. Some time back Bernie Leadon (The Eagles) and Russell Smith (The Amazing Rhythm Aces) formed Run C&W and produced two incredible albums in which they took a number of Soul numbers and presented them as full blown C&W tracks. Similarly Hayseed Dixie revamped a number of Pop numbers Bluegrass style. Within the last few months The Jolly Boys veterans of Mento and Calypso have launched ‘Great Expectations’ brim full of Pop tracks worked in their own unique way. So a Pedigree and bloodline does exist!

The two nights in question brought about some brilliant ‘Live’ music not to mention some great anecdotes courtesy of Ali and his ‘Bath Time Stories’ (best left there Ed ). !!!!!!!!!!!!!

Numbers ‘visited’ included Elvis’ ‘All Shook Up’ The Valentinoes classic ‘It’s all over now’ , Euro reggae via Boney M’s ‘Rivers of Babylon’ Plus ‘Icy Blue Heart’(John Hiatt), ‘Johnny Comes Marchin’ Home’ (Steve Earle) , ‘Bad Moon Rising’ (John Fogerty), etc, etc. But best of all the blues ‘Buy Me A Mercury’ originally by K.C. Douglas then picked up and popularised by Steve Miller. However ‘Bonnie Bonnie Banks of Loch Lomond’ sequenced with ‘Delilah’ done Belenka style had to be witnessed firsthand to be fully appreciated.

Some things invariably work better than others .Travelling middle of the road is a safer bet but chancing sprinting out of the gutter has its rewards!

Geoff ‘ The Silver Fox’ Marston

Johnny Dickinson

The Hillbillies from Oouter Spase

ARTISTS supporting

All Photos by Christine Moore

Virgil

Paul Cox & Charlie Fabert

Jon Amor

Andy Fairweather Low

Ed Stephenson

Derrin Nauendorf

Lisa Mills

Simon, Johnny & Dave

Jesse Davey

24 Pesos

Lightnin Willie

Tom Canning & Rocky Athos

Danny & Kyla

BLUES MATTERS!

Papa Chubby Bex Marshall

Mark Flanagan

Mud Morganfield

Paul Lamb

Sean Webster Chantel McGregor

Earl Thomas & Paddy Miler

Marcus Bonfanti

Stuart Carter-Smith & Ben Travers Gypsy Fire with Julian Moore

Jo Jo Burgess

Deborah Bonham

BOB DYLAN and the BLUES

By Vicky Martin

Bob Dylan is recognized as one of the song-writing geniuses of modern times but his huge and influential contribution to Blues music is less acknowledged. So where does Dylan fit in the Blues field?

One of his earliest recording sessions was with Big Joe Williams in 1961. Dylan played harmonica behind Williams and Victoria Spivey. Some accounts suggest that Dylan even met Big Joe many years earlier when he, Dylan, was still a child. From his earliest days he has been steeped in the very roots & soul of every type of American folk music and the blues; traditional ballads, bluegrass, old-time, country blues, etc. Those influences have permeated everything he’s written and recorded and it results in a Blues canon that is immense and, in terms of lyrical content revolutionary

I’ve loved Dylan’s music since buying his debut album. As kids we’d be awake till the early hours entranced by the poetic imagery of his early albums such as ‘The Freewheeling Bob Dylan’, and the close up lonesome lived-in sound of songs such as ‘One Too Many Mornings’ from the album ‘The Times They are a Changing’. The young Dylan performances seemed imbued with the wisdom of the ages. A trio of classic albums followed ‘Bringing it All Back Home’, ‘Highway 61’ and ‘Blonde on Blonde’. They seemed to be in a language that belonged to us as young people - we argued over the meanings; even took some of the lyrics for our own verbal sparring – I recall ‘Visions of Johanna’ as a good source of acid tinged comment.

It was hearing a track from ‘Blonde on Blonde’ that I was suddenly aware that Dylan was bringing something new to the Blues- this line from the second track on the album ‘Pledging My Time;

‘Well, early in the mornin’, till late at night, I got a poison headache, but I feel all right.’

The intensity and the venom with which those words were delivered - ‘I got a poison headache’- seemed to express something new-what the blues was like in reality. This is it, you got troubles, you’re lonely, you had too much to drink last night and now you got a poisoned headache – this seemed really real. Like many of Dylan’s songs this has a dreamlike quality with no continuous narrative – yet the magic of Dylan is that despite this he still paints a vivid word collage and writes a song that you can believe.

That moment of awareness led me back to the other songs on ‘Blonde on Blonde’, and to all three classic electric albums which were loaded with Blues and R&B including– ‘Subterranean Homesick Blues’, ‘Maggie’s Farm’, ‘It Takes a Lot to Laugh it Takes a Train to Cry’, ‘From a Buick 6’…all great songs with apocalyptic and surreal lyrics full of veiled referencesBlues songs as they had never been before; but songs using classic forms. Dylan had brought a new intensity and lyricism, of course it was there in everything he did, but my special interest was and is the Blues.

Most Dylan albums have a classic blues track or two – his debut had an influential version of ‘In My Time of Dying’. Analyzing their lyrical content could fill several magazines. For now it’s enough to note that they constitute a rich vein of inspiration. Dylan takes blues forms and stretch and bends them to express ‘everything’ that he was concerned with; it was so much more than ‘My baby’s got a black cat bone’. Just as he took folk music and added electricity and new poetic license so he took Blues along a similar line.

