Blues Matters 51

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EDITORIAL

Editor-in-Chief

Darren Howells darren@bluesmatters.com

Founder/Publisher 'D' alan@bluesmatters.com

Contributing Writers

Liz Aiken, Tim Aves, Roy Bainton, Andrew Baldwin, A.M. Bates, Duncan Beattie, Lee Borland, Carol Borrington, Bb Chaffey, Norman Darwen, Joe Geesin, Otis Gibbs, Jamie Hailstone, Stuart A Hamilton, Nat Harrap, Mark Harrison, Gareth Hayes, Steve Hoare, Darren Howells, Sue Hickling, Duncan Jamieson, Randy Jones, Louis Mattei, Christine Moore, Noggin, Merv Osborne, Frankie Pfeiffer, Ashwyn Smyth, David Styles, Thomas Rankin, Andy Snipper, Richard Thomas, Kevin Wharton, Rhys Williams, Tony Winfield, Philip Woodford

PRODUCTION

Art Direction/Graphic Design

Darren Howells

Photography

As credited

ADVERTISING

Advertising Team

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

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Jenny Hughes 01656 743406/745628

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Geraint David Morgan 01656 745628 webmaster@bluesmatters.com

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©2009 Blues Matters!

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

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

t’s an honour that The Black Crowes chose our little mag to thank their devoted fans; after all, no other band has encapsulated our ethos as sufficiently over their career.

For purists, The Black Crowes may be dismissed as too heavy, too rock’n’roll (they were amongst VH1’s top 100 hard rock bands after all) to be covered in any self-respecting Blues magazine. However, it’s always been our intention, in the face of an increasingly musically ignorant mainstream industry and clique driven niche magazines, to showcase how the Blues is still relevant, and its continuing role in new music – after all, we were founded on a love of ‘60s British rock outfits who were vital in introducing this form of music to so many.

The Black Crowes have always done the same with their music. Head and shoulders above their Blues-rock contemporaries because they went further than merely mimicking the classic Blues-influenced acts of the ‘60s and ‘70s, instead immersing themselves in the music of the original artists who influenced their heroes, adding their own personality – and never being afraid to think outside of the box or push boundaries. Of course, if you want to sell millions and build a loyal following, it helps to have an exceptionally charismatic frontman and a great lead guitarist penning timeless songs, and assembling immensely talented musicians to play them with.

True fans of the Blues will always appreciate and recognise how the music is being loved, respected and incorporated by new generations of musicians, and this magazine will continue to cater to youpaying our due to the greats of various generations, from Lonnie Johnson to The Rolling Stones, but also hailing the efforts of contemporary artists such as Gomez and The White Strupes.

The Black Crowes ultimately represent everything that Blues Matters! is about. Inspired by a love of bands such as Led Zeppelin, highly appreciative of the originators who inspired and were pilfered from by those artists, yet always relevant to the now – and always keeping it about the music!

To finish, speaking on behalf of the BM! team, I would like to extend our sympathies to Sue Hickling, whose son passed away unexpectedly in September, and Diane Gillard, who is recovering from breast cancer treatment. Both ladies are familiar faces on the British Blues circuit, covering many events for our magazine over the years, including Maryport most recently (given the circumstances, we will not be running a festival report this issue). Our thoughts are with Sue, Diane and their respective families at this time.

DARREN HOWELLS Editor-in-Chief

08 FEEDBACK

Popa Chubby, Aynsley Lister, B.B. King…

13 HAPPENIN’

Davy Knowles & Bar Door Slam, The Malchicks, Maria Muldaur, The Hoax, Cherry Lee Mewis, The Gun Club, ZZ Top, AC/DC, Tom Waits, John Mayer, Seasick Steve…

39 SUBSCRIBE TO WIN

Woodstock DVDs, Little Feat DVDs, Chess CDs…

128 DVD REVIEWS

Gary Moore, The Doors, Eric Clapton, Steve Winwood, Commander Cody, Stevie Ray Vaughan, The Blues Band…

136 FESTIVAL FEVER

Linton Music, Blues On The Farm, Smokie Blues…

146 GOT LIVE

Bob Log III, Susan Tedeschi, Kelly Jo Phelps, T-Model Ford, David ‘Honeyboy’ Edwards, Gemma Ray…

159 MEMBERS’

COMPETITIONS

Robert Cray CDs, “Ultimate Blues” CDs...

Otis Taylor, Woody Guthrie, Heavy Trash, Delbert McClinton, James Cotton, Kim Wilson, Hey Negrita, Howlin’ Wolf, Stone The Crows, John Mayall, The Dead Weather, Memphis Slim, Muddy Waters, Jack Bruce, Robin Trower, Alberta Cross, Al Basile, Duke Garwood, Jeff Healey, The Low Anthem, Chris Smither, Buddy Guy, Gary Moore, Bill Wyman, Tinariwen, Ash Grunwald, Imelda May…

20 INTERVIEWS

The Black Crowes, Derek Trucks, The Sugars, Cut In The Hill Gang, The Pack A.D., Jon Allen, Jake Lear, Sue Foley, David Gogo, Willem Maker, Bob Meyer, Jay Tamkin...

37 SUBSCRIBE

Support our efforts!

81 EASE THOSE BLUES

With “Roll Away” by Back Door Slam.

82 GETTIN' THE BLUES

Otis Gibbs gets the Blues!

132 BLUE BLOOD

Husky Burnette, Aaron Williams And The Hoodoo...

160

NOW,

Lonnie Johnson.

BEFORE WE FORGET…

20 THE BLACK CROWES

Once dubbed, “the most rock’n’roll, rock’n’roll band in the world,” The Black Crowes seem to have mellowed with age, and are appreciate of their fanbase, who have given them twenty successful years. “Part of the reason we recorded this album in front of a live audience was to try to find a way to keep involved the die-hard fans that come to see us every year - to let them share a little bit of what we do in the studio with them. So, this is also an extension of that, to say, “Thank you!” If you are still buying a CD twenty years later, we think that’s great.”

photo: Andrew Hall

BLUES-CROCK

I live in the Alsace region of France, near the Swiss border, and I am a big Blues fan! Three months ago, while visiting London to attend an Eric Clapton concert at the Royal Albert Hall, I bought your magazine at Borders on Oxford Street, London, and since then I have been hooked to your magazine. I subscribed immediately, and I am very glad that I did because I like the reviews and interviews with so many new Blues musicians, and without these interviews and reviews many Blues fans would not know about them and their talents.

I followed your advice and bought Joanne Shaw Taylor’s latest album, and I have to say that she did not disappoint me at all. She is really a great guitarist and singer. She is the female version of Stevie Ray Vaughan - I can hear his influence on herbesides playing her own way, in a perfect way. I hope that she will continue doing the Bluesy stuff and not drift into mainstream music to please everyone else, like many Blues musicians do (unfortunately), and then lose everything.

Last year, I went to a Popa Chubby gig hoping to listen to some Blues music, but, to my disappointment, all he played that night was loud rock - using bad language, which was a big disappointment to me and many of his Blues fans. On the other hand, I saw Eric Bibb live in Mulhouse (France), and this guy had something really magical in his music, and is a real gentleman. I would recommend everyone who likes the Blues to see him live because there is something special about his guitar playing and singing.

Talal Maghout

Saint Louis, France

BM! Says: Eric Bibb is certainly a favourite with our readership, whilst Joanne’s certainly developed a healthy following after her debut album’s release.

50 ISSUES YOUNG!

Congratulations on your milestone 50th issue, and thank you for including me! It was truly an honour, and

you truly do have the #1 Blues magazine for all the right reasons. Your writer Stuart Hamilton is very gifted. It was one of the best interviews and well written articles I have ever had.

I really enjoyed reading the whole magazine. You should be very proud for all that you have accomplished in this day and age. Soul and quality hang together in a world that needs feeling and inspiration more than ever!

Great job, man! I want to wish you continued success for another 50. Blues forever!

Barry Goldberg Chicago, USA

First thing I would like to say is how broad a base you've created concerning Blues and Blues related music. To see so many more than deserving artists given space to talk about their career, hopes for the future, along with their music, has and continues to make BM! the best Blues based magazine of all.

Over the years, I've subscribed to Juke Blues, alongside publications such as Blues Revue, Living Blues etc. These are all very good, but nowhere near as all

Is Popa Chubby too rock for the Blues?

ALL-ROUNDER

Nice feature on Aynsley Lister in issue 50. He seems to get less column inches than other Blues guys in this country, but I’d rate him as one of our better all round recording artists – not just a technically proficient and exciting guitarist, but a top lyricist with a more up-to-date sound. Of the younger acts in this country, he’s the only one releasing quality albums.

I thought, from this comments, he came across as a very thoughtful, humble and respectful person – in fairness, a quality you do find with most Blues artists in this country. I do hope the new album doesn’t turn off Blues fans, as your article alluded to, but urges more people in this country get behind him and support such a talent. Perhaps, his “hero” Eric Clapton could lend him a hand – and promote some young British talent for a change.

Adam Bloomer West Bromwich

BM! Says: Everyone at BM! was impressed by Aynsley’s latest album, “Equilibrium”, and hopefully, as you say, he’ll catch a break soon, so more people become aware of his talents.

encompassing as this wonderful magazine. Those magazines feature, in the main, well established artists – BM! brings these as well, but it's the number of young and developing talents that has made you without doubt the best. Folks like Ian Parker, Eddie Martin, Ian Siegal, Matt Schofield, Joanne Shaw Taylor, Kyla Brox…oh, the list could go on! Artists BM! has brought to our attention, which has surely had a major part in seeing their careers take off.

I can't thank you enough for the way the magazine has developed; it has such high quality, yet still our input/ideas to the BM! team are valued. No other magazine I've ever known has been as reader friendly.

This has been a great chance to say how much I appreciate what you’re producing, and the absolute quality as well.I get BM! because it's the best there is anywhere on the Blues. Enough said!

Pete Clack Oxford

BM! Says: Letters sharing these sentiments, from fans and industry alike, is the reason why, despite so many obstacles, we keep producing this magazine. Check out the website for more industry/reader response to reaching our milestone 50th issue.

THE BLUEPRINT

It was cool to see the Blind Lemon Jefferson article in issue 50. Lemon is arguably the original guitar-slinger. Mississippi was more segregated than Texas during his day, so there's less outside influence in the Mississippi style - Texas is a cultural tapestry. In the Deep Ellum area of Dallas, whites, blacks and Mexicans, at the bottom of the ladder, were all in the

same area looking for work. He played on street corners and in whorehouses where he performed with a pianist. Lemon took the boogie-woogie bass from the piano and the fiddle lines from country and created the blueprint for Texas Blues, guitar boogie and guitar solos in general. You can also hear those influences in his use of major scale melodies, in contrast to his Mississippi counterparts who stayed primarily within minor scales.

Legend has it, Jefferson wouldn't sing Blues on Sundays, only Spirituals. He was once offered $20 (about $100 by today's standards) to sing a Blues number and declined because it was Sunday that day.

of ZZ Top’s “Double

Live”

This issue Adam will receive a copy

Down

DVD. The 2DVD package, features the band performing favourites such as ‘La Grange’, ‘El Diablo’, ‘Tush’ and more at shows in 1980 and 2008.

Aynsley Lister: Eric Clapton take note!

Another legend has it that his ears were razor sharp. When he played on the street with a cup around his neck, he could tell the denomination of a coin by the sound it made when it landed. If somebody threw in a penny, he'd holler, "Don't play me cheap!" He could also shake a whiskey bottle and hear if his wife had stole a few sips, and beat the hell out of her if she did!

Thanks for including in your pages one of the most important figures in the history of Blues, Texas music, guitar and rock'n'roll.

J.J. Vicars Tokyo, Japan

BM! Says: Look out for an article on another Blues guitar pioneer later this issue.

COMEBACK TOUR

I couldn’t agree more with your writer Dave Stone, B.B. King’s show at Wembley Arena was fantastic. I’ve seen him on three previous occasions, and despite his age and depleting health, I’d rank this performance as his best – certainly the most rewarding for his fans. He sounded invigorated again, after the disappointing farewell tour show.

Let’s hope this wasn’t the ‘real’ farewell tour and we’ll see him back in the UK again soon.

Bill Peake London

BM! Says: We received a number of reports from B.B. Kings 2009 UK tour, and all concurred that these shows were something special. Shame not all of us could get hold of a ticket!

LOOKS THE PART

I know as Blues fans we should forget the image, and it should all be about the music as the very serious music aficionados that we are, but, wow, Ana Popovic!

You talked in your editor’s piece in issue 49 about what Joanne Shaw Taylor could do for the Blues as a female, but surely Ana has a more serious opportunity. This lady has the chops and looks to make her irresistible to any mainstream television show in this country (Jonathon Ross would be a perfect/fitting showcase).

I hope someone recognises what this lady has to offer soon, and brings her over to totally change people’s preconceptions of Blues music.

Boda Cowan Solihull

BM! Says: Ana certainly seems to be making the right impression since signing to Delta Groove subsidiary Eclecto Groove in the US. We’re sure she has as good a chance as anyone of mainstream profile/success. Look out for an interview with Ana in a future edition of the magazine.

ALBUMS DESERT US

In the February 2008 copy of Blues Matters! an article stated Eddie Martin had an acoustic album “Flowers To The Desert” due out, and he was working on another album which would include the track 'Apollo'. Is it possible for Blues Matters! to obtain and publish an update on their progress, as neither album has appeared to date?

Graham Mellen Millom

BM! Says: We’ve tried to gain an update from Eddie on these collections, but have yet to receive a response. We suggest keeping an eye on Eddie’s website

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

B.B. King: back and at his best.

photo: Paul Webster

DOOR OPENED

Music finally available to British listeners

Described as “my new favourite modern-day Bluesman” by Joe Satriani, Davy Knowles will be looking to make the same impression on his homeland as his debut with Back Door Slam did in the States when follow-up “Coming Up For Air” is released via Blix Street Records on 9th November 2009. Since beginning his American “Blues pilgrimage” two years ago, the Isle of Man-born guitarist has drawn comparisons to the likes of Jimi Hendrix, after show stealing performances supporting the likes of The Who, Kid Rock, and Lynyrd Skynyrd. The new collection, produced by Grammy Awardwinner Peter Frampton (who also has a number of co-write credits and plays guitar) and mixed by Bob Clearmountain (Bruce Springsteen, Paul McCartney…), is said to “perfectly capture the spirit of those he admires… the force of Stevie Ray Vaughan, while vocally resembling the late, great Jeff Healey, evoking the guitar expertise of Peter Green and rhythmically embracing the style of Robert Cray.” Cray is an obvious inspiration for Knowles, given the band was named after one of Cray’s song titles, but Davy describes the new album as “the next step musically” for him. The album, recorded in Los Angeles, features eleven tracks, amongst them the title track, which was inspired by an interview Davy read with Stevie Ray Vaughan. myspace.com/ davyknowles

n The Malchicks have been in touch with Blues Matters! to keep us informed of how the recording of their sophomore album is coming along. “George and I are about two thirds of the way through the new album and we're really excited about the way everything is sounding,” revealed Scarlett Wrench. “Our music has taken a slightly new direction since we've started writing our own material. There's a strong country influence in a lot of what George writes, although the Blues still does and will always have a huge effect on our music.” George Perez went on to add: “We put down a few tracks last week, one of which, '27' is a big slide guitar number.” myspace.com/themalchicks n Gov't Mule released “By A Thread” on 27th October 2009 via Provogue in the UK. The first studio album in three years is said to see the Mule “adding a newfound shot of soul to their classic powerband sound.” The new album was recorded largely in the Texas Hill Country at Willie Nelson's Pedernales Studio in 2009, and the first track, ‘Broke Down On The Brazos’, features ZZ Top's Billy Gibbons. mule.net n Maria Muldaur returns to her jug band roots with new album

“Maria Muldaur & Her Garden

Of Joy”, set for release via Stony Plain on 6th October 2009. Much of the material on the album comes from the idiom’s classic era – i.e. the 1920s and ’30s. “Initially I just wanted to revisit my roots and have some fun with my old bandmates, but soon I realised that this was actually a very timely project,” remembered Muldaur. mariamuldaur.com

Davy Knowles & Back Door Slam want to repeat success at home.

photo: Laura Kudritzki

THIS IS NO HOAX

British Blues favourites prepare for return to recording and touring

Following last year’s rerelease of “Humdinger”, one of the most influential British Blues bands of the last twenty years, The Hoax (pictured above) have announced they are set to reunite for a short European tour in December. The tour will be in a preparation for a world tour in 2010 to mark the band’s 20th anniversary. As well as three in dates in Holland, the group with play Manchester Band On The Wall (22nd December), Carlise Brick Yard (28th) and Devizes Corn Exchange (29th). Fans will be excited further with news that the band are also preparing to release their first new music together in over a decade. “We are currently recording a number of tracks,” revealed Robin Davey. “The release will likely be the first or second week of December.” myspace.com/thehoaxband

BIG GIRL BLUE

Singer displays newfound maturity on sophomore release

Cherry Lee Mewis releases the follow-up to 2007’s “Little Girl Blue” on 9th October 2009, entitled “Southbound Train”. The singer left her tiny village hometown in North Wales to set up home in Bedford at the end of 2008, and this inspired the new collection, which is said to get even “more personal, more exposed, and more revealing,” than the debut collection. “When I started this record, I knew that, artistically, I had to grow,” explained the diminutive singer. “I was itching to have a full band behind me so we got recruiting! After starting out acoustic, we knew the music needed balls and roughing up, which it got!” Accompanying Max Milligan on acoustic guitar for this release are Nicky Slater (acoustic guitar and dobro), Robbie Mathews (bass and backing vox), Jeff Dakin (Blues harp) and Fergus Shipman (drums). The fourteen songs on “Southbound Train” include new arrangements of four ‘20s Blues numbers, including ‘Travellin’ Light’, ‘All You Need’ and the swing-Blues of ‘Shake That Thing’. Alongside there are eight original cuts, with the title track described as “the best song that Seasick Steve never wrote,” on the press release. "This is music I fall in love with on a daily basis!” concluded Cherry, “This album was all about a vibe and capturing that raw, stripped back sound that I love. My Southbound train took me on a trip, I and I didn’t want a return ticket!” cherryleemewis.com

The Hoax bring Nick Cave on board.