After his motor-cycle accident he used blues forms less for a while – there were still classic tracks – ‘Down Along the Cove from ‘John Wesley Harding’; ‘Meet Me in the Morning’ (covered by Freddie King) and ‘Buckets of Rain’ from ‘Blood on the Tracks’. His output is generally thought to have tailed off during the eighties, but two good albums were ‘Infidels’ and ‘Oh Mercy’. ‘Infidels’ is notable because one of Bob’s greatest songs was left off – I’d call it a blues that’s not a blues – the song ‘Blind Willie McTell’ a stunning song with deeply evocative lyrics- you can find it as an out-take in The Bootleg Series Vol 1-3 Columbia 488100-2 – it’s a stunner -one of Dylan’s greatest songs.

There is much else worth checking out from the eighties and early nineties - but in his later albums that Dylan’s blues styling’s work have really come to fruition. His late works began with the album that restored his reputation- the 1997 release ‘Time Out of Mind’, this together with ‘Love and Theft’ 2003 , and 2007’s ‘Modern Times’ formed a trilogy of classic albums that are packed with songs encompassing all the major structures of American folk and popular music; but Blues and closely related forms dominate.

‘TIME OUT OF MIND’ produced by Daniel Lanois has a ‘swampy’ dreamlike quality, the 16 minute epic ‘Highlands’ is quite ground-breaking in its content, it’s a dreamlike lament for a place of rest and peace which in the song is the Scottish Highlands –

‘Well my heart’s in The Highlands, gentle and fair, Honeysuckle blooming in the wildwood air, Bluebells blazing where the Aberdeen waters flow, Well my heart’s in The Highlands, I’m gonna go there when I feel good enough to go’

This song is in a pure blues format; this and many others in the trilogy embody an almost ‘stream of consciousness’ lyric style; as if the writer is lying on a bed dreaming and vivid flashes of past and present life, or passing thoughts come to the surface and are expressed as fleeting glimpses – then he returns to dreams of the Scottish Highlands. Other songs are similarly loosely structured and Dylan throws in some tongue twisting lyrics that are a real challenge to sing in the format like this from ‘Summer Days’ off of ‘Love and Theft’

‘Where do you come from? Where do you go?

Sorry that’s nothin’ you would need to know

Well, my back has been to the wall for so long, it seems like it’s stuck

Why don’t you break my heart one more time just for good luck?’

Try fitting that into a blues structure – Dylan somehow makes it fit and it sounds fine. Dylan’s lyrics also draw on classic blues imagery and names – from ‘High Water’ (for Charlie Patton) also on ‘Love and Theft’

‘High water risin’ - risin’ night and day

All the gold and silver are being stolen away

Big Joe Turner lookin’ East and West

From the dark room of his mind

He made it to Kansas City, Twelfth Street and Vine

Nothing standing there, High water everywhere’

The two albums ‘Love and Theft and ‘Modern Times’ are less ‘produced’ than ‘Time Out of Mind’, with superb musicianship and enough great lyrics for a lifetime of Blues. ‘Love and Theft’ has like the ‘Infidels’ out-take mentioned earlier another great Blues that isn’t a Blues; the song ‘Mississippi’ which has some classic blues poetry-

‘I was raised in the country, I been workin’ in the town I been in trouble ever since I set my suitcase down’ ‘All my powers of expression and thoughts so sublime Could never do you justice in reason or rhyme

Only one thing I did wrong

Stayed in Mississippi a day too long’

There is another version of this song on the Bootleg Series Volume 8 ‘Tell Tale Signs’, it’s in a kind of hybrid blues / rockabilly and I think its quite brilliant.

Dylan’s Blues style comes full circle on the 2007 album ‘Modern Times’ – there are several grooving Blues / R&B tracks –‘Thunder on the Mountain’ with it’s Chuck Berry Styles rhythm is a super groove – but on this album he goes much closer lyrically to classic Blues themes – ‘Rollin’ and Tumblin’’ , ‘Someday Baby [Worried Life Blues]’ and ‘The Levee’s Gonna Break’. In each one he uses the original lyric as a launch pad to go into the free-rolling lyric style but at times he almost seems to play with words yet there is a degree of imagination that and really stimulating new lyrical ideas

I’m so hard pressed, my mind tied up in knots

I keep recycling the same old thoughts

Someday baby, you ain’t gonna worry po’ me any more from ‘Someday Baby’

The night’s filled with shadows, the years are filled with early doom

The night is filled with shadows, the years are filled with early doom

I’ve been conjuring up all these long dead souls from their crumblin’ tombs

Let’s forgive each other darlin’, let’s go down to the greenwood glen

Let’s forgive each other darlin’, let’s go down to the greenwood glen

Let’s put our heads together now, let’s put all old matters to an end from ‘Rollin and Tumblin’

For me the surprising thing is that after nearly fifty years – I listen to the songs and I’m still engaged I still believe them. So where does Dylan sit in the Blues? There is arguably little doubt that his career has left some of the most original contributions to the Blues and a treasury of ideas to be explored …and there could be more to come.

LITTLE

STEPHEN DALE PETIT and his band featuring special guests Ronnie Wood, Mick Taylor, Chris Barber & Dick Taylor

@100 Club

by Kevin Wharton

The cold, Arctic December weather does not stop the long queue forming outside an unassuming looking building in London’s Oxford Circus. However, a distinct red sign featuring a matchstick figure blowing a trombone sets it apart from the other buildings on the street. Over the past sixty years, 100 Oxford Street has seen legends such as Louis Armstrong, BB King, Muddy Waters and the Rolling Stones walk through its doors. Originally, a small Jazz bar during the 1940’s, the 100 Club has grown to host some of the biggest names from the worlds of Blues and rock music, as well as establishing itself as the birthplace of punk and British swing jazz. Tonight, the mood, among the crowd is somewhat somber but mixed with an element of excitement as punters gather to show their solidarity against the proposed closure of the 100 Club, which is threatened by soaring rent and high rates. Angered by these plans, blues artist Stephen Dale Petit with the help from his friends which include two generations of Rolling Stones guitarists including Ronnie Wood, Mick Taylor as well as Dick Taylor from The Pretty Things and legendary jazz trombonist Chris Barber are hosting a benefit gig tonight. They’ll be joining forces on the venue’s sacred stage in hope that their show will raise enough money to help the club owners to rescue their beloved venue. Tonight’s performance is also days before the launch of Petit’s single, “Need Your Love So Bad,” where the proceeds will also directly go towards the club. Speaking in the backstage dressing room, S D Petit gets passionate when he talks about the significance of the club. “Well this venue has got a history that no other venue has on the planet. The history of this venue goes back to the forties. Louis Armstrong played here. Glen Miller played here. Chris Barber had a residency here for years and he was responsible for bringing Sonny Brown and Terry McGee, Big Bill Broonzy here back in 1956!”

Indeed, over the past few months other prominent figures from the music industry, such as Paul Weller and Mick Jones from the Clash have also voiced their support for the club’s survival. It’s apt that a benefit gig to save this beleaguered venue should feature heavily on blues music. Back in the early sixties, Roger Horton who bought a share in the club decided to embark on a more lucrative route of bringing new music into club as well as Jazz. Crowds were already flocking to the club, to catch American Blues legends such as Muddy Waters, Albert King, BB King, and Jimmy Rushing perform on stage. The 100 Club was also the epicenter of the British Blues scene in London and would feature live performances from the likes of John Mayall and the Bluesbreakers. According to Dick Taylor, who was original bass player with the Rolling Stones and guitarist with The Pretty Things, the venue played a significant role in the band’s history.

“At the time, we were an urban blues band. We got a residency down here and we were doing gigs from 1964. For me, it’s been somewhere that I have become used to coming to for a very long time. All you have to do is look at the walls and see the number of people that have played down here. You got people like Chris Barber, Howlin Wolf, Muddy Waters, Johnny Rotten. It’s somewhere, where you can hear a huge spread of different types of music.”

Forty years later, and a crowd which features a mix of regulars, some of who were fortunate enough to catch the thriving sixties British blues scene; musicians, and various members of the music press, are gathering round the legendary 100 Club stage. The night is sold out and the vibe is electric. The Pretty Things manager, Mark St John takes to the stage and pays an emotive tribute to the club that is “The Heart Of Rock ‘N’ Roll,” which he endearingly calls as “our Mum.” His speech draws an impassioned cheer from all corners of the room. He introduces Stephen Dale Petit as the greatest guitar player of this generation, whose set carries a retro electric Blues sound which is reminiscent of sixties British Blues. Kicking off with “3 Gunslingers,” he draws an ecstatic applause

from across the room. Accompanied by Damon Wilson on drums, Sam Odiwe on bass and excellent harp player Laurenzo Mouflier, Petit launches into performing tracks from his current album The Crave, which include “Soul Survivor,” and an excellent blues reworking of the late rapper Tupac Shakur’s “California” which showcases his wizardry on guitar. The guitarist’s soulful cover of Deadric Malone’s “As the Years Go Passing By,” is poignantly dedicated to the club. Petit’s set is short and sweet and as the band leave the stage, the crowd is left craving more of what they have just seen. They are not to be disappointed as the second half of the evening, sees Petit and his band joined on stage by Dick Taylor from ‘The Pretty Things’ as well as former ‘Rolling Stones’ guitarist Mick Taylor. The set opens up with the band led by Mick Taylor on the track “Snowy Wood,” which he coined with John Mayall back in the late sixties. Everyone on stage launches into an electrifying performance of “The Crave,” which is the title track taken from Petit’s current album and sees him sparring with Mick Taylor on guitar. At this stage, the legendary Blues and Jazz trombonist Chris Barber appears on stage to play on two tracks by S D Petit and with Mick Taylor provides an excellent solo accompaniment on “People Talk.” The former ‘Rolling Stones’ guitarist takes lead vocals on the classic Blues track “You Shook Me,” which was originally sung by Muddy Waters and the highlight is when Chris Barber throws in a trombone solo, adding an interesting edge to this cover. The dynamic on stage changes as Rolling Stone guitarist Ronnie Wood leaps on stage and tears into an electrifying version of “Fancy Pants.” The crowd has virtually moved themselves to the front, and consequently a sea of cameras and mobile phones obstructs views of the stage despite the protests of a few people standing at the back. Wood takes the lead on Willie Dixon’s track “Spoonful,” and this wonderful version culminates into a full musical fanfare with the trombone and harmonica. The Robert Johnson song “Stop Breaking Down,” kicks off with a Rolling Stone style guitar riff from S D Petit and then moves onto a wonderful music jamboree that alternates between the harmonica and the lead guitars. The finale of the evening is when the band launch into “Shakin’ All Over,” with solos from Wood, Petit and Taylor, much to the joy of the audience who are left crying for more as the gig draws to a close. The night has turned out to remarkable tribute to an iconic venue that has given the likes from John Mayall, The Pretty Things to S D Petit to play on the same stage as the greats such as BB King and Muddy Waters. It is also a tribute to Blues music and the legacy of the British Blues scene in the sixties. In the meantime, the music world and London wait with baited breath to see what the future holds for this iconic venue. Fingers crossed 2011 will herald a new chapter in the history of the club.