BREAKING NEW GROUND

Punk Blues pioneers get reissue treatment

Cooking Vinyl reissue two albums and one EP by seminal outfit The Gun Club (pictured above) on 26th October 2009. One of the first outfits to blend punk with Blues, the LA group, fronted by Jeffrey Lee Pierce, released seven albums during the ‘80s, and have been cited by the likes of The White Stripes as a significant influence. The CDs reissued are: “Miami”, the follow-up album to their critically acclaimed 1981 debut, “Fire Of Love”, and featuring Debbie Harry on backing vocals; “Death Party”, a 1983 EP release; and 1984’s “The Las Vegas Story”. All the three reissues are packaged with a second live CD, featuring performances recorded in New York, Switzerland and France. myspace.com/thegunclub

WELL DONE, LADDIE!

British youngster joins his idols

Promising young British guitarist, Mitch Laddie has signed to Provogue Records, who intend to release his debut album in January 2010. “I’d been sitting in with Walter Trout and his band for a year or so, and Walter mentioned me to Ed van Zijl,” revealed the 19-year-old. “Walter invited me over to the Paradiso in Amsterdam to sit in with the band, so the guys from Provogue could listen to me play. After the show, I had a chat with Ed, and I signed a five year deal shortly afterwards.” Ed is particularly excited about having another hotshot young guitar slinger on the label’s books. “We now have three Blues players signed to Provogue with whom we want to do a ‘New Generation Of The Blues’ sort of tour,” he enthused. “Mitch Laddie, Scott McKeon and Stefan Schill - all three are young and talented.” The album is already in the can, and Mitch is particularly excited about featuring on the same roster as one of his heroes, Joe Bonamassa. “I’ve been to see Joe live many times and he never fails to amaze.” mascotrecords.com

n AC/DC (pictured below) will release “Backtracks”; two collector's box sets on 10th November 2009 via Columbia.

“Backtracks” features one CD of rarities, one CD of live tracks, and a DVD entitled ‘Family Jewels’. A deluxe version, limited to 50,000 copies. will also be released. The deluxe version features an additional live CD, a second DVD, as well as a 12” LP and 164-page booklet - all of which come inside a fully working AC/DC guitar amplifier. Both sets are available exclusively through the band’s website: acdc.com n Living Colour will release their first new studio album in five years, entitled “The Chair In The Doorway”, on November 30th via Megaforce Records. The new album features “the sacred steel Blues” of ‘Bless Those’. "We feel like this is the best record we've made yet," said guitarist Vernon Reid. The group will be touring their fifth studio album in the UK this December. Dates are: Bristol Tunnels (3rd), Cardiff The Globe (4th), Wolverhampton Robin 2 (5th) and London Garage (6th). livingcolourmusic.com

n Eagle Rock Entertainment release a double-disc DVD set from ZZ Top on 19th October 2009. “Double Down Live” combines shows from 1980 and 2008, and features favourites ‘La Grange’, ‘Tush’, ‘Jesus Just Left Chicago’, ‘I’m Bad, I’m Nationwide’, ‘Heard It On The X’, ‘Cheap Sunglasses’, ‘Tube Snake Boogie’ and more. Disc two also features the first ever ‘behind the scenes’ look at ZZ Top on tour. zztop.com

Jack White’s favourites: The Gun Club.

Will you get your hands on AC/DC’s ‘Family Jewels’?

photo: Guido Karp

SAM CARR

17th April 1926 –

21st September 2009

Legendary Blues drummer Sam Carr died of congestive heart failure in a nursing home in Clarksdale, Mississippi on 21st September 2009. He was 83.

Born in Arkansas as Samuel Lee McCollum in 1926, Carr got his Blues schooling playing bass with Tree Top Slim and later his estranged father (Robert Knighthawk).

However, he excelled on the drumstool, and recordings with harp player Frank Frost and guitarist Big Jack Johnson, as The Jelly Roll Kings, gained him legendary status.

As a bandleader, Sam Carr’s Delta Jukes released three albums, the most recent being 2007’s “Let The Good Times Roll”

Carr was also an indemand session musician, recording with the likes of T-Model Ford and Buddy Guy, and most recently the Floyd Lee Band. Band member Joel Poluck told Blues Matters!: “I am very thankful and honoured that I got to know Sam Carr. I will truly miss him.”

Sam had been struggling with health issues for several years, and had recently lost his longtime wife, Doris.

MARIE KNIGHT

1st June 1925 – 30th August 2009

Gospel legend Marie Knight died in New York City on 30th August 2009 due to complications from pneumonia.

Marie Knight rose to prominence in the mid-40s, working with Sister Rosetta Tharpe, with whom she would tour through the ‘40s and ‘50s and enjoy chart success with the likes of ‘Didn't It Rain’, ‘Up Above My Head’, and ‘Beams Of Heaven’.

In the ‘70s, Marie retired from music to become a minister at the Gates of Prayer Church in New York City.

M.C. Records owner Mark Carpentieri would persuade Marie Knight to return to recording music, with the “Shout, Sister, Shout!: A Tribute To Sister Rosetta Tharpe” project. The success of which would see Marie return to touring and recording her first full-length album in over twenty-five years, “Let Us Get Together”.

n Jesse Fortune (28th February 1930 –31st August 2009). Blues vocalist Jesse Fortune passed away on 31st August 2009, after suffering a heart attack onstage during a performance. He was 79. Born in Macon, Mississippi in 1930, Fortune trained as a barber, a vocation he would continue when he moved to Chicago in 1952 – performing as a Blues singer at night. Fortune became a sought after singer in the windy city during the ’50s and ‘60s, lending his vocals to the Otis Rush Band show, and recording with the likes of Buddy Guy and Willie Dixon – Dixon would pen his best known track, ‘Too Many Cooks’. Fortune was musically inactive during the ‘70s and ‘80s, but he returned in 1993 with the successful “Fortune Tellin’ Man”, which was released on the Delmark record label. “Jesse's funeral was very emotional, moving,” revealed Delmark’s Kevin Johnson. “Many people talked about how his smile always lit up the room. AND HIS VOICE! So powerful, such emotional Blues.” n Les Paul (9th June1915 - 13th August 2009).

Acclaimed guitarist and inventor Les Paul passed away in New York on 13th August 2009 from complications of severe pneumonia. He was 94. Paul has been a notable recording artist since the ‘30s, however it’s for his Les Paul model guitar that he’s renowned. Unhappy with the first generation of commercially available hollowbodies, Paul began constructing his own electric guitar in the late-30s, and by 1952, with the assistance of Gibson, he introduced the Les Paul Goldtop. Four subsequent guitars were released, but in 1958 the Les Paul Standard hit the market. The guitar has remained unchanged since – becoming the best-selling electric guitar of all-time.

Renowed guitarist Joe Satriani released the following statement: "Les Paul set a standard for musicianship and innovation that remains unsurpassed. He was the original guitar hero, and the kindest of souls.”

Marie Knight: next in line for tribute album?

OFF THE CUFF

Revered Bluesman was unprepared for new album’s recording

Ian Siegal (pictured above) releases his fourth album, “Broadside”, on the Nugene label on 4th November 2009. The new album is said to reflect the songwriter’s broader love of Americana, with the label describing it as his most commercial release to date (pencilling ‘Quarantine’ in for use in a future Tarantino movie). "I approached this recording with an open mind and few plans,” said Siegal. “I had a bunch of lyrics and ideas, some of which had been festering for a while, but most had formed over a fairly short period of time. The sounds and styles that developed were dictated by the mood, environment and personnel at the recording (and lots of caffeine!). I find instinct and pressure to be a great inspiration.” Of the ten tracks, eight are Siegal originals, with the singer mixing up his Blues idioms on ‘Kingdom Come’ and paying homage to James Brown on ‘Like Hell’. Sam Hare and Glaswegian Big George Watt provided the tracks ‘Stealing From The Queen’ and ‘The Ballad Of Big-foot Chester’. iansiegal.com

HAVING VISIONS

Legendary artist’s astounding live shows captured on CD

Tom Waits releases “Glitter And Doom Live”, a collection of live tracks from last year’s sold-out US and European tour, through Anti- on 23rd November 2009. “The album encapsulates Waits in all his chug, boom and steam - his shamanistic vocals, innovative arrangements, visionary lyrics, pounding rhythms and emotional melodies.” The double CD set contains seventeen live recordings from ten nights along the tour, including Birmingham (‘Lucinda’), Edinburgh (‘Singapore’), Tulsa (‘Get Behind The Mule’), Knoxville (‘Fannin’ Street’), Paris (‘Falling Down’), Milan (‘Dirt In The Ground’), Dublin (‘Trampled Rose’) and Columbus (‘Story’). The second CD, entitled “Tom Tales”, features nearly forty minutes of Waits “quixotic ruminations” on topics ranging from romantic spiders to injured vultures. The CD will also come with a booklet of live photos. A vinyl version of “Glitter And Doom Live” will feature a gatefold sleeve with live photos from the tour. tomwaits.com

Ian Siegal will be getting a copy of the new album over to Quentin Tarantino.

photo: Sam Hare

IT’S CLEAR-CUT

Star doesn’t overcomplicate matters

John Mayer (pictured below) will release his new studio album, “Battle Studies”, on Columbia Records on 23rd November 2009. The GRAMMY Award-winner's fourth studio record is said to see the popular Blues guitarist taking influence from the likes of Neil Young and Fleetwood Mac. "I approach music like a director doing a period piece," said Mayer, who went on to describe the melodies and messages on the new album as “concise and from-the-gut with the efficiency of simplicity." Blues fans will be particularly excited by the guitarist’s

BURNLEY’S BLUES

Time called on major UK festival

Barbara Hood has informed Blues Matters! that the Burnley National Blues Festival will sadly not take place in 2010. “It was decided by Burnley Council not to continue the festival due to lack of sponsorship and external funding,” revealed the Burnley Mechanics Marketing Officer. “I did try endlessly to obtain funding but to no avail. This is a real shame as I had Robert Cray lined up to headline. I would like to thank you all for all your support.” Barbara said she still hoped to promote a one-off event with Robert for the Easter Saturday in April. burnleymechanics.co.uk

n Pokey LaFarge (pictured below), who impressed at the Edinburgh Festival Fringe recently, will release his new album, “Riverboat Soul”, in November 2009 (following the UK release of second album “Beat Move And Shake” in August), with a UK tour also scheduled for January 2010. “Pokey LaFarge, is a troubadour whose songs, with their primitive plunk and thunk guitar accompaniments, recall the ‘20s and ‘30s Blues masters and yet speak directly to today’s audiences in a bruised, used and abused voice”, read a press statement, which went on to name check the likes of Chuck Berry, Ike Turner Meade Lux Lewis as influences. myspace.com/pokeylafarge n Seasick Steve releases new album

“Man From Another Time” on 19th October 2009 on Atlantic Records. Produced, written, recorded and engineered by Seasick Steve, the album is “a resolutely organic album that eschews modern studio trickery in favour of the warm style of ‘live’ analogue recording.” Seasick Steve utilised a variety of favourite guitars on the album including a one-string Didley-bo (a 2x4 with a string nailed to it), a guitar made out of an old cigar box (with four strings), his famous 3string Trance Wonder guitar and an old beat-up acoustic guitar. "I hope by making records like this, that it'll make people want to hear music that's recorded without the use of digital equipment, and that people's ears can get a little rest from all that s**t,” commented Seasick. “But if not, at least it was nice for me.” Carol Borrington attended an exclusive album preview for Blues Matters! and you can read her report on our website. n Murali Coryell releases the Tom Hambridge-produced “Sugar Lips” on 17th November 2009. The new CD features guest artists Joe Louis Walker and his father, jazz guitar legend Larry Coryell.

“With his Jimi Hendrix meets Eric Clapton like guitar playing, Murali continues to expand contemporary Blues with twelve new songs.” muralicoryell.com

John Mayer: set to wow British audiences in 2010.

Pokey LaFarge wants to develop Scottish fanbase.

photo: PG Brunelli

ew would have envisaged The Black Crowes celebrating twenty years as a band. After the release of their debut album, the band quickly developed a reputation for fast living and internal strife, and these two factors would see a constant rotation of personnel that would start prior to the recording of their second album. Yet, for all the departures, break-ups, legal wrangling, label issues, and scrapping of albums, the band have been one of the most consistent and respecting touring and recording outfits of the last two decades.

Led by the Robinson brothers – the only constant throughout the band’s active tenure – the group have topped the charts, sold millions of albums, toured and recorded with legendary artists, and lived both the celebrity and rock’n’roll lifestyle – yet they’ve always remained true to their musical roots .

The band may have exuded a more relaxed attitude in recent years, but there’s little doubt they are as focussed and passionate as ever, lovingly crafting some of their finest material to date and enjoying renewed critical and commercial success.

Taking a break from the band’s busy schedule, drummer Steve Gorman spoke to Blues Matters! ahead of the release of double album “Before The Frost…Until The Freeze”…

BM: Melody Maker magazine once called The Black Crowes, “The most rock‘n’roll, rock‘n’roll band in the world.” Do you consider the band to be rock’n’roll or Blues?

Steve: It is absolutely a rock’n’roll band! We are all big fans and purveyors of the Blues, and obsessed with the Blues at a certain level. As much younger men, in our late teens and twenties, like a lot of people who discovered The Rolling Stones or Led Zeppelin and were listening to those records, we were the guys who went, “Wait a minute,

what were they listening to?” So, we would go back and get all this stuff from Chess Records, and find all the things that they had listened to. So, we went back in and we were always big fans of that.

We’ve done and played Blues music. We’ve covered a ton of Blues songs over our career, and as much as rock’n’roll is Blues based, ours is always certainly that. I would never call us a “Blues band” because I have a good understanding and complete respect of real Blues artists, and that’s not what we have ever been.

If you or The Black Crowes had the chance to play with any Blues musician or band, who would it be?

We toured with Jimmy Page, and he’s pretty close to a Blues musician – well, he knows a little something about the Blues!

I think there are a great many of them: Little Walter, Muddy Waters and Howlin’ Wolf would be great, but that’s one of those questions where everyone in the band would give you seven different names!

You have achieved the landmark of twenty years on the road. How would you like to see the next twenty years progress? A lot more slowly, but I don’t think that’s going to happen! It would really be nice if it would just slow down a little bit because the first twenty have been, err… There have been long moments, but all in all, it’s gone by very quickly.

The new CDs, “Before The Frost…” and “…After The Freeze”, are a return to the bands roots in Blues, country and bluegrass. What draws you and the band to these musical styles?

As much as we love the Blues, we’ve also always known country, bluegrass and folk music. That marriage of country and the Blues is what rock’n’roll was…and still is. The Blues are huge part of what we’ve always been inspired by, but no more so than country music, and no more so than folk music. Those things are all the pillars of what we feel The Black Crowes are. Our version of rock’n’roll music stems from all those same sources.

The Black Crowes 2009: (from left) Luther Dickinson, Steve Gorman, Chris Robinson, Rich Robinson, Sven Pipien and Adam MacDougall.

The path of The Black Crowes has been filled with its vicissitudes, even a period when the band, in all but name, failed to exist. Yet the Crowes have sold over twenty-million albums worldwide, and continue to be one of America’s most popular live drawers.

Inspired by the likes of Led Zeppelin, FREE, The Rolling Stones and The Allman Brothers Band, The Black Crowes had its origins in early-80s outfit Mr Crowes Garden, but by the end of the decade, the name had changed and American Recordings had signed them on the strength of a demo.

The group’s debut, released in 1990, “Shake Your Money Maker”, went multi-platinum, whilst the follow-up, “The Southern Harmony And Musical Companion”, topped the American charts. However, success, as it often does, came with a price, and for the Crowes this was the beginning of a series of many personnel changes that would traverse the rest of their career - guitarist Jeff Cease was replaced by Marc Ford and Eddie Harsch was added on keyboards.

Controversy had also started to affect the band; fired from a tour with ZZ Top, when Chris upset the sponsors with a comment about commercialism. This continued when many record stores refused to stock their third album, “Amorica”, as its cover featured a woman’s pubic hair. The album still sold over 500,000 copies, but unwilling to play media ball, the group’s commercial clout began to wane (“Three Snakes & One Charm” and “By Your Side” sold poorly, and the group were dropped by their label).

Still, the band had the respect of their peers – Keith Richards and Noel Gallagher notable fans – and in 1999, the group teamed up for a couple of dates with Jimmy Page, which resulted in the live double album “Live At The Greek” (there have been a number of live releases in recent years). The group would subsequently tour with Page and The Who. However, following the critical backlash to “Lions”, and inter-band tensions (which had already led to the scrapping of two albums), added to by problems with record companies (and, reportedly, Chris’ marriage to Hollywood actress Kate Hudson), the group announced they were taking an indefinite hiatus in 2002. Chris and Rich both persued solo projects. However, it wasn’t long before the brothers Robinson would be assembling a new set of musicians to play their distinctive brand of swaggering Bluesy rock.

The group reformed for an awards ceremony in 2004, and this paved the way for a full reunion by 2005. Even though they remain dogged by conflict and controversy (Marc Ford quitting the band on the eve of a 2006 tour, whilst Maxim magazine had to apologise for a critical review of their new album, published before the group had even serviced any media), the break has reinvigorated the outfit, firing on all cylinders again in a live setting, whilst 2008’s politically conscious “Warpaint” album surprised many, not only due to the quality of the new material, but also reaching the top-5 in America (the group’s best charting for fifteen years). For twenty years, The Black Crowes have survived inner conflicts and battles with the music industry to keep on flying high. CB

Why did you decide to issue half of the double CD (“…After The Freeze”) as a download?

Well, so we can get the music out to people. To make a double CD is costly, and then you have to charge more for it - it doesn’t seem at all appropriate or sensible to tell people, in this day, with what’s going on in the world right now, “Hey, buy two albums!” That’s just not going to happen.

Then the other part of that equation is simply, we are coming up to twenty years, and part of the reason we recorded this album in front of a live audience was to try to find a way to keep involved the die-hard fans that come to

see us every year - to let them share a little bit of what we do in the studio with them. So, this is also an extension of that, to say, “Thank you!” If you are still buying a CD twenty years later, we think that’s great and we are very appreciative. So, take that home and download another one on us!

What difference did it make to the band having an audience in the studio for the recording?

It was a big difference. It started as an idea we would have about a dozen people, or about twenty or thirty people in there, and do it in a conventional studio. Chris then went to a show at Levon Helm’s Barn, where we made the record last summer, and Levon’s band were playing in front of two hundred people - the show was being record-

The Black Crowes in unwiser times.

ed. It’s a studio that can also be set-up as a kind of a little performance hall. Then, in sort of his mind, he realised that was the place to do it. It’s just a great vibe

So, instead of us being in a normal studio, all wearing headphones in different rooms and sectioned off and having a couple of people tucked into each corner just silently observing, we could do this hybrid thing, where two hundred people come in and sit and watch us, and we would go through the songs. It wasn’t a show, like we were doing a set list - we had a list of songs each night, but we would play a take and then play it again, and if somebody was out of tune, or broke a string, or forgot where the song went, then we would just stop it, talk about it, slow it down a little, or speed it up a little. We would just do it like that. It really was like making a regular record, but there were people sitting right in front of us, and a lot of those faces are very familiar to us - these people come along to see the band many times a year already, most of them. So it did take on a bit of a vibe of a live gig - you just can’t help it. When someone walks in there and is sitting down literally four feet away from you, it keeps everyone on their toes a little more for sure!

Why the vinyl release alongside the CD/download?

There are a few thousand folks around in every market or country who listen to things on vinyl, and search out vinyl because they prefer the way vinyl sounds. For someone of my generation, I grew up with them - I love holding a vinyl album and looking at the artwork and liner notes. It’s bigger and something that is in your hands. You kinda have to do a little more work - you have to turn it over after six songs! You can’t get it in your car. People, just by the nature of the logistic, were involved more with their music

when they had to sit in one room to listen it. Now you can go for a jog, go for a drive, or go do anything and have your own music playing - that’s great and convenient, but it’s something that makes people focus less on the music. So, if you do want to do it the old way, we are accommodating.

The CD is all new material, except Stephen Stills’ ‘So Many Times’. Why choose this song to cover?

We did a few covers up there. We’ve always played a lot covers in our live shows, and we’ve recorded a lot too over the years. We didn’t pick that song thinking were going to record it and then it’s going to make the album. It’s just a song that Chris thought would sound good. He and Rich worked it up, did the vocals, and we just played - we thought it was just great. Then at the end of the process, we were listening back to everything that really stood out, and we thought we did a really nice job with it, so we put it on there.

You chose to promo the song ’I Ain’t Hiding’ on your MySpace from the new CD. Why did you choose this song? I think it stands out, just because it is so different. If somebody hears it, they won’t necessarily say, “Oh, that’s The Black Crowes.” At this point, twenty years in, that’s the whole point - you’re just sending up a flare, up into the night sky to say, “There’s a record coming, look over here for a minute,” because we do focus on the entire album, and we don’t think about singles. We make an entire record of songs we think that people will value, and then we have to think or choose which one we can get people to pay attention to. To me, it should be a song which is a little different. For a casual fan, if they hear something that is very reminiscent of our earlier work, they’ll say, “Oh it’s just another Black Crowes record!” It’s just a matter of what’s going to get someone to look your way for a few seconds before they put in their next video game or their dinner!

Apart from drumming, what has been your input into the various songs and their musical delivery? Everyone has an opinion on it. When songs are arranged, you know, “double chords here,” “do that again,” or “that sounded cool when you play that.” Over the years, there’s always a contribution, but I don’t really think about it in that way. I’m not keeping track of it or adding up. We are the kind of band where the feel is just as much part of the band as the lyrics. It’s not just about tempo - I’m not a schooled, disciplined drummer; I approach the drums as it is a musical part of the whole. I'm not just thinking about digging a ditch for other people to lay pipe into - it’s all connected.

I think we are definitely a band where if any member is changed, it has altered the sound and feel of the band considerably. We’ve had a lot of lineup changes, so it’s never been an

“I think we are definitely a band where if any member is changed, it has altered the sound and feel considerably.”

easy thing to get the new sort of direction going, because the way the band is set-up, every piece is integral for the whole.

What are the problems for a drummer in a band that plays such diverse musical styles?

Nothing too problematic - to me, it all sounds like The Black Crowes. To us, rock’n’roll is a huge term. We were never a band that had one sound, and figured out one thing. Even before we had a record deal, as very young players, when we weren’t very good, we were constantly writing new songs. If you saw the band before 1987, when we were first starting, if you saw us one month from the next, we had a totally different set. Every time we wrote new songs, we got rid of the old ones! We really felt we were progressing, and we still feel that way. Nowadays, there are some songs that are leftover, and we might come back to them a few years later, but, for the most part, all these songs on this album were written in the couple of months leading up to recording. None of these have been sitting around for years. That is the way that band has always operated. We get on a new thing, so once we’ve played a new song and recorded it, I don’t think of it anymore as “that one in that weird time signature,” or “that’s the song in a four on four disco beat.” I just think of them as the songs we are playing. I guess it’s

the way a guitar player plays a different guitar for a song. I just don’t really think about it – it’s not something, in a linear fashion, I take any time to think about.

Who are your drumming influences?

Initially, that would be the stalwarts - Ringo Starr and John Bonham. From a very young age, those are the two guys I listened to most, and those were the two guys who were stamped on my brain the most. There are too many drummers that I love to name, but from those two guys came Jodie Stevens, who played in a band called Big Star - he was another favourite of mine when I first started playing drums.

There are just tons of them. I’ve gone back and discovered anybody, from great jazz drummers like Buddy Rich to the guy who plays in WilcoGlenn Kotche is fantastic now. So, if you want a short answer: Ringo and John Bonham, but the long answer is: I’ve taken something from every drummer I’ve ever seen!

Is there anything you would like to say to our readers?

Generally, we are all of the mindset

right now that we are very appreciative of the fact we’re still around. We know that’s because people continue to come and see us and buy our records. I’m also well aware of the fact we’ve never made it easy for people to stay with us. We’ve never really tried to do the same thing twice, and we’ve never been too good at explaining ourselves. It’s sorta like, “this is where we are, take it or leave it,” almost. I don’t think that’s been our intention, but we’ve sort of looked like that, at times. I know a lot of bands do take a lot of steps to say, “Well, the reason we’re doing this is…” We’ve just been very focused on doing it, instead of talking about it. So, the fact we still have an audience that still gives us that freedom is something we are very appreciative of. It’s also very humbling - sincerely so. It’s not something we discuss too often, but at this point, if there is anything to add, it would be: thank you! CB

ver the past twenty years, Derek Trucks has been on the road in various guises; child prodigy, session player, high-profile sideman, band leader - all played out with his distinctive slide tone, unique subtlety, and soulful connection to his material.

Today Trucks finds himself as a permanent member of the legendary Allman Brothers Band, a regular touring musician with the legendary Eric Clapton, and leading his own (soon to be legendary) outfit, but whilst he’s always relished the demands of a hectic schedule, the 30-year-old is beginning to slow and settle down.

Trucks’ latest role has been a long time coming, and it’s clear he’s relishing its arrival - the role of family man…

“I just feel like it’s time to pull it all back from an insane level to a manageable level, to be home a little bit more,” says Trucks in his calm, Zen-like way. “My kids are now at the age where I kinda just wanna be home and be around.”

While this may sound like a devastating revelation for his fans, it is perhaps not as serious as it sounds. Something of a workaholic, and never one to adhere to conventions, Derek’s idea of settling down may actually see him producing more music than ever before. The scaling back of the band’s excessive touring schedule, of course, allows Derek, and the rest of the band, to spend more time at home with their families. However, it also serves as the

perfect time to build a home studio and continue to make music from home. “Of course!” exclaims Derek. “Being able to buy time is such a wonderful thing. To be able to actually record, write, and be more productive while you’re home is such a nice thing.

“There’s something great about being able to drive your kids to school in the morning and then go right out in the studio and start writing.”

The first example of this home-grown creativity and integrated productivity can be seen on the Derek Trucks Band’s latest album “Already Free” - a laid-back collection of Blues, rock, soul, jazz, funk and Indian classical influenced songs that feels very much akin to Derek And The Dominos’ “Layla”, or The Band’s “Music From Big Pink”. “It’s really just people living together,” states Derek simply, “and it’s all people that you know really well. Whether it was the guys in my band, who I’ve obviously travelled with a lot, or my wife (Susan Tedeschi), or Doyle Bramhall, who I’ve spent a year with on the road with Clapton. Then there are visits from Oteil Burbridge and Susan’s band, and Warren Haynes coming down to write. It’s just friends hanging out.”

This ‘family’ aesthetic can really be felt on the album. What really sets “Already Free” apart is the connections between the musicians. The record is less a collection of songs than it is a dialogue between the players involvedeach finely in tune with their fellow band mates. Whether it be on tender numbers, such as ‘Back Where I Started’, or more intense tracks like ‘Something To Make You Happy’, the band is impressively sympathetic to what each song requires, and to each other’s respective parts.

“I’ve always tried to make our music say something and be worthwhile. I think there are better ways to spend your time if you’re not going to be serious about it.”

During their annual run at New York’s Beacon Theatre earlier this year, The Alllman Brothers Band were joined by a number of musical luminaries and celebrities wanting to be part of the band’s 40th anniversary celebrations, including Hollywood actor Bruce Willis (seen performing alongside Derek above), Susan Tedeschi and ZZ Top’s Billy Gibbons (both pictured opposite page with Derek).

Derek is typically modest in down-playing his band’s transcendental playing and their almost clairvoyant communication, both onstage and on record. “It’s hard to explain, but it just comes from playing together a lot,” he says. “There’s an ebb and flow to all our playing, but they’re just all really talented guys. I’ve been incredibly lucky!”

Whilst luck has had almost nothing to do with it, it is certainly true that Trucks has enjoyed an embarrassment of riches in his musical career so far, playing with a host of revered names before even reaching his teenage years.

In 1994, and still only 15 years old, Derek formed the first incarnation of the Derek Trucks Band, featuring Yonrico Scott on drums and Todd Smallie on bass, both of whom still continue in the band today. The band started out playing predominantly instrumentals, with occasional collaborations with other musicians, and eventually recruited multi-instrumentalist Kofi Burbridge (brother of ABB’s Oteil Burbridge) and percussionist Count M’Butu. In 2002, with four records under their belt, they added the final piece to their ensemble with the addition of Mike Mattison on vocals.

The incredible story behind the discovery and recruitment of Mattison may be one of the few genuine instances of luck in the band’s history, Derek recalls it fondly: “When the time came that we were looking for a permanent vocalist, I put the word out with a lot of musician friends and producers that I’d worked with. John Schneider, who produced our first three records, and Craig Street, who worked with us on ‘Joyful Noise’, both called me independ-

ently within a two day period and said they’d found a guy who’d be perfect for us. I gave them my address and the next day I get two packages. I open them and it’s the same disc!

“That morning I jumped on a subway to get into the city. I hadn’t even listened to the disc yet - I’d just seen the picture on it. Suddenly I saw the guy from the front cover walking by with a big afro, and I was like, ‘I’m sure that’s the guy!’ I was trying to remember his name, and when I did I just hollered it out. I think he was kinda freaked outand understandably! I think we decided we had to do at least a gig or two together just for the sake of the story!”

In 2006, in a move long hoped for by Trucks’ fans, Derek received a call from none other than Eric Clapton (who has a reputation for appropriating guitarists from the Allman Brothers, having recruited Duane Allman to play on his “Layla” album). Clapton invited Derek to join him on sessions for a new JJ Cale record, and afterwards join his own band on tour.

Derek’s involvement in Clapton’s live show was a resounding success, with his slide guitar allowing ‘Slowhand’ to revisit material that hadn’t been played live in years. Naturally, being part of such a high profile band raised Trucks’ profile in the mainstream musical world considerably, and Clapton has done his very best to increase awareness of the young guitarist. and has been quoted as stating: “Derek really makes me step up my game.”

Whilst these musical accolades have left many convinced that Trucks is the finest guitarist of his time, and one of the finest of all time, and have raised his main-

"No matter what you’re gonna pull off, you’re still just keeping the thing rolling."

Through his father’s record collection, Trucks gained access to a wealth of influences from an early age, with the playing of Duane Allman having a particularly strong impact. Through him, Derek learnt the importance of subtlety and began developing his trademark slide style.

His prodigious talents didn’t escape the attention of his uncle, Allman Brothers’ drummer Butch Trucks, who had him touring regularly with his band, as well as working as a session player for the likes of Buddy Guy, Junior Wells, and Gregg Allman.

2009 saw The Allman Brothers Band’s fortieth anniversary, and marked ten years since Derek officially joined the group.

The Allman Brothers formed in Jacksonville Florida in 1969, and were hailed in their 1995 induction into The Rock and Roll Hall of Fame as the “principle architects of southern rock,” paving the way for the likes of Lynyrd Skynyrd.

With Duane Allman’s guitar prowess at the fore, the group instantly won favour with critics, and it wasn’t long before they were shifting serious units and playing to large sell-out audiences. However, following the release of one of the most revered live albums of all-time, “Fillmore East”, first Duane (in October 1971) and then bass player Berry Oakley (just over a year later) were killed in motorcycle accidents.

The band initially carried on successfully, however by the mid-70s, without their talismanic and coordinating leader, the affects of heavy drug abuse and personal conflicts were beginning to take their toll. By the early-80s, the band’s standing with both critics and fans was at an all-time low, and it came as no surprise when they disbanded in 1982.

However, the band reformed in 1989 for a 20th anniversary tour (with Warren Haynes now on guitar duties), the success of which led to the recording of 1990’s acclaimed “Seven Turns”. Once again the band were in favour, and two further albums in the early-90s maintained momentum. Whilst they haven’t been as prolific in the studio since, 2003’s “Hittin’ The Note” garnered two GRAMMY nominations for the song ‘Instrumental Illness’.

Since the band’s reformation, despite the rotation of personnel (which saw Warren leave and then return), they have established themselves as one of the most popular live acts in America again – a band that can live up to their Legend Of Live Award, bestowed upon them by Billboard in 2008. RW/DH

stream profile significantly (“Already Free” debuted at #19 in the Billboard Top 200 charts), it is not his undeniable musical ability that defines him, but rather his incredibly inspiring personality. There is a lot written about his musical prowess as an improvisational genius, but much less is said of his humility, pragmatism and genuine passion for his art and the art of others. He has long possessed a wisdom that belies his years, and actively strives to find inspiration and meaning in everything that he turns his mind to. His world is almost entirely ruled by following the music and building relationships with people along the way on a basis of that musical understanding. Even when dating, he would strive for musical connections, much to the amusement of his fellow band mates.

“When I first started dating on the road,” grins Trucks, “everyone would joke that I wouldn’t be happy in a situation unless the woman I was with had pretty extreme taste!

“I’d be dating girls where it was almost perfect but there were just one or two records that would just send it over the edge. So, I would joke, ‘If I ever find a woman that has John Coltrane, Mahalia Jackson, Howlin’ Wolf, etc, then I’m just gonna have to marry her.’ There was this whole long and crazy list, but when I met Susan it was like, ‘That’s pretty close!’”

Derek’s wife, Susan Tedeschi has a successful music career herself, and can more than hold her own when sparring on guitar with her husband. The two have started touring together over the past few years, and have plans to cut a record together at some point in the near future. The new home studio should make that a lot easier, but it also allows Derek to let his wife take the spotlight for a change. As he explains: “I sort of feel like next year it would be great for me to be home more, and for me to let Susan run with it and do her thing - support her. I think it’s only fair to say she’s supported me all along, and it’s her turn now. It’s her time.”

In the life of his other family, this year saw The Allman Brothers Band’s fortieth anniversary, and ten years since Derek officially joined the group. Yet, even in the heat of exciting moments such as these, Derek is completely downto-earth about his role in the Allman Brothers. “You have to make sure you’re not going into it with a false respect for it and the humility in the gig is legit,” he explains. “You realise that no matter how great you play, the group was

created back then, not now. It was created by Duane, it’s his group, and so no matter what you’re gonna pull off, you’re still just keeping the thing rolling. It’s good for you really, to keep the ego in check.”

This is the thing that is most striking during a conversation with Derek - his complete and utter lack of ego, despite achieving so much from such a young age, and winning accolades from all who have heard his music, seen him play, or played alongside him.

Trucks is also modest when describing his band’s eclectic range of influences that gives them their sound. “It’s not really a conscious thing to go about integrating everything,” he says. “It’s whatever moves you musically, and we just try to fit them together in the way that feels most natural. Sometimes you don’t even think about it, you’ll just be playing a tune and certain things, certain inflections will spontaneously come out and just feel natural where they are, because it’s organic.”

He is constantly striving for growth, both in his playing and as a person. “The guys that influenced me the most; whether it’s Duane, or John Coltrane, or Ali Akbar Kahn, all had something about their playing that gave you the sense they weren’t just there to entertain” he explains. “They had something to say and a reason to say it, so I’ve always tried to make our music say something and be worthwhile. I think there are better ways to spend your time if you’re not going to be serious about it. I know I don’t want to listen to musicians who are good at what they do, but are

almost just empty shells. I like it when there’s more to the person than merely what you see.”