Stephen Dale Petit

Richard Thomas

WHAT and to WHAT EFFECT..... The Ideology of the Blues.

Harold Lasswell was a political scientist and communications theorist, and according to the National Academies of Science, “among the half dozen creative innovators in the social sciences in the twentieth century.” He attended the University of Chicago in the 1920’s, and perhaps would have had to have been confined to his books to have totally escaped the new string bending sound migrating from the cotton fields in the south. There is no apparent discernible connection to the Blues, but his contribution to this investigation of Blues ideology is to provide us with some direction. Lasswell’s model of communication theory from The Structure And Function Of Communication In Society (1948), and a template for this series of articles is “Who (says) What (to) Whom (in) What Channel (with) What Effect”. The phrase needs to be read several times to understand it, but it’s the whole point of everything. We have been applying Lasswell and now, we are almost home and hosed. Bluesman is all but finished. WHO is a man (Black with white masters, we conclude), WHOM is us, the worldwide Blues audience, WHAT CHANNEL is the music we love so much. Physically, our Blues identikit has a form. We have even taken a stab at how he speaks – if it’s not with an American twang he wishes it was. We haven’t looked yet at WHAT he is saying and WHAT EFFECT is has. Perhaps there is no message, but Blues was born from misery and depravation, so surely it says something deeper than “Boom Boom”. If it has a set of ideas, a message, a ruling ideology, then we want to find it. What follows, as ever, is personal. Personal views developed from personal experience and now, personal methods. Songs, like paintings and poems, are polysemic – they can be read in a number of ways. What it means to me will be different to what it means to you. That accepted, the experiment I have performed is perhaps not quite as variable as you may imagine.

My Method

According to McQuail in his Mass Communication Theory, traditional content analysis begins with a “sample of content”. I wanted to look at a wide spread of Blues songs and uncover their meanings. I needed a list and found one here - http:// www.digitaldreamdoor.com/pages/best_bluesong.html . You won’t agree with it as a definitive list of the best 100 Blues songs of all time. I don’t agree with it myself. ‘Black Magic Woman’ at 99? Peter Green deserves more recognition that that. ‘Messin’ With The Kid’ by Junior Wells only 93? Come on. But who is to say that the Mona Lisa is better than The Scream. Nobody’s opinion is better than the next. However, we needed a list, and whether you concur with the order or not, this contains plenty of classic tracks from the start of the Blues as we recognise it. I crave your indulgence. McQuail suggests that next we set a series of categories relevant to the purpose of the enquiry - in other words, a series of summaries for the content of the tracks. More of this later.

Thirdly, a unit of analysis from the content. My analysis looked at the lyrics of each of these tracks, considered them, and decided what they were about. I then wrote a two to six word summary about each. The next element of McQuail’s simple method is to match frequencies of certain content to the emergent categories. About half way through, I synthesised the general themes discovered to that point into some basic titles, and these were further refined at the end of the process. The finished categories were “Raffish womanising”, “Celebrating the Blues and Life”, “Description or defence of extreme lifestyle”, “Association with God or the Devil”, “ Just depressed about everything” , “Yearning for something apart from love”, “Unsatisfactory love, complaints thereof”, and “Other”.

The Results

The weakness of my method is that most of these songs are hardly contemporary. In defence of this I would suggest that they are “real” Blues. They are not generally hybrids like the inevitable modern content. I feel by staying close to original Blues, we are more likely to uncover real ideology. In any case, everything I listen to was written at least 30 years ago. It’s my comfort zone, but perhaps next time we should compare our results with the current charts. Back to my 100. McQuail’s logical fifth step is to “express the result as an overall distribution”. I could not find lyrics for 8 tracks on the list. I verified the ones I could find with multiple sources for the maximum credibility I could muster. The following percentages were therefore calculated by dividing the frequency by 92. The results are as follows, and as it’s not an exercise in mathematics, I have rounded up or down accordingly. (That’s why it won’t add to 100%).

Art by Geoff Marston

My conclusion is that Blues isn’t indexed by a guy in dungarees sitting on the porch rocking back and for singing “My Baby Gone Done Left Me” for nothing. Being miserable, or yearning after something -mainly lost love, accounts for 70% of the content. As Elton John warned us, I guess that’s why they call it The Blues. Being upbeat about anything (chasing girls or enjoying oneself in other ways) is evident in just 16% of songs. Notably, only 8 female artists were on the list, which is an extreme reconfirmation of the patriarchal structure of Blues music, and explains why “Raffish womanising” is not “chasing members of the opposite sex”. The more serious slant here is that having developed from enforced slavery and misery, Blues music may have become emancipated but has not become any happier. It is seemingly still about something lost, something missing, and Africa is perhaps metaphorically replaced with “woman” as something unreachable, something illusive. Perhaps that is too deep. To hell with science, and excuse me Denis McQuail, your methods are a useful indicator but have helped me to miss the point.