Perhaps most tellingly, Trucks also comments that he sees his band as a vehicle through which to turn his audience onto some of the musicians he loves. “When you’re in the position that you’re releasing records and people are paying attention, even with a small fanbase, I think it’s important to be conscious of everything you put out there,” he says emphatically. “Be conscious of every message you’re putting out, because it does affect people. If you’re doing a Son House tune or a Rashaan Roland Kirk tune, you have to realise that you might be turning younger fans onto guys they’ve never heard.”

When asked how he would like the legacy of the DTB to be remembered, Derek reiterates this point: “If anything, I’d like us to be remembered as a bridge or a window for people to dig back into the real stuff. There are so many bands out there where it’s all just chest thumping and it’s so self-centred. I think that, even without knowing it, the Allman Brothers turned a whole generation onto other music - the music they were inspired by.”

Derek Trucks has indeed enjioyed an amazing career, and whilst it is far from over, his legacy is sure to be long remembered alongside his heroes’. It is rare in this day and age to find an artist who has truly earned every success they have achieved, but Derek certainly is just such an artist. It seems only fitting that he should be allowed to enjoy a break after twenty years. After all, he deserves it! RW

The Derek Trucks Band: (from left) Yonrico Scott, Mike Mattison, Derek Trucks, Kofi Burbridge, Todd Smallie and Count M’Butu.

rom the dawn of humankind, music has been a creative, evolving companion to the human race. Each generation handed its musical heritage on to the next, to continue and help it to grow. If any new band in the present generation epitomises this notion, it’s The Sugars.

The Leeds three-piece, now based in London, grew up on a diet of the Blues, and, in particular, a love of Bobby “Blue” Bland, but after regular tours with the hot and the not of the indie music scene, and with producer Will Jackson (The Pigeon Detectives, The Cribs…) at the helm, the group’s debut wore its contemporaries influences just as boldly.

Perhaps they haven’t lived up to the hype – XFM and Phil Jupitus notable champions as the industry looked to unearth the next West Yorkshire chart-toppers in the wake of the Kaiser Chiefs’ commercial peak – but the group had to overcome a major setback, with a debilitating wrist injury to the group’s original drummer threatening the band’s continuation and contributing to the delay in the debut’s recording.

Still, there’s much hope for the band’s individual and growing sound, with the likes of Richard Hawley and Seasick Steve handpicking the outfit for support slots, and the band sounding confident as they begin recording the follow-up…

BM: Can you introduce yourselves?

Anna: Matt and I have been doing this band together for about four years. I started off playing guitar really badly, and singing. Now I play bass.

Alex: I only joined the band in January 2008, and since then we’ve recorded an album and I’ve been stuck in the same room as these two for a very long time. The changing rooms just keep getting smaller!

Matt: I’ve been playing guitar for fifteen years, but it wasn’t until Anna and I started this that I really started to play gui-

tar, using the influences we had to try to make it to the semblance of the music we like again.

How do you define your sound as a band?

Matt: We started three years ago, when Jodi was with us. There were three key bands that sort of kicked us off, The Kills, The White Stripes and The Black Keys - all two pieces. They epitomised this really carnal, dirty sound we really liked.

Anna: Jodie was really into MC5, Sonics and stuff. Matt and I were into old R&B, early-50s and ‘60s stuff. It was around this time when music started to get exciting again. We saw these bands - stripped, raw bands, and said, “Why we don’t start a band?”

Alex: I think bands like MC5 and The Stooges… More mainstream stuff really. Its one of those questions I find really hard to answer; there is loads of music I really appreciate. At one point, I might be into old soul music, but the next something really up-to-date, like dance. It’s one of the things that makes music exciting - you never know what going to interest you next, and the direction you’ll go.

Anna: I bought the last The Black Keys album, but it didn’t excite me like their first album does. If I had heard The Black Keys new album, it wouldn’t have made me want to start our band, but there was a time when it was exciting again - everyone’s in a band, let’s be in a band!

Matt: It’s discovering, isn’t it? There are new things that excite you, sometimes old things. I think that is the most exciting thing about being in the band, especially with Alex, is that we have just got better, but we will always listen to Blues and soul; there will always be some of that in us.

Who wrote the material for the debut CD?

Matt: Anna and I write. I usually come with an idea, and then we bash it out. Some songs take a long time to come. Start with the vocal line or an idea, situations sometimes. There is quite a thing of storytelling on the album. We were thinking of calling it “Fairytales Of Love”, because

"I do like the fact we’ve been branded, and I like fact we are making inroads into things like Blues Matters!, because that’s really flattering to us."

there were a lot of fairytale aspects of love stories.

Anna: It’s relationships, trauma, love and hate...

Matt: We do play off it a lot because Anna and I do duets. A lot of that is often affective, and on stage especially - that’s where we like to really play that up.

Are you disappointed the album wasn’t more successful given the profile you enjoyed prior?

Anna: I don’t know, we are not a big band…yet! A lot of people need to find us still and get into us. I think, it’s a really exciting, different and diverse album. I hope that it gets recognised for being something a bit different from the current musical trends, and excites people. What do you have planned in the near future for the band’s progress?

Matt: It’s really exciting right now. For a long time, we have been tied to the spot - we didn’t listen to other music, we listened to Blues and soul. That’s been a massive thing, we’re all around 29 (Alex jumps in: “I’m not, I’m younger!”)… Well, I’m 29, these guys are bit younger! We listen to a lot of stuff between us.

What is really exciting now is ploughing all these great influences we are listening to, all the things we’ve already listened to, and dragging them into something that is not sounding like anybody else.

Anna: I think we are progressing our sound as bands do. I think you can hear that in our songs, even in the way we play our set - it starts off more heavy, sort of ‘garagey’ and then it gets a bit more melodic and wonderful, like a bit ‘50s-esque.

How, as a one of the younger bands, do you think you can bring the Blues to the front of thinking in your generation?

Anna: It is already getting there, with bands like The White Stripes and The Black Keys. Even Seasick Steve, he’s like a really old guy, but he’s massive. He’s been playing for a long time.

Matt: He’s an amazing guy. We played with him; he’s a really magical person. I think he’s done more for Blues than most other people. We played Liverpool Academy with him. Totally sold out - 2,000 people, just him and us. It was incredible. It was our fanbase. We struggle as three young people; we really struggle to get that. We don’t have major label backing, or major label hype.

Anna: With our last press campaign, we’ve got a lot of hardship with MTV, with people saying we are not mainstream, and our sound’s retro. There are so many bands that crossover, you could pigeonhole them as a Bluesy, rockabilly, retro thing…

How would like to see music change in the next ten years?

Matt: I’d like the losses that people are making on downloads to translate live. I don’t mind peo-

The Blues is often falsely construed as a dry, miserable genre open to only a few, and rooted in the past. Some of this, it can be suggested, is of the Blues’ own making, and the relentless clinging to a puritanical past by its devotees. Yet, this was not the foundation of the Blues; it was music developed on the back of other musical forms, to reflect a specific period of history, for a specific group of people, through the vehicle of music.

By its very origins of choosing music as its mode of expression, the Blues opened a genre that could move perpetually forward, with boundless improvisation. A form of expression usable for other situations and generations.

The Sugars belong to a new generation of the Blues, taking up the baton of the past and moving it on for their own time. The way for this has been prepared for decades, from the field hollers to the incorporation of the early Blues musicians of traditional folk, vaudeville and minstrel tunes, onto its intimate relationships with jazz, the innovation of electrification and the transition to ‘60s British Blues. The Blues has pushed the boundaries!

In the present generation, new musicians have takenup that call, opening up again a chance for the Blues root to be retained and grow further. Seasick Steve has reached not only an older generation with his Blues, but developed a cult following among the young. He’s taken the limelight at Glastonbury and filled concert halls throughout the UK - he even cracked the UK charts!

The White Stripes and The Blacks Keys, too, have set the agenda for the development of the Blues into the hands of young people who would have otherwise ignored it as out-of-date.

Joe Bonamassa advocated that if the Blues is to survive, it has to be made relevant to the young in the present. Once they’ve seen this relevance, you can take this new generation’s musical education back through the ‘60s, to the feet of Robert Johnson, Muddy Waters, B.B. King and co. These musicians are opening the way for bands like The Sugars to come forwardbands who are musically talented, rooted in Blues, but with the ability to foster a new interest.

We have to build on the best of the past. If the Blues had stayed with the field hollers of the 19th century then a century of great music, musicians and a model of peaceful human protest would have been lost to humanity. CB

Seasick Steve made the breakthrough.

pledownloading. We found out that our album had 350 downloads before release.

Anna: Illegal downloads!

Matt: In this day and age, you’ve kinda got to expect that. We’re all guilty of it, but that’s it at the end of the day. If those 350 people who downloaded that thing came and saw us, that won’t bother us. It’s live we love playing. We are really into live. That’s what I’d really like; I’d like to see live venues really pick up. I don’t think that balance is making its way through. I’d like to see it get away from festivals, and people went out to gigs, because that’s what we do. It’s about being out on the road and playing to people you really care about it.

You were saying about being a new band, and we are trying to break an indie scene. That's the scene, we are around. Anna and I still go to soul music and the rest, but at the end of the day, we will never be on the same bill as Eric Bibb. Those aren’t the people, in record sales, we are fighting against. We are fighting against the likes of Operator Please. They are getting the hype for youth, but I think what we have done is make a really mature album. The likes of Richard Hawley and everybody else, that’s what we subscribe to - we are a little more mature.

Is there anything you would like to say to our readers?

Anna: Just to try and listen to this album, and try not to think the words are rockabilly, retro, vintage or ‘50s too much. That is my challenge to anyone who listens to this albumdo not pigeonhole us! We like things from the past - look at us and you’ll see that, but we are also living in the future. Matt: But I do like the fact we’ve been branded, and I like fact we are making inroads into things like Blues Matters!, because that’s really flattering to us.

Anna: It was even like the Blues festival we played. There were these two guys with beards on the stage just jamming. I said, “What are we going to play, seriously?!” We played a gig in Brighton, in a church, and it was really mellow, so we stripped down our set, and I was saying we need to play that set. Matt said “No! We play our set. This is the band we are!” So, we unleashed it, even the new dancier songs, and they loved it. It was really nice to crossover to the crowd that we thought would just walk out of our tent. Matt: I think that opened our eyes a lot, it made us realise that people who are really conservative Blues, still listen to different s**t. I can see you have Led Zeppelin on your wrist (pointing to my arm band - CB), and they were one of those bands. They were as dirty rock’n’roll as you like, but they were Blues. They had the influence and they took it somewhere else. That’s what we are trying to do. We try to make it relevant still, in the same way The Black Keys used producer Dangermouse - it’s the same kind of thing. We try to use everything we can - we’re not afraid of using electronic. You can still use elements of the new electronica and the technology. I think that’s the way The Sugars will always be, but our voices will always harp back to an era were there is a real beauty about it and real soulful harmony.

Anna: It will sound like us, we are never going to play with effects in our voices, but we might put a keyboard in, or heavier disco drums.

Matt: It is fun working with music. We’ve been talking about this a lot as we try to move on from this album. Look at the likes of Radiohead. If you look where they are today, it’s completely different, a million miles apart, but it’s the same band and the same fans. It’s brilliant that they can do that. CB

The Sugars: (from left) Alex Lewis, Anna Greenaway and Matt Bolton.

n Covington, Kentucky, just across the Ohio River from Cincinnati, there's an apartment known to many simply as The Lodge. It's a Civil War-era Masonic house, a ballroom flat with high ceilings, creaky stairwells and, as of a few years ago, a stage for rock'n'roll shows. That's courtesy of The Lodge's current tenant, Johnny Walker. Walker is the affable, elfin Bluesman known primarily from his work with the Soledad Brothers (or you may have seen him strut around on stage with The White Stripes), who sadly parted ways in 2006. Today, Walker fronts Cut in The Hill Gang, a raucous three-piece that owes its sound as much to Zeppelin's take on the Blues as to Sonny Boy Williamson's. The group (also featuring Brad Meinerding on guitar and Lance Kaufman on drums) summon an ass-kicking, classic rock toughness on the Cut In The Hill Gang's two simultaneous debuts –an LP, “Hung Up”, and a CD, “Cut Down”.

"There have been a lot of people involved," Walker reveals. "Our music is kind of like unwritten language, like a really good conversation." Which is especially pertinent because, he explains later, "music is received and understood in a similar spot in the brain as language, but in the opposite hemisphere."

To any who might raise an eyebrow at discussing neuroscience with a musician, scoff not. Walker graduated from the University of Cincinnati's medical school and currently works as a Psychiatric Therapist at Children's Hospital in Cincinnati. And, of course, he uses music as a centrepiece in his treatment. Indeed, Walker is a jack-of-all-trades highly uncommon in today's era of specialization. Among professional titles ranging from muscian to doctor to sound technician, he's a student of everything from history and literature to art and philosophy – and he carries an unofficial status among local bands as zen master of the Blues…

BM: So how did the Cut in the Hill Gang start?

Johnny: Brad and I would get together every Monday night, before Brad had bluegrass night across the street. And finally it was like, “you're in the neighbourhood all the time, so we should hang out over here and work on some songs – just some country songs - and then we can go over there and play, and I can play some harmonica.” But I've been playing a lot of bass lately. This (I was talking to Johnny following a Dead Zep performance – LM) is the first time I've played bass at a show since 1996.

Which band was that with?

It was me, Ben Blackwell and Jack White – an ill-fated outfit called the Walker/White Trio. Or White/Walker Trio,

Cut In The Hill Gang: (from left) Lance Kaufman, Johnny Walker and Brad Meinerding.

depending on whose ego was being massaged. Ben Blackwell played drums - I guess he had the healthiest self-esteem of the three of us at the time.

Was that up in Detroit?

Yeah. We just did a bunch of gigs at the Gold Dollar. But it was Ben Blackwell's first band, so he was like 14. Pretty sweet! He was always going for it, and I was a horrible bass player back then. It's a little easier for me to figure out now. But it's still pretty trippy. Playing John Paul Jones' basslines is always different. I mean, when you hear it on a bootleg, he's playing different runs and using different turnarounds. It's almost like jazz, but in a Blues format.

How many bands have you been a part of over your career? Does that count the times that I just sit in with people or do sessions?

Sure…

Thousands! It's like asking a poet how many poems they have written!

For people unfamiliar with your music, who would you say are the Cut in the Hill Gang's chief influences?

On a more cerebral plane, we are influenced by things that inspire passion in people - things that stand the test of time. Like old 78s of Slim Gaillard or Memphis Minnie. Like cars with a lot of chrome where plastic now finds use. Like books that inspire books that inspire books, such as “Don Quixote” and the Bible. We would like to think of ourselves as the next rung in the continuum of real music - no matter how obscure.

The last time we talked, some of the Cut In The Hill Gang stuff was about to be released, and some was on hold. What's the status on that?

The LP, "Hung Up," was released by Glitterhouse Records in Europe, and is soon to be released by Little Room Record Company in the US. The CD, "Cut Down," was released in February. Little Room is also releasing a live DVD.

Tell us about Little Room…

Aw, it's cool. It's a bunch of a people that live all over the country, and they formed a record label through the internet - through talking to each other. There are about twenty people involved, and they all take turns with releases and doing different jobs; taking care of the different aspects of putting a record together – but in different cities. So, it's maybe the first socialist record label.

That's a dangerous word these days…

Well, you know, I'm a dangerous guy with dangerous people (sinister laugh). But no, I'm pretty jaded on the business end of things. Our chains have been jerked around by labels on every single level from the top down. It's always an uphill battle. It's always a bunch of people who wanna put a hand in your pocket, and nobody ever steps up to the plate. You have to call someone seven or eight times to get anything done - and I don't have time for it! I'll just keep playing guitar, and meanwhile they can have their little boutique labels.

We've been told that our records are not commercial enough. And everybody's just so afraid to take the next step because record labels are having such a hard time. I don't really blame them for being afraid, but worrying

ONCE IN A LIFETIME

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A MUSICAL FEAT

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about whether or not you're going to get some licensing fee on the first song on the album is, to me, so un-rock'n'roll - downright cowardly, really. The funny part of it is, they always worry about that. But it all comes out in the wash. We had labels tell us that this Cut In The Hill Gang record is too raw. But what about the nuts and bolts of the music –the craftsmanship?

That's beside the point because people still call us and ask us to put songs in commercials, and we have a song licensed for a video game from this record that hasn't even been released yet. So clearly, there's no problem with the "commercialness" of it. It's just somebody doesn't have the balls to say what they're going to do. And they pull the record on you in the eleventh hour; leave you hanging high and dry.

So, a bunch of really cool kids from Little Room come along and say, "We'll put your record out, we're not gonna blow smoke up your skirt, and we're not gonna bulls**t you." Fine - I'm cool with that. That's all I want. I don't expect to sell 10,000 records; (mock businessman voice) “Gotta move 10,000 units!” Who cares?! Our first Soledad Brothers record still sells. What are these people afraid of?

That's a good question. Any guesses? They're afraid of failing, which is understandable. You know, you run a rock'n'roll label, and you tell someone, "Make it sound like it wasn't recorded on a computer." And I say, "It won't! It's being recorded on a tape machine. And I'm blowing too much juice outta that tape, and it's gonna be all warm and fuzzy. Just like you want to get it if you put it on a computer. But you just can't."

I'm just enjoying playing music now. I do it at work, and it calms people down. Makes them feel a little uninhibited, but in a positive way, and you can use that kind of stuff for therapy at work.

I've heard that you play the Soledad Brothers song ‘Cage That Tiger’ for little kids at work… Yeah, they like that! For musical chairs or for freeze dance. Freeze dance is a great game to play with little kids who have troubles with say self-esteem and impulsivity – it's the perfect game. Because if you lose, all you have to do is say something about yourself, like a statement that I'll just make up at the beginning – "I'm getting better" or something like that. To us it's like, "What a stupid thing to say." But to a 7year-old, who has low self-esteem, or is having trouble controlling himself, it’s finding ways to transfer that positive energy and stopping it when the guitar stops – if they can learn to control that happy emotion and freeze and stop dancing, then they can transfer that same skill to trying to stop when they get angry or when they get anxious.

You definitely have a unique perspective, as both a professional musician and a medical professional, to talk about this connection between music and medicine. When did you first discover the potential healing aspects of music? When I was in medical school, I worked with this guy, Dr. Dan Nelson, a child psychiatrist, and the kids all loved hima really good dude who knows how to talk to kids. He plays guitar, so I brought my harmonicas in so we could sit in group. At the beginning of the group, we would always play

the name game with them. You'd go around the group, and each kid would get to sing their name, and they'd get to choose a dance that everybody else has to do. Which is pretty sweet because they'd be like, "I don't know what dance to do," and you give them a list of just the most ridiculous dances, and you just keep going until they say, "Well, maybe the monkey dance would be fun."

It seems like music might work similarly on most age groups… It does, it works with Vietnam Vets, and it works with geriatrics. What I would like to do is maybe get a PET scan, or something like that, and measure bloodflow or glucose use in the brain, in certain areas of the frontal lobe, and track down how music affects a patient's inhibitions, and justify using it in therapy.

When I first came to the Cut In The Hill Gang's music, having grown up in Ohio and Kentucky, it seemed very steeped in history, a sense of the Wild West meets the Old Queen City. Can you talk a little about the role of tradition and folklore in your music?

Yeah. ‘Soul To Waste’, the first song off of the LP, has lyrics that are basically the words of riverboat captains - and they were pretty hard dudes! You know – "Sired by a hurri-

"What I would like to do is maybe get a PET scan to track down how music affects a patient's inhibitions, and justify using it in therapy."

Cut In The Hill Gang’s Johnny Walker has had a significant hand in many of this magazine’s favourite recordings. “The Detroit Cobras, David Viner, the Greenhornes, The White Stripes, MC5, The Kills, Pearlene...” Walker began to reel off the names of artists he has collaborated with over the years. “Oh, so much music, so many loved ones. Sometimes I feel like Forrest Gump!”

Walker grew up on a trailer park in South Toledo, Ohio, where his biker father raised him on a staple diet of Blues and Blues-based music, particularly the Stones, Hendrix and MC5.

Walker’s first band, Conus Trust, formed in 1987. A number of ill-fated ventures followed – Butt Hole Surfers (“Have you ever worn eyeliner in Toledo? It gets you into a lot of trouble!”), Henry & June, Doug Walker, Walker/White Trio…until he finally hit the nail (as hard as possible!) on the head with the Soledad Brothers – a group who took their name from a group of black activists involved in a botched jailbreak from Soledad penitentiary in San Quentin, California.

“First of all, it was organic,” he recalled. “No stylists, no slick producers, no telling us what to do…we tried to do everything on our own! Every record had a theme and the labels had little say in the creative process..

“Intensity is probably what sank our ship before it even left port, but that intensity is what people liked.”

The group never enjoyed the commercial success to match the media exposure and critical appreciation –certainly nowhere near that of his good friend and ace student Jack White’s outfit.

“When The White Stripes won, we all won,” insisted Walker. “They were holding the flag for all good soul musicreal music that I am sure all of your readers like. That can't be denied. A schism isn’t what is warranted. We won!”

Whilst his name may not be as prominent in music pages on this side of the pond today, he’s still recording great music with Cut In The Hill Gang, and still spending as much time as possible lining up in various outfits – including party bands!

“Oh, yeah! Dead Zepp - it’s a Halloween thing we do in Kentucky,” he revealed. “On Halloween, we have a huge party. My costume is bass player in a band that I like, so last year I was Dead John Paul Jones. Had to learn all those damn songs in two weeks!

“Wanna know why there are no Zeppelin cover bands? Because it is a pain in the rear to learn that stuff! Really! Ten-thousand Beatles cover bands to ten Zeppelin cover bands.”

He’s also still lending a hand to up-and-coming artists, who will no doubt take his advice and go on to even greater success. “Just recorded a party in my ballroom, where the Black Diamond Heavies played,” he said enthusiastically. “Great sounds, great band - okay engineering.

“Black Diamond Heavies are the heavyweight champs! My boys can't beat ‘em, so we might as well join ‘em! See, fight the good fight!”

Walker may not be the prizefighter himself, but as the trainer, he intends to keep deliverying those knockouts! DH

cane, born of a storm, damned by an earthquake on misfortune morn" – that's pretty rough, man.

Another song is from Ben Franklin, just quotes – "There's a time to blink, and a time to see, and I've been thinking it's time for you to leave. Fools make feasts for the wise to eat, and you choke on your words when you swallow your deeds." Pretty remarkable guy. You know, he invented the straight cath - the urinary catheter? And he crafted it out of silver, because bacteria don't like silver, and silver's also malleable, and it goes up through your urethra, which means he probably had a pretty decent understanding of human anatomy in order to have figured out a way – it means he had to have dissected someone!

Confirm or deny: you taught Jack White to play slide guitar… That legend is part truth, part NME fabrication. It would be disingenuous of me if I said that I taught him technique or style. Maybe that rubbed off on him - and his style, I am

sure, rubbed off on me. That's what happens when musicians play together organically. It's a matter of pride to say that I did the slide work on his first LP. Mostly out of pride in his work and respect for his skills. Pride born of pride. Does it get more pure than that?

Can you sum up the Cut In The Hill Gang's sound or aesthetic? I am less concerned about sounds these days, as they don't seem to matter except to a select few. The sounds we get are still the result of experimenting over a recording period of years. I guess that makes it more thoughtful than 99 percent of the tripe out there produced for the ultraslim sound spectrum of downloads - an mp3 has about 25 percent of the sound information that a CD has. It's humorous when "music fans" talk about the mass of songs on their iPods. They are settling for nachos from a convenience store when they desire steak. So, I compare our sound to filet mignon for Blues-rock listeners. Let the suckers eat corn chips. LM

The White Stripes won through.

he Canadian duo of Becky Black and Maya Miller exploded onto the Blues scene with not one, but two electrifying albums in the short space of a few months (“Tintype”, released April 2008, was followed by “Funeral Mixtape” in September 2008).

Becky’s rough and ready guitar work, and her electrifying vocals, coupled with Maya’s primeval drumming brought initial comparisons to the likes of The White Stripes, but as their followup CD “Funeral Mixtape” proved, the band have the musical chops to rock out with the best of them.

If you like your Blues drenched in bourbon, cigarettes and attitude, then you have come to the right place!

BM: Most bands take ages to release their second album, but “Funeral Mixtape” came out just months after your debut “Tintype”. Was there any reason for that?

Becky: Well, we actually recorded and self-released “Tintype” in April 2007. We signed with Mint Records in August 2007 and agreed to have them re-release “Tintype” in January 2008. So, really, there was some time in between the two recordings.

Would you say that your sound developed over the two?

Becky: Definitely! We started recording “Tintype” after only playing our first two live shows. Since then, we've obviously played a lot more and really had time to sort out and refine our exact sound.

Maya: We think the difference between the two albums is noticeable, and we're happy with where we've started heading.

Which track are you proudest of on the latest album?

Becky: To isolate one track - that's a tough one... We're actually proud of the whole album!

How did you two get together?

Becky: We met through mutual friends and started a band. That band didn't work out, but through it we realised we were into exactly the same sound, so we kept going with it.

Maya: We've been playing for two-and-a-half years.

How did the band get its name?

Becky: We both love animals - wolves in particular... The A.D. was added recently just to differentiate ourselves from the other ‘The Packs’.

Your first album, “Tintype”, had several little instrumental snippets, including ‘Hardtrack Saloon’...

Maya: They were Becky's creation, and my idea to record them.

You played some gigs in England, as part of the Great Escape Festival in Brighton. What were the crowds like, and are you coming back soon?

Maya: The crowds were really great, especially considering that it was our first time in England. We had a great time, and are looking forward to coming back.

How important are the Blues to you and your music?

Maya: The Blues are the basis for all music, and definitely for ours, in particular. But we don't set out to write Blues songs. The Blues just kind of found their own way in.

Becky, who has influenced you as a singer and guitar player?

Becky: It's hard to choose one particular influence. In fact, it’s next to impossible. I think I'm probably influenced subconsciously by many different artists; Robert Johnson, Muddy Waters, The Groundhogs... The list is endless.

What influence has growing up in Canada had on your music, and the way you perform?

Becky: Most of our influences come from America, to be honest, and the way we perform comes from our desire to give it our all every show.

Maya, who has influenced you as a drummer?

"That’s a hard question –actually, incredibly hard. Can I just skip that one?"

Maya: Tough question! But if I were to pick two, it would probably be John Bonham and Animal from “The Muppet Show”.

Why did you call your new album “Funeral Mixtape”?

Maya: That was born out of a discussion we had about funerals. We both agreed that we wanted our own funerals to be more like parties, so that everyone could celebrate our lives. We thought it would be a great idea to make a tape of the music we each wanted played at our own parties/funerals. Hence, “Funeral Mixtape”.

You better know who this chap is! (Muddy Waters, just incase)

What music would you want played?

Maya: Ah, so many songs come to mind! Definitely the theme to “Buffy The Vampire Slayer”, and some Van Morrison, Kate Bush, Groundhogs…System Of A Down, maybe. It would definitely be a mixtape, but I've yet to make mine!

What is the least Bluesy record in your collection?

Maya: Well, that would be a lot to name... “I Care Because You Do” by Aphex Twin.

Do you find it hard to come down after a show?

Maya: Yes and no. On tour, it's not that hard at all, because we always have to get going to the next show. When it's just a one off in our hometown - well, then we have time to hang out.

What do you think of shows like “American Idol”?

Maya: (Laughs) I think they're good and bad. On the one hand, it's a helluva lot of fun to watch. On the other hand, I'm concerned that more people don't tell their friends they can't sing. I also get a weird feeling about the whole, “win a contest and be an instant star” business.

Do you have a game plan for the band?

Maya: Five years from now, we'll be playing bigger venues, still working and still loving playing music.

Who have been the nicest singers/bands you have met on the live circuit so far?

Maya: Chet and Sweet Dog of Silver Lion's 20/20, The Black Diamond Heavies, Gravelroad…actually, this is an unfair question. The list could go onwe've met a lot of great people.

Do you prefer your Jack Daniels with ice or Coca Cola?

Maya: JD on the rocks (me too! - JH)

What DVDs do you watch on the tour bus?

Maya: When we have a tour bus, I'm sure we'll watch “Taxi Driver”, “Harold & Maude”, “White Chicks”, “Lord of The Rings”…to name a few off the top of my head.

We examine The Pack A.D.’s BM! mixtape…

First up is ‘Cherry Red’ by The Groundhogs, which is an awesome choice for garage Blues fans everywhere. You can find ‘Cherry Red’ on their 1971 album “Split” and also on their “Best Of” compilation.

Next is ‘Freelance Fiend’ by ‘70s psychedelic rockers Leaf Hound. The song was the opening number on their 1971 album “Growers Of Mushroom”. Both The Groundhogs and Leaf Hound shared similar ground with riff heavy Blues-rock.

The Canadian duo’s mixtape then shifts musical gears with a visit to New Orleans, and one of the Big Easy’s shining lights - Professor Longhair. There are several recordings of ‘Hey Little Girl’ available by the man himself. Some better than others.

Every self-respecting Blues fan will already own ‘Mannish Boy’ by Muddy Waters. The track is a perennial of both Blues compilations, and those lists of greatest songs ever. You have no excuse whatsoever!

The track ‘Insane Asylum’ is actually a duet of sorts between Koko Taylor and Willie Dixon. It was recorded for Chess and shows both performers at the height of their powers. Dixon takes the role of a spoken-word narrator, while Taylor wails like her life depends on it.

From two Blues legends, we now turn to ‘Leave It In The Road’ by the Black Diamond Heavies. You can find this song on the garage Blues duo’s 2008 CD “Every Damn Time”. It’s as rough and ready as they come.

‘Cigaro’is by Armenian/American experimental rockers System of a Down. It’s weird - you have been warned!

‘Little Room’ is a fifty-second song taken from The White Stripes third album “White Blood Cells. It’s short, sharp and more primeval than a Yates pub at closing time.

‘Dark Was The Night, Cold Was The Ground’ is by one of the all-time Blues greats, Blind Willie Johnson. This spine-chilling track is available on several compilations.

‘The Witch’ was one of The Sonics’ better known numbers, and unless you fancy shelling out a small fortune for the original vinyl, it can also be found on the live CD “Busy Body!!! Live In Tacoma”.

Regular readers might not be au fait hip-hop duo Dead Prez, but ‘50 In The Clip’ is a great tune, which leaves us with ‘Sunflower River Blues’ by guitarist John Fahey.

So there you have it. Some great Blues, a dash of hiphop and a lot of garage rock. Ladies and gentlemen, I give you the musical musings of the Pack A.D! JH

If you could pick any band in the world to support you, who would you go for?

Maya: (Pauses) That’s a hard question – actually, incredibly hard. Can I just skip that one?

If you made us a mixtape, what would be on it?

Maya: ‘Cherry Red’ by The Groundhogs;‘Freelance Fiend’ by Leafhound; ‘Little Girl’ by Professor Longhair; ‘Mannish Boy’ by Muddy Waters; ‘Insane Asylum’ by Koko Taylor; ‘Leave It In The Road’ by Black Diamond Heavies;‘Cigaro’ by System Of A Down; ‘Little Room’ by The White Stripes;‘Dark Was The Night, Cold Was The Ground’ by Blind Willie Johnson;‘The Witch’ by The Sonics;‘50 In The Clip’ by Dead Prezand ‘Sunflower River Blues’ by John Fahey.

Are two-piece bands the new rock’n’roll?

Maya: I think it's just a variation on the theme. Arcade Fire have a ridiculous amount of people, but I don't think they're the new indie pop.

Have you got any pre-gig rituals?

Maya: (Pauses) We always tell each other to have a good practice right before we play.

Have The White Stripes been a big influence, musically?

Maya: Not necessarily, but they definitely standout amongst recent bands that have taken garage rock back to its roots.

Becky: More bands these days seem to be trying the approach of what many did back in the ‘60s and ‘70s, when they didn't have much choice. It's a little different - but the idea of rebelling against what's become of today’s over-produced digital recordings by using older technology, such as analogue, and bringing back the popularity of vinyl, just seems logical.

Maya: Led Zeppelin, Muddy Waters, Blind Willie Johnson, Son House - those are influences that come into play for us. As they also are influences on The White Stripes, and at least a dozen other bands I could name off the top of my head.

Do you guys come from musical families?

Maya: Becky does - she was raised on yearly jamming parties with the whole extended family. Myself; nope, nada, zilch.

If you weren't in a band, what would you be doing?

Becky: Drawing pictures

Maya: I would be making movies.

What's the one book everyone should read?

Maya: I would pick “American Psycho” by Bret Easton Ellis, though not everyone might want to.

Becky: “1984” by, of course, George Orwell.

And, finally, have you got a final message for the readers of Blues Matters!?

Maya: We love playing our music - if you like it, too, right on! JH

The Pack A.D.: (from left) Maya Miller and Becky Black.

ith an easygoing and mellow sound, and a voice comparable to his hero Rod Stewart (“God”), it’s little surprise Jon Allen has received air time from both Radio 1 and 2.

The multi-instrumentalist, who attended a boarding school run by monks, and grew up in sleepy Devon, has seen his career gain significant momentum since moving to London following his graduation from the Liverpool Institute of Performing Arts, supporting the likes of KT Tunstall, Damien Rice and Mark Knopfler, and playing to arena-sized audiences across Europe.

“Dead Mans Suit”, his debut album, has also become of the year’s most talked about releases – with the track ‘Going Home’ (picked up for use on a recent Land Rover advertising campaign) just one of a number of standouts that will ensure Jon’s life never returns to the serenity of yore…

BM: Where are you in the country at the minute?

Jon: I’m in a Premier Inn in Poole. I’m living the dream!

Were you playing a gig last night?

We played here in Poole last night, at Mr Kips. It hasn’t got

the most rock’n’roll name in the world - it sounds a bit like a fish and chip shop - but it was a really good gig.

Are you quite excited about the album release?

I am! It’s really good for me to get closure. It’s like seeing the kids off to school! It’s time for the children to get away from the nest. I’ll be pleased to see it out.

The single, ‘Going Home’, has already done fairly well, and was picked-up by Radio 1 DJ Jo Whiley...

That was the first single, which was released off the back of an ad. The second single, ‘In Your Light’, has done probably better - certainly in terms of airplay. It’s had a lot of support from Radio 2 - it’s been on their A-list for a month. It’s on the Magic FM airlist and Heart FM, too, so I’m getting really good coverage. It’s starting to filter into the live thing. I’m getting good attendance at gigs.

‘Going Home’ was on a Land Rover ad, wasn’t it?

It was on an advert for the Freelander 2, so I’m killing the planet here! (Laughs) Sorry. I’m partially responsible for global warming.

Did you get a Land Rover out of the deal?

A lot of people have asked me that! I didn’t even get a Corgi version. Not even a little one. I probably would have sold it anyway...and bought an electric car – obviously!

You were born in Winchester, but you grew up in Devon.

"I said I wanted Daim Bars... I felt a bit of a fool with these people rushing out and buying Daim Bars. I was asked what if they didn’t have Daim Bars and if Maltesers would be ok?"

What sort of music did you listen to growing up?

I went to a very alternative school, when I was a kid, which had a very liberal attitude, and a lot of ‘60s music was played there.