WHAT and to WHAT EFFECT

Watching a black man, a white woman, a white man, a black woman play and sing the Blues in a Llanelli, Louisianan or Lithuanian accent, in a show controlled by Black, white, or nobody at all. What the Blues says to you is what happens to your gizzards when that 12 bar starts and the strings start to squeal. The euphoric knot in the depth of your guts when you hear the shuffle, a song remembered or a song discovered. It talks to you and it tells you what it tells you, and science will never find an adequate formula for the pure joy it brings us all. It’s why I’m writing this, and you’re reading it, and if nobody agrees with a word of it, we will all always share something. The Blues.

1. Mississippi Fred McDowell: Come And Found You Gone - The Bill Ferris Recordings (Devildown CD)

2. Mose Allison: The Collection (Retro

Art by Geoff Marston

CAJUN - WHAT IS CAJUN

LITTLE WALTER

We’ve been in touch with a few folks on the subject and Bob Tipler has accepted the mantle to try to ‘educate’ us a little on this under covered Roots music....... Part 1:

by Kevin Wharton

My first experience of Cajun music was at the Cambridge Folk festival in the late 70s. I’d been listening to all manner of traditional music mostly drawn from the British Isles and Ireland. While heading back to the campsite I heard a sound emanating from one of the smaller performance tents that was quite different to anything I had come across before. On entering the tent I was met by a sea of people jumping around to band featuring a fiddle, accordion, guitars etc (typical sort of folk dance line up in fact) but there was something different …A few minutes of listening and picking up a few words and I realised the singers were singing in French but what was more interesting was the rhythm and particularly the sound which was quite unlike any traditional music I had heard before.

I checked my programme and found the band was called Beausolai, they hailed from Louisiana in the deep south of the USA and were exponents of a style of music called “Cajun.”

As well as the fiddle and accordion the line up also featured electric guitar and bass, drums and a guy playing congas. The song was more wailed than sung and the rhythm was so compelling like an egg shaped wheel on a fast moving cart. The fiddle and accordion swapped breaks and accompanied each other in turn.

The style of playing of both these instruments was something completely different too. The tune was upbeat (I’d recognise it now as a Cajun Two Step) but the chords were somehow sad or melancholy. A waltz followed again sung in French and this was a real heart breaker – although I had no idea what the guy was singing he was clearly vocalising some deep hurt.

Feeling rather pleased with myself for finding some other from of traditional music I’d hitherto been unaware of I settled down to watch the rest of the set expecting to hear more of the same. However what followed starting with a great slow cover of Big Joe Williams’ 1935 “Baby Please Don’t Go” was an eclectic mix of all of the musical styles that have been comfortably incorporated in to Cajun Music. Rockin’ Blues, Western Swing, Tex Mex, Rock and Roll – all played with great flair on the same instruments. You could feel the essence of the Louisiana Dance Halls and I was hooked.

I’d been playing squeezeboxes in the Celtic tradition for years but had always had the blues in my soul, now here was a music that seemed to effortlessly combine aspects of many musical styles that I liked – and it rocked!

I resolved to find out more about Cajun and the Cajuns and perhaps start a band one day

To anyone who may up until this point just thought of Cajun as a seasoning for chicken here is the potted history (forgive the pun).

The word Cajun is a colloquial French/American shortened version of “Acadian”, the name by which the French settlers of what we now know of as Nova Scotia were known. The original Acadian people were French farmers who had settled in the region in the seventeenth century and as the colonial wars raged between Britain and France throughout the next 150 years or so the Acadians found themselves living in a land now administered by the British. Suspicious of their wards and with war on the horizon again, the British demanded that the Acadians swore allegiance to the Crown. When they refused to do so they were expelled. Over the next 30 years or so many made their way to the south west of Louisiana – although much diminished in size it still remained the State of the Union with the strongest French cultural history.

The land, bayous and seaboard was fertile and had an abundance of fish, and game. Although not rich the Cajuns settled down to a simple life of farming and hunter gathering. They lived in a fair degree of isolation keeping their own French patois very much alive and entertained themselves by singing and playing the traditional sounds and tunes that had been handed down for generations.

Bob Tipler’s band - Our Band - “The Cajun Dawgs”

We formed around 4 years ago out of the fall out of a Hillbilly Bluegrass band ad having lost the fiddle player with the previous line up we decided to concentrate on Cajun Music with a definite Blues, swamp pop slant. The line up is my brother Jim on guitars, Darren Overs-Pearson on bass and Andy Maybe on drums and yours truly on accordion. We find we go down best in front of a good time crowd who like to dance. We’ve had bookings at Cajun, Rockabilly and Folk Festivals as well as biker events, blues clubs, and any number of parties and pubs. The joy of Cajun music is that it is so approachable, it sounds familiar but it’s different. There really can be few types of roots music that can be projected out to such a wide range of audiences. Check us out at our web site www.cajunrockers.com and don’t miss the wacky video we recently did of the Cajun Standard “Les Flammes Denfer” The Flames of Hell. Up and coming UK Cajun Festival – check out Gloucester Cajun and Zydeco Festival from Friday 28th January – we are playing there on the 29th!