I discovered Bob Marley and Eric Clapton, which were getting played in my parents’ car. I listened to Zeppelin and then I discovered The Beatles. I got obsessed with them for a while. The Beatles were very important to me, and other music came up through that. I listened to Dylan and Neil Young. There’s a lot of ‘60s and early-70s influences there.

“Dead Mans Suit” is quite a retro album. It has got that early-70s vibe...

Yeah, I was frozen in the ‘70s, and I’m being thawed out in 2009.

It’s weird. I suppose that’s the sort of music that gets me going and excited. I naturally gravitated towards it. I was just following my heart. I didn’t have a major label who wanted me to make it sound whatever. We just did what we wanted to do.

So, when did you start singing?

I joined the choir when I was a kid. Before my parents sent me to a progressive school, they sent me to a monastery! It was an experiment for them. I didn’t make it to chorister level, but I was a prop, so I did a bit of singing in the choir. Then, when I was about 14, I discovered prancing around the mic and making a fool of myself.

According to your biography, you bought your first guitar after trading in your Sinclair Spectrum… This is true - I’m showing my age here! It was of those crucial moments where I’d reached the end of my computer phase and was turning to rock. It was an electric guitar and a 10 watt amp, and I’ve never looked back since.

Or played ‘Horace Goes Skiing’? (a vintage computer game from the early-80s – JH) I would like to! They do say you can get those packages of classic games now.

I remember the idea of a mouse coming out! There was a program on the Spectrum where you could actually see a little arrow for the mouse, but you had to control it with the toggle keys. I thought it was ridiculous and will never catch on. I was right, obviously.

You also went to the Liverpool Institute of Performing Arts (LIPA), which was founded by Sir Paul McCartney…

It was good for me. I was in a situation in Devon, where it’s a sleepy place and I needed to get with a whole lot of other musicians and people who were serious about music. It was good to make some contacts. It was positive for me at that moment. I’m glad I did it. I don’t know what would have happened if I had gone straight to London. Overall, it was a fun experience for me.

Tell us about the band you’ve got…

Basically, the band formed in south London, where I live. It was formed around a venue called The Bedford. It had a

name as a comedy venue, but it’s now starting to make headway as a live venue. One of the people I met there was Rich Milner, who’s a fantastic Hammond organ player. He was playing for someone else, so I went up to him, gave him my number, told him I wrote songs and asked if he would like to play sometime. Then Rich said, “The guy I live with is a producer,” and that’s how I met Tristan Longworth, who produced my album, and he also played bass on it. My drummer, Tim Bye, and my guitarist, Simon Johnson, came through The Bedford.

It’s so hard to find a group of sympathetic musicians who are on the same wavelength. I’m really lucky to have found them. They believe the dream thing where the big coins are only a day away!

You have opened for Mark Knopfler, Emmylou Harris and KT Tunstall. Did you actually get to hang out with them? Funnily enough, I hung out with Mark Knopfler more than KT Tunstall. I did some big support slots with him. I did

"I love the Blues. I could quite happily play the Blues all day."

Jon Allen is not the first musician to have benefitted from having his music played on an advertisement. For many bands and singers, getting airplay on an advert can raise their profile and provide a valuable source of income.

Over the years, Blues singers have been used to flogging everything from chewing gum to jeans. FREE’s Bluesrock anthem ‘All Right Now’ was used to promote Wrigley’s Spearmint gum in 1990. The advert was so successful that the song was later released as a single and it reached #2 in the UK singles chart in March 1991.

During the late-80s and early-90s, many Blues and soul greats were featured in adverts for Levi Strauss jeans. The most famous of these was Marvin Gaye’s ‘I Heard It Through The Grapevine’, which accompanied male model Nick Kaymen in 1985, as he stripped to his boxer shorts in a laundrette. The sales of Levi’s jeans went through the roof at the time, as millions of women swooned over Kaymen and his sixpack - and thousands of blokes resolved to start doing sit-ups.

‘The Joker’ by the Steve Miller Band was used in a Levi’s ad in 1990 and John Lee Hooker’s ‘Boom Boom’ was also used in a Levi’s jeans ad in 1992. Erma Franklin’s soul belter ‘Take Another Piece Of My Heart’ was also given a much-deserved airing in a Levi’s jean advert in 1992. Like others, it was then reissued as a single and reached #9 in the UK singles chart - and also became a staple of many a Blues and soul compilation.

In the following year, Levi’s used Screamin’ Jay Hawkins and his version of Tom Waits’ ‘Heartattack And Vine’ in a commercial. It was great news for Screamin’ Jay Hawkins, but Tom Waits was less pleased and sued. Levi’s agreed not to use the track again and published a full-page apology in the magazine Billboard.

Shaggy’s ‘Boombastic’ and ‘Spaceman’ by Babylon Zoo (remember them? Thought not!) were also later used by the clothing company, and all to spectacular effect.

The Rolling Stones allowed ‘Start Me Up’ to be used on an advertisement for Microsoft Windows 95. Whether they needed the cash or their profile raising is a moot point.

For more advert/music action, please check out tvadmusic.co.uk - a truly excellent website, which gives full credit to tunes currently being used on advertisements. If you ever wanted to find out what music is currently helping to flog Cadbury’s Diary Milk or Sony Bravia televisions, this will tell you! JH

Wembley Arena, Birmingham NEC and the Zenith in Paris. They were wonderful to do. Just to go up with up acoustic guitar and have this big crowd - and not go down badly (laughs)was fantastic. Also, Mark has played on one of my songs. It’s not on the album, but it ended up on a cancer charity album. I got to meet him and see how he works, which was really cool. We went up to his studio in west London. We had lunch and did the track. He was very gracious and generous with his time. It was cool.

Do you have any big Blues records in your collection?

I love the Blues. I love Fleetwood Mac, version one. I love Peter Green, who is just an amazing guitar player. I’ve got the Bluesbreakers album with Eric Clapton, which is just a great album. I know Clapton’s music very well - “461 Ocean Boulevard” is a classic. I know Led Zeppelin’s material back to front. I know B.B. King’s music fairly well - I’ve got a massive box set of his. There is an out and out Blues track on my album called ‘Bad Penny’ - it’s a proper Blues track. I could quite happily play the Blues all day. I’ve got

the Seasick Steve record, which I really like, as well.

I like your song ‘Down By The River’. It’s has a real summer feel to it...

Maybe it should be the next single? I’ll tell the people who make the decisions. I’ll give you a cut!

Are you getting used to making rock star demands yet?

This is my first headlining tour, and I had a call about what I wanted on my rider. Obviously, I’m living the dream of rock’n’roll, but I’m fairly clean living. You can write that I’m drinking a bottle of JD as we speak (laughs).

I said I wanted, on the rider, tea and Daim Bars! The band can have the red wine and beer. I felt a bit of a fool with these people rushing out and buying Daim Bars. I was asked what if they didn’t have Daim Bars and if Maltesers would be ok? That’s as far as my rock star demands go.

Daim Bars can be quite hard to find!

(Laughs) You need to know a good dealer in the area to get a good Daim Bar. I want a good fresh one. They’re 38p. The rock star demands are coming this summer. When I get the hits, then I start going to my trailer! JH

FREE could afford Levi’s jeans.

here have been many guitarists hailed as the “new Stevie Ray Vaughan” over the years - musicians who perk interest with their well rehearsed solos and faithful renditions of that legend’s classic numbers, but who rarely progress further once their limitations are revealed to listeners.

Jake Lear is somewhat unique. The Vermont-based guitarist recognises the influence of Texas Blues heroes such as SRV, but the much travelled Lear has added his own identity on albums such as “Lost Time Blues”, seamlessly incorporating folk and country influences – a successful marriage of sounds that has seen him upstage the likes of Dave ‘Honeyboy’ Edwards, TModel Ford and The Fabulous Thunderbirds, and wow punters at the Arkansas Blues & Heritage Festival…

BM: Can you tell us a bit about your latest release?

Jake: Absolutely! “Lost Time Blues” is my second album, and I would describe it as a Blues album with some strong folk and country influences.

I had some songs put together that I showed to my bass player Carlos Arias. We went over them a little, and tried some different ways of doing them, incorporating different tempos and rhythms. After that, we went into the studio with drummer Mike Ricciardi and recorded the album. We recorded it in a couple of weeks. All in all, I’m extremely happy with it.

Your love of Texas Blues is apparent throughout the album. What does this music mean to you?

A lot! I have always loved Texas Blues guitarists. I like the energy and tone that you hear in guitarists like Albert Collins, the Vaughan brothers, Freddie King and Lightnin' Hopkins. It’s an extremely cool sounding heavy tone that I like. The Texas Blues and Texas shuffle have got such a big big sound, and there is

so much you can do with it. You can play it fast or slow, in boogie or surf style. It’s got a lot of possibilities.

Along with Mississippi, Texas has the greatest guitarists in the world. I spent time when I was just out of high school living in Austin and San Marcos, Texas for about year, so I got a chance to hear a lot of the music, and I think hearing all that music was a big influence on my development as a guitarist. I think the Texas Blues is a real good solid base to start from. It gives you a strong foundation that you can then take in your own direction.

You left home after high school to pursue a career in music. Was it always going to be the Blues?

Yes. I played in a rock band for a couple of months, but it wasn’t for me. I spent a few years playing as a guitarist for Blues bands as a sideman, and then, eventually, I went out on my own and formed my own bands.

When the Blues becomes your frame of reference for everything musical, it’s hard to stray too far from it. Once it becomes your way of thinking, musically, it influences any other style you play. So, even playing in the couple of rock bands I’ve played in, I was basically still playing Blues. For myself, and the songs that I write, I’m only interested in music that has at least one foot planted in the Blues.

You mention the time you first heard Buddy Guy’s ‘Stone Crazy’ as a sort of epiphany - a eureka moment…

It definitely was. It was like something shocked my senses. I was maybe 11 when I heard it, and it just made total sense to me - and it still does! Those recordings were so good that I could listen to them forever and never tire of them. That only happens a handful times, and that song, for me, is that. Maybe it’s the way the song starts in the middle of a guitar riff and just thrusts you into the feeling of the song. The sound is so lonesome and his voice and guitar so pleading that the song makes me sad every time I hear it. It was one of the first songs that really captured my imagination, and said there was a lot more to life out there. I was young when I

"When the Blues becomes your frame of reference for everything musical, it’s hard to stray too far from it. Once it becomes your way of thinking, musically, it influences any other style you play."

first heard it, so I didn’t know that it was old - I just knew it was different than anything I had ever heard. It was like a shock to your senses that something so great could be out there.

A lot of the Chess recordings from the ‘50s and ‘60s have a quality to them that just sticks in my head.

Folk music plays a big part also. Were you conscious of producing an album with a wide variance in musical taste? I was. I listen to a lot of folk Blues and old folk music. Stuff you’d find on the Harry Smith collection and older Mississippi Blues music. I’m also a big fan of Bob Dylanhis older stuff, as well as his newer albums. Those influences came out a little more on this album. I had these different songs that stylistically were a little varied, but, in the end, it all came together to make sense as an album.

Songs on this album, like ‘Muddy Water’, ‘Lost Time Blues’ and ‘Ragged And Dirty’, definitely work as Blues songs, but Blues songs that can’t be categorised as say Texas or Mississippi Blues. I think these songs retain the feel of a Blues song but are structurally more folk or country. I’ve always liked artists like Steve Earl, Ray Charles, Chuck Berry, Stevie Ray Vaughan, Bob Dylan or Johnny Cash, or even John Lee Hooker, who explore different styles of music and who aren’t necessarily defined by one style.

Your debut, “Love And Charm”, was well received on the Blues scene. How was that for you?

It felt good. Your first record, you don’t know what people are going to say, so I was really happy with all the positive response. People seemed attracted to the energy in the album. In Binghamton, you’re far way away from any national Blues scene, so it felt good for me and all the other players on the album to be recognised for putting out a good album. To an extent, you’ve steered away from cover songs on “Lost Time Blues”. Was this a conscious decision? Not really. I just had a bunch of my own songs written that I wanted to record. But covers are essential to being a Blues artist - the hardest part is choosing what ones to do, and trying your best to make them your own. I think people want to hear something new out of artists, but, at the same time, the past in Blues music is everything. You try your best to be modern and relevant, but you have to keep your eyes and ears listening and watching all the great artists that made the Blues what it is.

In between albums, you spent six months in Florence. Would you say that venture has impacted on your sound? I don’t know if it impacted my sound much, but definitely impacted the way I see the world!

I did a lot of songwriting while I was living in Florence and one song that I wrote called ‘Streets Of Michelangelo’ is about the time that I spent there. I got to play with a lot of really great musicians and I

"You try your best to be modern and relevant, but you have to keep your eyes and ears listening and watching all the great artists that made the Blues what it is."

As an upcoming Blues artist, releasing his second album in quick succession, Jake Lear joins a long list of similar artists chasing the uphill battle of getting their hands firmly placed on that difficult first rung of the Blues ladder.

“It has been difficult but it’s also been a lot of fun,” insisted the guitarist. “Coming from a relatively small city means there is little in the way of a Blues scene, but I don’t think there’s such a thing as an overnight success in the Blues world.

“People play the Blues because they want to or need to, I wouldn’t want to do anything else”.

Aynsley Lister, Sean Webster and Oli Brown are just a few names who may be included in the same bracket as Jake – individuals who have all caused a stir in their own right with a fresh take on the Blues. However, the next step they face is a step of intrigue, morphing this tremor they have created into an outright explosion, leaving the world with no choice but to sit up and take notice.

“In a sense you’re always working towards bigger things as a recording music artist,” said Jake. “The biggest thing for me, though, is to get my music out there and for everyone to hear it”.

This step is a difficult one, but Jake and the rest may take heart from the likes of Joe Bonamassa, Jonny Lang and Kenny Wayne Shephard - all having begun their musical ventures tagged with the dreaded ‘young pretender’ label, but may all now proudly claim to be household names. Jake can appreciate their wider appeal: “They have all forged really successful careers, which is a hard thing to do. I think they have done well in that they appeal to both rock and Blues enthusiasts alike.

“It’s good for the Blues to have popular young acts fuelling an interest in the genre.”

Six albums ago, did Mr Bonamassa care to dream that his hard hitting Blues would sell out the Royal Albert Hall? I doubt it very much. With the clear shift in popularity of young Blues talent these days, it’s worth keeping an eye on Jake Lear et. al. LB

found all the people really responded to American music in Italy. People really knew a lot about the Blues, and that was cool to see.

You recorded “Lost Time Blues” with little or no overdubs, and in a short space of time. Can you explain why you came to this decision?

It was partly from necessity. I was back in Binghamton and my bass player was in Argentina. I had him fly up for the recording session, but we only had a week or two to get it done. But that’s also the way it comes out best for me. We recorded live and usually one of the first three takes was the best take. We used overdubs for some vocals, but all the guitar, drums and bass are recorded together live. And you rehearsed as little as possible before entering the studio to keep that raw sound...

I like it because it helps retain immediacy to the sound. Instead of all the players being total relaxed, because they know the song backwards and forwards, everyone is a little more on their toes, and really putting something fresh into it. For me, the energy is the most important thing, and I would gladly sacrifice a little polish for a lot of good energy.

You had a new drummer on board for this release, Mike Ricciardi. How was he?

Mike was great to work with. He has a lot more experience recording than me, so he was cool to work with in the studio. I liked his style. Before we recorded, he told me that he felt he was more of rock drummer than a Blues drummer, but that didn’t bother me at all - the rock edge he brought to the music was a bonus.

And Scott Fletcher produced the album…

Yes, he did. Scott is an impressive producer and engineer to work with. I trust him completely and he has great ears. He’s got a gift for getting the best performance out of everyone, which is essential to making a good album. I think he invests a lot of himself into his work, and he definitely offers back as much as you have to give.

You are heading to Memphis, I understand. Any plans?

To play as much as possible, soak up all the music and history and maybe record a little. I have been to the area a couple of times, playing different festivals, and have always had a great time, and I will be playing in and around the area quite a bit, so I figured it would be a good place to base myself through the fall.

Can we expect you on the UK scene?

I hope so. I am definitely going to be in Spain and Italy in the late fall, so I don’t see why I can’t be in the UK then as well. There is a great Blues scene in Europe and a lot of the good response I got from my first album came from Europe. I would like to spend as much time as possible playing there. LB

Aynsley Lister wants to go to the next level.

he Blues community has known for much of this decade about Sue Foley’s life-changing project, her book “Guitar Woman”, and with it on the brink of completion, she finds herself uncompromised by having pen in one hand and guitar in the other.

Touring with the Blues Caravan project in 2008, and before that in 2006, has allowed Foley to capture the lives and emotions of an escalating number of women who play the guitar. Uniquely positioned to view their spirit from the inside, the book is billed as being the ultimate autobiography, as old and new friends bare their souls to one of their own. The intimate nature of the work is why it is called “Guitar Woman” and not “Guitar Women”.

Even with an expected bestselling book on her hands, Sue Foley has no intentions of giving up the day job…

"Us female guitar players, we’re in little bubbles, and there’s not as many of us as the guys - there’s not been any place where we could go and study our own history."

BM: Before we focus on the book, maybe we can get in the mood by covering a little a bit about playing live with guitar women and, in particular, the Blues Caravan brand... Was “Time Bomb” a female equivalent of the Cray Copeland Collins iconic album ‘Showdown’?

Sue: I know what you mean, and where you’re coming from. I guess it’s the same kind of concept, but there have always been many variations on that theme. So, it’s kind of like that, but we’re hanging out because we can.

Is the concept of having albums that sell themselves on the back of having ranking friends on board in some way diluting the efforts of those albums that are purely solo? Well, I think for a lot of people it really is a good opportunity to play with their friends and actually do things that are away from the solo projects; maybe like a little break. Maybe that’s how it is for me. I love collaborating and I love the solo work, too.

Can you start at the beginning, and tell us the “Guitar Woman” story so far?

Sure! Well, it’s been a long project. It started in 2001. I was doing an interview, much like this one; I was casually talking to the journalist who told me that he had written a couple of books, and suggested that I could write one, too - and do it about women guitar players. I started reeling off all the names that came to the top of my head, like Bonnie Raitt, Chrissie Hynde, Joni Mitchell, Memphis Minnie…

So, not just Blues?

No, well, this was that moment, and it was off the top of my head. Later on, a week or so later, the idea was still festering in my mind, and I just thought “Yeah, that’s a cool idea, but I’m sure it’s been done, as it’s just such a good idea.” I went to look for books; I went online and I went in book stores to look for books, and I couldn’t find anything - nothing at all on women guitar players. No mention of them in any books! So, I thought, well that’s just craziness - a travesty! Then I felt a sort of calling. I would say it’s been a calling. I had no idea what I was getting into.

First, I casually called up players. Heck, I know a lot of them! And there’s those I don’t know so well, but have met or seen, and I must have a mental note in there of many more. And, of course, there’s all the Blues players, because we cross paths all the time. So, I thought, “I can just call my friends up to begin with.” And then each of them turned me on to their friends, and people they knew, who were maybe just outside my reach, or I hadn’t been drawn into yet. And so it rolled…

I talked to rock players, to classical players, to flamenco…every kind of style, and it snowballed - boy, it got going with its own momentum. And what I found was at each turn there is such a great need for this book. Everyone I talked to was very grateful that I was doing it, and they’d make a point of saying so.

What format does it take?

It’s a living, breathing document. I’ve really based it around the words of the interviewees; the women! Hey, we’ve lost a couple, and that’s really sad.

Do you go around with a laptop?

I do, but I don’t get anything done on the road. It’s hard enough to get up and take a walk in the day; to work on a book like this is impossible. I do the odd interview and record it down, but it’s impossible to do any writing - writing is so all consuming on tour. We’re so tired after shows, and you have to keep the focus right for the next one.

And if you are going to write, then is it creative writing for new songs, because that’s the environment you’re in?

For sure, and especially on tours like this one, we all inspire each other. I get a whole lot from Laura Chavez - who’s on this Blues Caravan tour - at the moment. She’s about the best young guitar player I’ve seen.

The pre-marketing for the book has already started with the Blues Caravan projects. Are you down to do more of those?

No, not right now. I’m preparing for my own

With a Celtic surname and a mass of rich red hair, it would be of no surprise to discover that Sue Foley is a fiery character. She is fiery in terms of ferocious musicianship and dogged determination.

Locking herself away, at home in Ottawa, Canada, when she was 13, to grapple with learning the guitar, Foley fell straight into the Blues numbers of Willie Dixon and Muddy Waters. Penning her own songs later in her teens, she began gigging in Vancouver.

Tough tour schedules continued to raise her profile, and she was picked up by Clifford Antone of the famous label and club. Austin, Texas became her new home, and four albums for Antone’s Records followed, beginning with her 1982 debut “Young Girl Blues”.

Whilst a typical debut, still finding her feet, her live shows continued to amaze. Here was a true new blood of the Blues, singing with a style combining retrospective and the modern, playing her guitar with ferocity and passion, too. “Without A Warning” (1993) and “Big City Blues” (1995) were toured all around the globe, and by the time of “Walk In The Sun” (1996), she was an established female Blues artist.

She switched labels to join Shanachie for “Ten Days In November” in 1998, and the truly stunning “Love Comin’ Down” in 2000. It was this latter album that delighted the critics, as she won award after award; from Juno to Maple Blues.

“Where The Action Is”, from 2002, garnered more trophies, before a striking change of format and the live semi-acoustic album “Change” in 2003 - this time with Ruf Records. More rootsy in approach, it’s a sensitive performance, and is reflective of her maturing gratitude for her chosen path of Blues on the road. Appropriate then, that a standout track is Foley’s take of Mississippi Matilda’s ‘Hardworking Woman’.

Joining the Blues Caravan concept in 2005, with Ana Popovic and Candye Kane, expanded her appeal even further, and since then she has headlined two further Blues Caravan tours, with Deborah Coleman and Roxanne Potvin in 2007, and with Coleman again and Dani Wilde in 2008. In between this hectic touring, she found time to release “New Used Car”, a sassy release highlighted by the commanding ‘Absolution’ - a fans favourite when played live - and “Time Bomb”, the collaborative Coleman and Potvin release that accompanied the tour.

With stand-alone DVDs, too, Sue Foley and her trademark pink guitar attack from all sides to ignite the Blues with fiery feline combustion. She’s hot in every sense of the word. GH

shows, and my own “Guitar Women” shows.

I’ll be back in Europe if the demand is there, and why shouldn’t it be? I’ve met and interviewed a lot of new and young talent. It’s getting more common again to see them coming through.

Over nearly a decade, is there a risk that the views and opinions of those interviewed may have changed? Perhaps, but really my questioning may avoid that.

I’m putting together a beautiful character sketch of each woman guitar player, so a lot of it is autobiographical, and you can’t change that.

Definitely my own interview process is based around my curiosity, and what I want to know from them. It’s been a gift to me. Everyone has really given me a gift. It’s been a beautiful exciting project. I can’t wait to get it finished now. I’m almost there, and I can’t wait to get it out and tour it.

Have you interviewed people whose style of music you didn’t like, or were outside your comfort zone?

I’ve learned a lot about music! I’ve interviewed people that I didn’t know much about, or about their music. Like, I don’t know, or didn’t know, what a lot of classical musicians go through, for instance.

There isn’t anybody that I didn’t like. There is music that I have more of a gravitation to, but I have absolute respect for everyone I have talked to.

Are your questions about why and how they get their inspiration for the taste in their genre?

It’s in there. Basically, it’s a sketch of a life. The guitar is a common thread, but I’ve talked about relationships; I’ve talked about motherhood; I’ve talked about the music business... There are a lot of very deep questions that are sitting in my mind about career and future, and growing up, and how they write. There’s a lot of stuff like that.

Has it been therapy for you?

I didn’t do it for therapy, but it has been cathartic. For me, I’ve learned the process of how to give back and honouring something greater than myself. And especially with us woman guitar players, we’re not always aware of each other. We’re in little bubbles, and there’s not as many of us as the guys - there’s not been any place where we could go and study our own history. This is what I’m bringing to the surface.

It’s clearly a vocation...

For sure, a vocation for these women, but, it’s the same with the guys.

What’s the timetable?

I’ve got two, maybe even three recording projects alongside the book.

Will you sell it at gigs?

Definitely!

And Guitar Women 2?

Oh yeah, we already started! GH

avid Gogo is one of the biggest names on Canada’s Blues scene. The 40-year-old is multi-decorated by the industry in his homeland, picking up coveted Maple Blues Awards and Juno nominations, whilst his standing amongst his peers is recognised by the number of the artists who have covered his songs over the years.

However, the guitarist has yet to make much of an impression internationally – particularly in the UK, where albums are released years out of date, if at all, when the promotional activities have long run their cause…

As David releases his tenth studio album, “Different Views”, at home, Blues Matters! looks to help raise his profile a little further afield…

BM: Tell us something about your life so far…

David: I was born and raised on Vancouver Island, Canada. I love it here, and I'll never move!

I can't remember a time when I didn't have a guitarreal or toy. Music has always been with me somehow. I remember being excited and inspired seeing Elvis Presley on TV when I was very young and wanting to be like him. My father's record collection included B.B. King, Taj Mahal, Otis Redding, Canned Heat, as well as Creedence Clearwater Revival and Hank Williams. These songs have stayed with me. At the ripe old age of 8 or 9, I started getting into all the great British Bands, such as The Beatles, Stones, Kinks, and The Who.

As my guitar playing developed, Cream and Hendrix loomed large. From there, I discovered Mayall's great guitarists, like Peter Green and Mick Taylor. Through these artists, I went back to my dad’s records and then dug deeper, discovering Muddy Waters and Howlin’ Wolf. This

was in the ‘80s and pre-internet, so it was a hard road! I finally met the great Blues artist Ken Hamm, who lived near me, and was able to raid his collection of Blues on cassette, and so got to hear Magic Sam, Otis Rush, Son House…

Eventually, I started to make trips to Vancouver to collect albums and to sneak into concerts underage! I saw Bobby Bland, Albert Collins, B.B. King, Lonnie Mack, and many others. I started playing in bars at 16.

After I graduated from high school, I formed a kick ass little Blues band, and, before we knew it, we were opening for many of our heroes; getting to hang out with them and sometimes even play with them! Albert Collins And The Icebreakers were our favourite, and I can't emphasise enough what an enormous influence he was on me as a player, performer, bandleader and person. The band was great, too, especially Johnny B. Gayden, who I recently ran into again with Larry McCray. It's hard to believe now, with a lot of these people gone, that we got to open for Junior Wells, Doug Sahm and many others.

You perform your own material, as well as covering others. Are there any particular influences that have been significant? Songwriting is something that I've been more interested in and improved on over the last few years. When I was younger, I was discovering so many great artists/songs that I was trying to turn people onto that it didn't seem necessary to write. I remember being approached by a guy who bought an Albert Collins record and he said "That guy plays all your shit!” I soon realised it might be time to get a little more original! That being said, a lot of people think that Blues is simple, but it's damn hard to write! I think it's paramount that Blues artists continue to write in order to keep the genre alive, and to get new people interested in it. I love playing the classics, especially re-interpreting them, but creating originals is what separates the men from the boys, in my opinion. Of course, Bob Dylan must influence one if you write songs…Van Morrison, as well.

"It’s funny how a genre like Blues can get cliquey from territory to territory. I mean, come on, people! Isn't it tough enough?! Let's work together!"

I get sent a lot of really fine material from Canada, which seems to be a country which not only has some great musicians but also has a great system for supporting and encouraging them… The Canadian Blues scene has always been really happening and continues to breed heavily! There is a fantastic group of youngsters coming up right now.

The biggest drawback to the Canadian scene is the vast amount of space between gigs. You folks in Europe have no idea! I actually have two bands, one in the west and one in the east, just to be able to do what I do. But it's funny how a genre like Blues can get cliquey from territory to territory. I mean, come on, people! Isn't it tough enough?! Let's work together! I've been trying to encourage more networking across the country, and the Hornby Island Blues and Toronto Blues societies in particular have been working hard to promote this. How important is the “extended family” approach, which seems to see musicians guesting on each other’s CDs and, in particular, bigger names being extremely supportive of up and coming talents?

I'll take help anywhere I can get it! I have

been lucky in my career to receive support from many fantastic artists, and I try to keep this in my mind when it comes to helping others. I think that it's important for an artist to succeed on his own first before bringing in the heavy artillery, but guests can be fun and, I suppose, beneficial.

I think it's strange when someone has guests that they've never met before! I prefer to at least know them well enough to say hello! That being said, Jeff Healey played on my "Vibe" album, and I’d only known him a couple of years, playing with him at his club in Toronto, but he just seemed right for the track. I'd like to get more people that I admire playing on future albums, but the guys I work with already are fantastic - even if they're not household names!

You are regularly invited to support some of the great names from the Blues world, which is a great testament to your standing. Is there one artist or gig which stands out?

As I mentioned earlier, I've been very lucky to open for so many greats over the years. First and foremost, I remind the band that this isn't our show, it's the headliners, so “don't f*ck things up!” Our time to shine is during our

set, though, “so let's kick ass and win some new fans.” Any headliner appreciates an opener who does the job well and professionally. If you act in this manner, you can usually end up being friendly with the artist and hopefully work together in the future.

Albert Collins was my man, but, in the last few years, we've opened for B.B. King, Johnny Winter, George Thorogood - the list goes on . I watch each act and try to learn from them as well. What do they have that I don’t? What can I do to become a headliner! Learning showmanship from ZZ Top and Thorogood has been helpful for playing to bigger audiences

Your last album released in the UK, “Vibe”, contains all original material. Do you prefer playing originals or is it good to leave your mark on well-known covers?

I'm very pleased with the progress that my songwriting has made over the last few years. It feels good to have people respond to something that you've created. I've been lucky to not only get play on Blues programmes, but to crossover to commercial FM radio as well.

I still enjoy playing covers, but I try to add a bit of myself to them. It drives me crazy when people cover a song note for note from the original. I don't see the point. As much as I like to play and record original songs, you have to remember that just because it's original doesn't mean that it's

good! I'd rather play a great cover than a so-so original. I usually write up our set list before each show and it varies depending on the venue, set length, etc. I recently wrote one that worked very well and was pleased that it was 80% original, even though I didn't plan it like that - I just wrote down what I felt would be the best songs for that show.

Do you feel stripping back for a collection like “Acoustic” allows your listeners to better appreciate your songcraft, and gain a more personal experience?

I treat my acoustic act with the same thought and respect as my electric show, not just as a cheaper version of what I do with the band. I enjoy the challenge and freedom of acoustic solo performance. The acoustic album and performances do seem to draw the audience into a more personal experience. I enjoy the between song anecdotes as much as the songs themselves!

You also have other artists covering your songs, the latest being Bob Walsh on his last CD, “The Only Soul”. It must be a bit special when an artist wants to cover one of your songs? Having a song covered by another artist is very flattering and I hope the trend continues! Sometimes it takes some-

one else's interpretation of your material to really let it shine. I'm very interested in working with other artists in terms of songwriting, as well as producing.

In support of the European release of “Vibe”, you had a brief European tour. Can we expect you back soon?

I've always had a great time playing in Europe - I've been there ten times! I regret that it has taken me so long to get back to Europe, but I plan on coming back much more frequently if people want me to! The more places to play, the better! It's a gas to fly half way around the world and have people dig what you do.

You have released a number of CDs, which have included the 2007 Juno-nominated “Acoustic”, as well as rock-Blues, electric-Blues and out’n’out rock offerings. Is there one particular genre or style which you always come back to?

I've had a long career, considering my age, and I have flirted with various styles, but I've always been a Bluesman at heart. Sometimes too rock for the Blues crowd but too Blues for the rock crowd. At this point, it doesn't seem to matter.

On 14th July 2009, David Gogo released his tenth album (“I still feel like I did when I first started as a teenager”) via Cordova Bay in Canada. “Different Views” seamlessly blends rock, soul and Blues, with Gogo’s searing guitar work to the fore.

“Every time I take the stage or step into the studio I'm trying to be better than last time,” he insisted. “The fact that I changed things up in terms of where I recorded and with who makes this album a step in a different direction for me, which I find exciting.”

Unlike previous albums, Gogo recorded at his home in Nanaimo, overlooking the family's 160-acre Christmas tree farm and forest.

“Some great albums, by the Stones, Zeppelin and others, were recorded in large houses out in the country – they sound fantastic and have a tremendous vibe,” declared the guitarist. “I'm lucky to have such a home, so I figured, ‘why not?!’ These days it's a lot easier to record like this from a technical standpoint.”

David transformed the house into a massive studio, with drums set-up in the front foyer, guitar amps in the laundry room and vocals recorded in his music room. “It was an incredible experience,” recalled Gogo. “The songs seemed to come alive performance wise and sonically.

“From the fantastic view of my family's property to home cooking to my vast collection of guitars, amps, effects pedals and vinyl albums all within reach – it all helped enormously.”

David also cites his increasing confidence as a songwriter as a reason this is his best album to date. “The inspiration comes from all over,” he revealed. “Some are more literal and specific, while others are a little more ethereal and stream of consciousness.

“Many things inspire my writing: books, travel, other artists…just life in general!”

‘Relax’ is amongst his favourite original compositions on the new album (“We tried to capture some of our favourite R&B influences”), although it’s the covers (“The two covers are fairly close to the originals with a bit more of a guitar edge) that have garnered much of the attention at home – John Stewart’s ‘Gold’ picked up by radio stations in Canada. “We also covered ‘Don't Bring Me Down’,” he added quickly. “The one made famous by The Animals - not The Beatles tune”.

Even this long into his career, Gogo remains as enthusiastic as ever about reaching new audiences with his music (“Artists, especially artists that stray from the mainstream have to be very forward thinking in terms of how to market and distribute their music”) and performing his material. “The new material has been going over very well live,” he revealed, “and we're having a lot of fun performing as many as we can at each show.”

Let’s hope us Brits will get to experience a Gogo live performance sometime soon. DH

"Vibe" and "Skeleton Key" are where I'm at with my electric work. I love doing both electric and acoustic, and as fun as playing with the band is, the acoustic show is a challenge and refreshing for me. I was a little nervous when I first started playing acoustic shows. I felt naked and I questioned my ability to pull it off properly, but after a few tours were successful, I started to enjoy it. Ken Hamm showed me the ropes and observing Geoff Muldaur - cool as a cucumber - and Alvin Youngblood Hart – amazing - got me in the groove. I don't really like labels, but I suppose I'm a Blues/rock/roots/guitarist/singer/songwriter!

We mentioned the Juno, but your career has seen you winning or being nominated for numerous prestigious awards. Is there one which means more to you than the others?

I appreciate all awards and nominations, although I suppose they should be taken with a pinch of salt. It is nice to be recognised for your efforts after killing yourself on the road all year, but when I think of people like B.B., I just feel like a complete beginner.

The biggest reward to me is seeing the fruits of my labour as my audience builds after touring and recording year after year, especially new territories.

2006 saw the release of “Skeleton Key” in the US, this

was originally released in Canada in 2002 – some four years – and again “Vibe” came out in the UK in 2008, but was released in Canada in 2004. Is it difficult releasing and touring albums outside Canada which are already a few years old, when you’ve already moved on?

Not at all! If you haven't heard it yet, it's new. I don't think my albums have an expiry date and every new territory has to be approached one at a time. I'm moving on up!

What’s your profile like in the US?

I actually hadn’t played in the US very much at all until recently. The shows we have done have gone over very well, though, and the next phase of my career is to try to conquer that great beast! Easier said than done!