Gloucester Cajun and Zydeco Festival

C/o Joe Schiavon Gloucester Guildhall, 23 Eastgate Street, Gloucester, GL1 1NS - Tel: 01452 396389

Cajun Dawgs

The traditional old-time waltz based songs are invariably on the themes of love lost, separation and heartbreak. The more modern two steps are generally about drinking, partying and letting the good times roll or “Les Bon Temps Roulette” as the Cajun says.

The two foremost instruments in traditional Cajun Music are the fiddle and the diatonic accordion (in Ireland they call these melodeons), the fiddle is the older of the two and the Cajuns give it the respect of calling it ‘The Big Brother’. Although not a flash and showy style of playing like the Nashville bluegrass players, the technique is unmistakable. Chord based and with a heavy drawl the fiddler will convey that same feeling of melancholy underpinning even the upbeat numbers. Check out the playing of Dewey Balfour old school style and more modern Michael Douchet of the aforementioned Beausolail.

The “Little Brother” is the accordion that came to Louisiana with German farmers in the mid nineteenth century. The Cajuns soon adopted the instrument and found it perfect for playing at their local dances – its volume through multiple octave “stops” making up for the lack of PA systems in those days. In essence the instrument is like a big blues harp that you pull and push rather than suck and blow. I have three in the keys of C, D and A which cater for most numbers we need to do in a typical set. The playing style is really hard to master with chords, triplets and a staccato fingering actions that initially feels just plain unnatural. But when it is mastered it’s quite a thing to hear and see. The genre has renowned players all with quite individual styles. From the old school Iri Lejeune, the fast and furious Aldus Roger the bluesy Nathan Abshire up to today’s’ virtuosos like accordion maker Mark Savoy.

The first Cajun Albums I bought were usually compilations and these still seem to be the most common CDs that you’ll find in specialist music stores (assuming you can find one of those these days). Very often the artists will be from bygone eras anything from the 40’s to the 70’s the older traditional stuff is very raw and not for the faint hearted. Look out for Amadie Adoin a black Cajun accordionist with an incredible technique and voice, you’ll also come across the legendary fiddler Doc Guildray, Rufus Thibodeaux, Cleveland Crochet (my personal favourite with his rocking blues numbers), Johnnie Allan with his great cover of Chuck Berry’s “Promised Land” featuring a famous accordion break by Belton Richard, DL Menard, Jimmy C Newman, Rufus Thibodeaux, The Balfa Brothers and Harry Choats the fiddler who made “Jolie Blonde” (Pretty Blonde) which is arguably the most famous Cajun song along with Hank Williams’ ‘Jambalaya’,. There are many more artists and if you are unfamiliar with the genre, compilations are a good way to find out more. There is also find plenty of stuff on Youtube too.

Other Styles

Inevitably an area as rich in music as Louisiana and New Orleans all of the other many of the other popular styles of music have found their way into Cajun music. Cowboy songs from Texas, Rhythm and Blues from New Orleans, Rock and Roll and an important South Louisiana variant called Swamp Pop surfaced in the late fifties right through to the early seventies typified by Bobby Charles’ See You Later Alligator (Bobby Charles was born Robert Guidry – spot the French name!).

Zydeco

One question that frequently crops up when talking about Cajun music is what is the difference between Cajun and Zydeco?

Well Zydeco is simply the South West Louisiana and Eastern Texas black communities’ version of Cajun. The music was largely born out of the Blues and its most famous exponents have been Clifton Chenier, Rockin Dopsie, Queen Ida, Boozo Chavis, Beau Jocque. The bands tend not to feature fiddles and the accordions are usually big chromatic piano or multi key button boxes with a much wider musical range than the simple Cajun diatonic instrument (though these are used too, usually adapted to get a real funky sound by putting a mic inside the sound box – Keith Frank is a great exponent of this). Add guitars drums and not forgetting the real showman of the Zydeco band the frottoir player who plays a type of washboard breast plate that is hooked over his shoulders and is played with small spoons or blunted knives to produce really complicated rhythms that help give Zydeco its particular funky style.

The dancing in Zydeco is raunchy and leaves little to the imagination especially when compared to the traditional two steps and waltzes of Cajun Music.

There are no hard and fast rules about what constitutes Cajun or Zydeco. Many of today’s Cajun bands as well as including Blues, rock and roll or other types of tune in their set and will often include Zydeco numbers too. Zydeco bands also cover funked up traditional Cajun numbers.

The strength of Cajun is its ability to absorb and adapt many musical influences and forms, to be accessible and catchy for many types of audiences but also still be rooted in a strong on-going tradition.

It’s really all about the dancing and the Bon Temps Roulette…. more in the next part of this feature on the artists so keep an eye out for BM59.

1985 saw the release of “First Trouble” by Blues ‘N’ Trouble. Their debut demonstrated the influence of Sonny Boy Williamson and Paul Butterfield. Yet a successful songwriting partnership had emerged between vocalist Tim Elliot and guitarist John Bruce. Originals like ‘Tearstains on My Pillow’ were akin to then recordings by Robert Cray, in a style later adopted by the Nimmo Brothers. Elliot acknowledges they had some early good fortune: “We were very lucky in those early days to be able to get tours with both BB King and Robert Cray which not only gave us more credibility in Scotland but also opened the door to be able to tour throughout the rest of the world”.

This credibility bore fruits. Fellow Scot and “sixth Rolling Stone” Ian Stewart turned up to see the band in London and agreed to play on their second album, named after his proviso for contributing “No Minor Keys.” It also featured Cray on the track ‘Tight & Juicy’. Sadly Stewart was not to see the album’s release. He had agreed to play some Scottish dates, yet on the last day of rehearsals, Stewart mentioned he’d been feeling pains in his chest and planned to see his doctor the following day. Two days later on the eve of the tour, the band received word that Stewart had passed away. The band played at his wake at the 100 Club with the Rolling Stones, Page, Beck, Clapton and others.

A definite highlight for Bruce was working with Mike Vernon, “the nicest guy in the music business”, who had produced so many albums that he loved. Vernon had come to see them play at the Half Moon in Putney and told them he wanted to record them for the re-launch of his Blues Horizon label. The albums he recorded with them were “Hat Trick” and “With Friends Like These.” They backed Lazy Lester on “Rides Again” which won a W.C. Handy award and headed stateside to play the Memphis Blues Festival with Albert King and Jimmy Cotton.

Paul Jones named Elliot “the most convincing blues vocalist this country has produced” and included Blues ‘N’ Trouble on the session album “Blues on Two.” At its launch the band appeared with Rory Gallagher and led to Gallagher’s ex keyboardist Lou Martin joining the band for a spell.

Bruce and Elliot both nominate “Down To The Shuffle” as their favourite Blues ‘N’ Trouble album. Recorded pretty much as a live take in a Dutch studio, the album received the British Blues Connection award; after their performance at the Colne Blues Festival in 1991. Despite lineup changes, Blues N Trouble and John Bruce’s Safehouse remain popular festival favourites. As King King’s Alan Nimmo states: “Blues N Trouble are still one of my favourite bands. Those lads are still showin’ us how it’s done!!!” Across in Glasgow, Jimmy Dewar had left Robin Trower’s band and was working with guitarist George Watt. Sadly Dewar’s health had declined so Watt established Big George and the Business. Bassist Tam ‘Shifty’ McLucas joined the band before long and worked with Watt for “20 years of fun, chaos and travelling the western world together”: “George was a fabulous musician to work with, but total chaos off stage. I would be the Business and he would be Big George. Everything to do with the Business, I was the boss, and every time we were on stage or in the recording studio he was the boss. George concentrated on the music only and he flourished. As a Guitar player and singer he was fabulous to play with. On the many festival stages we played on, we jammed with some really famous guitar players and frankly, on his day, George blew the lot of them away. The shear intensity of his playing was phenomenal and the dynamics were incredible. He would take a song up and then bring it down in an instance. Going on stage was like an adventure into the unknown. It was only in certain situations, where he would write a set list, but even that wasn’t guaranteed, he would often change it after the first song”.

Alan Nimmo is a great fan, he highlights their debut: “The “Alleged Album” is an album that both myself and my brother took great influence from when we were starting out in blues”. Watt’s influence is apparent on Ian Siegal, who recorded two Watt’s compositions ‘Let My Love’ and ‘Take A Walk In The Wilderness’; and to

Photo by Paul Webster

BluesNTrouble1987byMarcMarnie

Dave Arcari: “George Watt of Big George & the Business is single-handedly responsible for getting me into blues and wanting to play it. I’d not long got my first guitar when I came across him playing one Sunday night at a pub called The Exchequer in Glasgow. I was dumbstruck and spent most Sunday nights down there. The Rev Doc and Rollin’ Joe were also part of that scene and inspired me big-time”.

The Business was to gain notable success, culminating in their appearance at the Montreal festival in Canada, and the release of “Home Of The Wolf”, partially recorded in Canada. Sadly Watt was to suffer a stroke in 2007. The stroke has not severely disabled him and may return to music after a period of rest and recuperation. In the early 1990s the band Jumpin’ the Gunn were discovered by the head of Virgin Records’ specialist blues label Pointblank, John Wooler, whose mother lived in Inverness. The chance encounter led to them signing for the label and the band featuring guitarist Andy Gunn and singer Vikki Kitson recorded their album, “Shades of Blue”, in Memphis. To quote McLaren there’s “not a note wasted and astonishing lead guitar from Andy and vocals from Vicki Kitson, especially on Janis Joplin’s ‘Turtle Blues’. It’s an astonishingly mature performance”. They shared stages with Buddy Guy and Albert Collins, yet the teenagers split as the success was hard to take. Gunn has continued a solo career recently releasing the superb “Regional Variations” which he described as “rooted in the blues but bearing sweet fruits such as folk and jazz, best enjoyed after midnight”.

Emerging in the same era was The Hideaway Blues band from Glasgow, led by guitarist Colin Black. In 1992 the arrival of a young Stevie Nimmo strengthened the band with his powerful vocals. The band released a now hard to find album “Nice Work If You Can Get It” and supported acts such as Canned Heat and Walter Trout. Black then relocated to England where he formed The Stumble while Stevie Nimmo established the Blackwater Blues Band, with younger brother Alan, which morphed into Nimmo Brothers. Since releasing “Moving On” the band have become Scotland’s most successful Blues export of the 20th century and their success has taken them as far as Memphis. “Live At Cottiers Theatre,” which features Fraser Speirs, is a superb capture of their exciting live performances. Recently Alan Nimmo has formed King King.

The powerhouse rhythm and blues band Lights Out By Nine have also appeared at many festivals throughout the UK and produced some fine albums, including “Good Morning Mr Universe” released by Blues Matters is 2003. Their frontman Al Hughes has also launched a solo career in which his superb song writing and slide guitar playing is brought to the fore. Aberdeen based lap steel player Son Henry has gained a large UK following, as recognised by his 2010 British Blues Award. Likewise National steel guitar player Dave Arcari has turned heads around Europe. He formed Radiotones in 1997 with harp player Jim Harcus, yet has found greater success solo with superb releases “Got Me Electric” & “The Devils Right Hand”. McLaren & Harcus’s Wang Dang Delta’s following is growing and the second album “Delta Road” shows the band pushing back the boundaries with songs on the funkier/jazzier end of the blues idiom. Also from Perthshire is the Jamie Harper Band. Harper toured with the band Lazy Poker for years who released “Positively Blues” through Blues Matters. Veterans on the scene include Delta blues styled Papa Mojo, featuring Allardyce and Kocemba, and Wolftrain. Sandy Tweeddale’s River Devils and fiery blues rocker Gerry Jablonski have also gained recent attention. There are younger acts too, as Elliot states “I think the Blues Scene is beginning to show a little bit of a resurgence again in Scotland especially with younger people which is always a good thing”. As Alan Nimmo agrees “they’re a few up and coming blues bands emerging out of Scotland at the moment but not enough…. There is a tremendous amount of talented young players in Scotland; I think there always has been. Scotland seems to breed a lot of passionate players and I think that in the blues world, that passion will keep you in this business a whole lot longer than the guys reading dots... The Gus Munro Band and the Gary Johnstone Trio are a couple of bands that I’ve seen lately and these guys have that same passion and energy.”

Young Glaswegian blues and southern rock band The Fortunate Sons have toured Italy and Germany and attracted the attention of producer Kim Fowley, who produced their excellent self-titled debut. Others to attract a younger following are

Photo by Paul Webster

Younger blues fans can be seen at the Dundee Blues Bonanza and at shows for student audiences. Edinburgh band Main Street Blues were recently asked to perform at a freshers show. As front-man Derek Smith explained “we had a lot coming up to us at half time and at the end, commenting how they had thought blues was slow and boring and now they love it.... many asking about other blues nights... they danced the night away into the wee hours.” Arcari sees originality as the key, “there are plenty of good blues artists/bands in Scotland but for my money, not enough of them are writing their own material or pushing the boundaries. That’s the kind of thing that will get Scotland noticed and it’s vital if blues is going to be a genre that can maintain its niche. If acts become more adventurous that’d help the scene grow. And if artists, promoters and venues became a bit more media savvy a real buzz could develop”.

A crucial stepping stone has been the country’s blues festivals. From humble beginnings 16 years ago the Dundee Blues Bonanaza has become the largest free blues festival in Europe. The Edinburgh Jazz and Blues festival pulls in large blues crowds, and there is an impressive array of smaller festivals in remote areas, such as the Orkney Blues Festival, the Shetland Blues Festival and the Smokie Blues Festival in Carnoustie. Amongst the successes there have been high profile failures, thus each successful festival has to cut its cloth accordingly. While regular jam nights in the larger cities allow musicians to cut their teeth.

Outside help via new media has also been important. As McLaren states “the thriving Blindman’s Blues Forum run by Billy Allardyce has helped artists and enthusiasts from Scotland develop international connections as well as establishing a supportive network for all manner of blues related activity”. Nimmo feels the lack of appropriate venues is a key barrier: “It’s very difficult to admire current Scottish blues bands when there are very few venues that we can get a chance to see them perform. Maybe if there were more venues and more promoters willing to get involved outwith the mainstream music industry, we might be able to create a more vibrant blues scene in Scotland”.

Elliot agrees: “the main area where improvements could be made is to have more venues where this kind of music can be played especially in Edinburgh which used to be a hotbed of the Blues back in the 80’s and 90’s’. McLaren feels venues and festivals should collaborate more to provide a coordinated approach to scheduling gigs.

The old challenges still remain, with Scotland’s sparse population over a large area and geographical detachment from the rest of the UK, the issues of low profiles, economically viable tours and poorly attended shows raise their heads time and again, yet with newly emerging acts, greater promotion and planning, there is hope these may be overcome.

Dumfries rockabilly trio The Cats, Edinburgh based R&B outfit Missing Cat and teenage guitarist Lewis Hamilton who is the nephew of 1960s Scottish jazz guitarist Laurie Hamilton.

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

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

NEXT ISSUE BM59: interviews including;

John O’Leary, Todd Sharpville, The Unfortunate Sons, Keith Thompson, Foghat, many others in the pipline............

Features:-

Harvest Jazz & Blues Festival – interviews etc

Ladies in the Blues, Jive Blues, Hegemony of the Blues The Blues in Scandinavia

Also more Cd reviews, live and festival reports..............

Giles Robson & The Dirty Aces

P P Arnold King Pleasure & The Biscuit Boys

Matt Schoffield

John O’Leary

Gregg Allman