We opened for Johnny Winter in Pittsburgh and it was one of the best audience reactions that we've ever received, so hopefully that's an indication of what's in store for us in America!

Would you expect the same from UK fans?

I would hope to get the same positive response in the UK as the other countries I've been to. I'm a big fan of British Blues and I want to play there.

Would it help to tell you that Kim Simmonds had me sit in with Savoy Brown? AS

"I've had a long career, considering my age, and I have flirted with various styles, but I've always been a Bluesman at heart."

at Possum has taken its fair share of criticism for moving away from the music that helped establish the label – the Blues –to release anything ranging from indie guitar to electronic music in recent years. However, the label’s founders regained some kudos with us in 2009, supporting the heart-tugging and gut wrenching second album from Willem Maker.

The label has returned to its roots, and is once again bringing to the attention of a wider listening public the music of an artist so nearly lost to us. However, this is not the discovery of music recorded some fifty years ago by an aged Mississippi Bluesman, but a young man who has been fast-tracked through several lifetimes of the Blues…

Willem Maker was born on 19th March 1974, and had little chance to settle or make friendships during his formative childhood years, as his father moved around on the rural southern stock car racing circuit.

When his father took a job for a wire manufacturer, the family settled in Carrollton, Georgia. Here Willem took a different path

to his father – “I think I did, in my own way” – instead, taking encouragement from his older brother, he began learning bass guitar, inspired by classic rock and heavy metal artists.

Willem went on to form the band Ithica Gin with his brother Sloane, developing a healthy local following, which led to an early single release and the offer to support Ryan Adams. But just as things looked set to takeoff for the budding musician, Willem’s health deteriorated.

The illegal disposing of toxic waste near Willem’s home – “Carroll County is one of the top three dioxin hot spots in the world” - not only cost him his bourgeoning music career, but nearly his life.

“It was actually a heavy metal cocktail,” elucidated Willem.

“I was never diagnosed as manic depressive, but that term describes my experience well – extreme highs and lows. I was already sick from a long bout with mono (mononucleosis is a type of herpes virus which affects the lymph nodes, throat, salivary glands, liver, spleen, and blood – DH) that I never recovered from, so my immune system was low when I moved into the house surrounded by slag (toxic waste from the copper refining process –DH). It was the straw that broke the camel’s back.

“It was like an extended near death experience. I felt

"It was like an extended near death experience. I felt extremely close to the other side, and a couple of times I crossed over and couldn’t seem to find my way back."

extremely close to the other side, and a couple of times I crossed over and couldn’t seem to find my way back.”

Companies would illegally dispose copper slag and residue from the smelter into farmers’ fields, and the highly toxic slag was all around the house Willem’s family rented.

With doctors and medical specialists unable to identify what was causing Willem’s mania, he was diagnosed as mentally ill – his symptoms were similar to those suffering bipolar disorder – and was taken into psychiatric care at Ridgeview Institute in Smyrna, Georgia.

“It was hell on earth!” exclaimed the songwriter.

“I spent about a month inside, but thanks to a mysterious grace, I did come back.”

This period of Willem’s life unsurprisingly dominates the songwriting on new album “New Moon Hand”, whilst positive and grateful to be given the chance to live his life in relatively good health now (“After moving to a healthier place, the episodes stopped and, with medical help, I slowly returned to ‘normal’”) on tracks like ‘Saints Weep Wine’, songs such as ‘Lead & Mercury’ show an unwavering bitterness towards those who stole years of his life.

“What makes me angry is thinking about new generations being born into toxic environments and the old folks not doing anything about it,” he revealed.

“Compensation? How do you put a price on your youth?”

“I heard that with every breath you or anyone else on this planet takes, there are least trace elements of one of the dirty dozen environmental toxins.”

As tends to be the case, though, coming through such adversity can have a positive effect for an individual. “In the midst of all the chaos, something magical happened to me,” began Willem, with a more upbeat tone. “Whoever I was up until the age of 19, that person died…like an old skin falling off. And with that came a freedom and lightheartedness that I didn’t know existed. It is impossible to explain, but that’s when I started songs, or they started writing me - before I had even left the hospital!

“I was a walking dead man before it all happened. Somehow, that experience was exactly what I needed to wake up.”

Literally given a new lease of life, Willem retreated to the tranquillity of Turkey Heaven Mountain – “It’s in the middle of nowhere… The silence is golden” – where he would hone his songwriting skills in isolation for over ten years.

“Writing was the only thing I cared about,” admitted Willem. “It was an inward thing, trying to find a voice and a sound that I could believe in. At some point, the process took on a life of its own, and a body of work emerged that I felt like sharing. I didn’t have enough energy to care about anything else.”

Taking inspiration “anywhere I could get it,” songwriting was a vital cathartic exercise to help Willem overcome his haunting experience. “If you feel strongly about something and you don’t let it out, you’re gonna suffer,” offered the songwriter.

Setting up his own studio (Foxhole) in the hills of East Alabama, Willem went about recording and mixing his debut alone. “The studio’s nothing fancy – just enough gear to get by,” he insisted, before going on to talk about

"What makes me angry is thinking about new generations being born into toxic environments and the old folks not doing anything about it."

When Willem Maker was hospitalised at Ridgeview Institute, as fate would have it, he would room with GRAMMY award-winning singer-songwriter Joe South, who Willem would take great comfort in talking to about his music.

“I didn’t know who he was until after he left,” revealed Willem, “but he was very patient and kind.

“I still don’t understand it. I mean, what are the odds?”

Born Joseph Alfred South on 28th February 1940, in Atlanta, Georgia, Joe began his career penning the likes of ‘I Might Have Known’ for Gene Vincent, before enjoying success himself in the late-60s/early-70s with hits such as ‘Walk A Mile In My Shoes’ (later a hit for Elvis) and, in particular, 1968’s ‘Games People Play’, which made the top 10 in the UK and US charts, and won a GRAMMY Award for Best Contemporary Song.

Elvis was not the only artist to enjoy success with a South composition, ‘Hush’ would prove a hit for a number of acts (Billy Joe Regal, Deep Purple, Kula Shaker…), the Osmonds had success with ‘Yo-Yo’, whilst Lynn Anderson would chart in sixteen countries with ‘(I Never Promised You) A Rose Garden’ – South won another GRAMMY Award for this interpretation.

Not only a great songwriter, South was also a highly respected guitarist, recording with the likes of Aretha Franklin and Bob Dylan (appearing on the “Blonde On Blonde” album). However, the suicide of his brother Tommy would derail his career – Tommy was drummer in Joe’s band and accompanied him on session work.

Following his brother’s death, Joe would suffer severe depression, and mental illness, which would ultimately see him at the same psychiatric center as Willem. However, Joe was well enough to play with Buddy Buie, J.R. Cobb and Chips Moman when he was inducted into the Georgia Music Hall of Fame in 2003 (twenty-four years after he was inducted into the Nashville Songwriters Hall of Fame).

In 2006, Raven reissued two of South’s most celebrated Capitol Recordings, “Games People Play” and “Joe South”, on one disc, three years after reissuing “Introspect” and “Don’t It Make You Want To Go Home” in similar fashion. There are number of retrospective/greatest hits collections - the most recent being 2002’s “Classic Masters” from Capitol.

To read more on Joe South, who is reportedly in good health today and continuing to write, head to his official website: joesouth.com DH

his first solo offering, 2007’s “Stars Fell On”. “I recorded drums to cassette and then moved to a Tascam 2288, before mixing it on my laptop. I played everything, except drums, and did all the artwork as well. I pressed 1000 copies under my own Makerworks flag and mailed it out to labels.”

Although only a limited number of copies were issued, those ‘in the know’ began to compare Willem to Dylan as a modern day musical poet –“Maybe on a good day” – and word-of-mouth brought interest from Fat Possum, who had seemingly been keen to move away from their Blues-links.

Via subsidiary label Big Legal Mess, Far Possum would return to their roots – reissuing Willem’s debut collection and giving him the platform for a more realised follow-up.

“Since I made ‘Stars Fell On’ by myself, I wanted to do something completely different with the follow-up,” he explained. “Bringing in great musicians and recording elsewhere was exactly what I needed – a creative change of scenery... Collaboration was my main desire.”

And the label had the necessary clout to attract the likes of Cedric Burnside, Jim Dickinson and Alvin Youngblood Hart to lend their considerable talents. “Bruce Watson and Scott Bomar knew the guys,” he disclosed, “and luckily everyone had the time and the willingness to be a part.

“They’re all true professionals with more mojo than you could ever catch on tape.”

Willem was no longer recording in solitude, and he no longer needed the safe haven of his home –recording at various studios in Nashville and Memphis with different producers.

“We didn’t stay too long in one place, so if a song didn’t work here, there was the opportunity to try it again with other players over there,” he explained. “It’s a great way to avoid getting caught in ‘studio hell’.”

Talking about the songs on his latest collection, ‘Hex Blues’ is a particular favourite – “I think the band sounds fantastic” – and he is acutely aware of the genre’s relevance on his own music – “I think Townes Van Zandt said it best: ‘There’s only two kinds of music, the Blues and zip-a-dee-doo-dah’”.

Willem’s recently been on the road for an extensive tour with another contemporary American Blues act – himself once signed to Fat Possum –who has also garnered significant interest from his side of the pond: Bob Log III.

“It was my first national tour –33 shows in 33 days,” he revealed. “I was travelling alone, so it became quite surreal.

“I met a lot of good folks and Bob is one of them. Always positive and a true road warrior!”

However, there’s one place he didn’t get to travel to with Bob – “Unfortunately, I haven’t played the UK yet” – but let’s hope continued good health and Willem’s new found confidence will see him venture even further from Turkey Heaven Mountain in the future. DH

If the name’s not familiar, the songs he wrote will be: Joe South.

ob Meyer may not emanate from the Mississippi Delta like his musical output (Balham, South London would be home), but the truck driver has lived, and nearly died, a comparable life of struggle and hardship to warrant singing the Blues.

Like Seasick Steve, to whom he has been compared, Bob survived a near fatal heart attack and came to playing and recording the Blues late in life – only picking up the guitar to learn via a tutorial book at 31, yet he is quickly winning devoted fans. His coarse vocal, simple guitar work and raw sound may even be too harsh to the ears of those recently wooed by Steve Gene Wold, but this is down home and honest music many a Blues purist is finding impossible to ignore…

BM: Let’s go right back to your childhood. When did you first start getting into playing the guitar?

Bob: When I was about 9 years old, I played a bit, but my brother and I only had one guitar! I’m left handed, he’s right handed - and he’s eight years older than me…so, I gave up.

I had a short attention span when I was that age as well. So what sort of music were you listening to as a kid? That’s a good one. The first song I remember hearing, when I must have been only about 4 years old, was ‘I Can’t Stop Loving You’ by Ray Charles - my nan played it all the time. It’s a great song. My brother was a massive Bluesrock fan, so played a lot of Jimi Hendrix, Rory Gallagher and, of course, Led Zeppelin and The Groundhogs! My sister was, and still is, a big David Bowie fan, and so am I. But when I started to buy my own records, I went down a different path - I fell in love with British dance band music from the late-20s to ‘30s, and especially Al Bowlly and Lew Stone. So, in 1977, I was 13, punk was everywhere, and I was dressing like someone from the ‘30s!

There’s nothing wrong with that, although it was the ‘40s for me - and I do keep my Eve Boswell and Kay Starr records at the back of my collection! Now, you say that you gave up the guitar when you were still a wee boy. What prompted you to pick it up again?

I didn’t have a guitar; my brother had left home, and I had no interest in learning to play. Not until I was 33, some twenty-three years later. I was at a friend’s housePaul Sweeting, who records as Antennae – and he has a lot of guitars, so I just started tinkering around. It felt good, so the next day I went to Cash Converters in Streatham Hill and bought a nylon string classical guitar, and that was that. Within a month, I was writing songs, and six months later, I was performing them live.

You’ve developed a very unusual style of playing guitar. Can you explain what you do, and why you do it? Well, as I said, I’m left handed and I play a right handed guitar upside down. I don’t know any chords, and I can’t play anyone else’s music. It has been said that I play from my soul, but it’s not for me to say. I just do what I do - there are no rules!

When did you first start making the move from ‘20s and ‘30s dance bands into the Blues, and who were/are your influences?

When I was 13, I heard a Reverend Gary Davis song on the radio, and that was it - I was hooked! I started with Georgie Fame & The Blue Flames “Rhythm And Blues At The Flamingo”, and then I went on to the early Who stuff, Led Zeppelin, Canned Heat, The Doors - and I must have seen the Groundhogs more than thirty times…and Nine Below Zero - they were great in the late-70s! But I kept coming back to the ‘20s and ‘30s, first with Leadbelly, then Blind Willie Johnson, Son House, Skip James, Robert Johnson, and many more. It’s Son House that I like the most.

How did you go about making the transition from picking up a guitar to performing live?

My friends liked what I was doing and said I should do

"I went to Cash Converters in Streatham Hill and bought a nylon string classical guitar. Within a month, I was writing songs, and six months later, I was performing them live."

some gigs. So, I took the ball by the horns, and did an open mic in Clapham, South London. I was sh**ting it! But it went down well, and I enjoyed it, so I did more open mics and got some offers for real gigs. I still do the odd open mic just for the hell of itthey’re great for keeping your ego in place.

Is it difficult to find venues willing to put you on?

No! I turn down more gigs than I can do! I have to get up early for work and, after my massive heart attack in 2006, I get very tired, so I need to take things easy. So, catch me when you can!

You seem to have just as many folk music traits in your music, as you do Blues influences. What inspires you to write the songs you do?

Blues is folk music!

I grew up badly educated and s**t poor on a South London council estate, on welfare in the ‘70s. I’ve done badly paid manual work most of my life. I’ve drunk hard, done lots of drugs, been in love, been out of love, seen births and deaths, and even died twice myself! So, it’s all about my life. I’m not a black share cropper from the Delta, but I’m also not a middle class white boy from the Shires either. I try to be true to my roots.

At what point did you make the transition from playing to songwriting?

I think I’ve been writing songs all my life, but didn’t know it! I played the Blues harp a bit when I was in my twenties, and made up loads of stuff, but they’ve all been lost in time. I couldn’t read or write until I was about 25, so nothing got written down. Now, twenty years later, I can’t stop!

When you work out that there are no rules to songwriting, it’s great fun. I’m a big fan of Kurt Vonnegut and Jack Kerouac. I love the way their words flow.

How do you go about writing your songs? Do you work at it, or do you just sit around waiting and hoping for lightning to strike?

Don’t know. There are no rules. Some songs just come to me; others hang round for years and then click! It all fits together.

Bob Meyer isn’t the only Blues musician to come to a degree of success later in life. The most high profile today is Seasick Steve. Born Steven Gene Wold circa 1941, Steve made his first UK television appearance on Jools Holland's annual hootenanny show, broadcast on New Year's Eve 2006, at the ripened age of 65. He went on to win the 2007 MOJO Award for Best Breakthrough Act and make appearances at major festivals, including Reading, Leeds and Glastonbury, with his 2008 album

“I Started Out With Nothin’ And I Still Got Most of it Left” hitting the UK top-10.

Like many other Blues musicians who achieved success late in life, Seasick Steve had actually been playing music for a long time. He’d been playing live since the ‘60s, and had worked as a session musician, studio engineer and producer. And it was the ‘60s Blues revival that brought many an elderly Blues musician to a wider audience.

Sam Chatmon, who was born in 1897 (and legend has it was the half-brother of Charlie Patton), started off playing in the family string band, and by the ‘30s he was recording as a member of the Mississippi Sheiks. But, by 1940, he was back working on the plantations of Mississippi, staying there until the folk-Blues revival brought the 63-year-old Chatmon back to the stage and the recording studio. He continued to tour right through to the mid-70s, before dying aged 86. Bonnie Raitt later paid for a headstone to be erected to him in the Sanders Memorial Cemetery in Hollandale, Mississippi.

Four years older than Sam Chatmon, Mississippi John Hurt was performing from the age of 14, developing a style of fingerpicking that was to influence later generations. 1928 saw him recording for Okeh Records, but they weren’t a success, and the depression saw Okeh folding and Hurt returning to Avalon, Mississippi, where he was seeing out his life as a sharecropper. However, the 70-year-old Hurt was tracked down in 1963, and the final three years of his life saw him recording three albums, performing at the 1964 Newport Folk Festival and appearing on “The Tonight Show” with Johnny Carson.

People talk a lot about Robert Johnson, but if you want to hear the real father of Delta Blues, look no further than Skip James. Born in 1902, in Mississippi, he was a huge influence on Robert Johnson who ‘borrowed’ his song ‘Devil Got My Woman’, turning it into his defining song ‘Hellhound On My Trail’. The depression hit Skip James hard, like many others, and he turned to the church, becoming a preacher, and completely disappearing until he was found in a hospital in 1964. He also returned to performing and recording, receiving a late windfall when Cream recorded a simplified version of ‘I’m So Glad’ on their “Fresh Cream” album. He died in 1969, having reclaimed his place as one of the Blues greats.

SAH

Mississippi John Hurt packed a career’s worth into his final years.

How did you first get together with your label, Malicious Damage - a company who are best known for working with the likes of Killing Joke and The Orb?

I moved back to London in 2003 from Somerset and a friend had sent Mike Coles from Malicious Damage a live CD that I had made. He liked it and came to see me play, and then asked me if I wanted to record an album in a studioso we did!

Nice and simple! Is it true that it

only took one afternoon to make your first album?

Yes, the first album, “All This Is That”, was done in about four hours, and we had lunch and a beer…or ten! With all but one track being first takes. I’d been playing the songs for some time, so I knew what I wanted to do. I like my music to be spontaneous; it’s about the now, that moment in time.

The second album, “Threefold Return”, was done over a three month period in South London, Middlesex and Oxfordshire, but was still mostly first takes.

What was it like the first time you went into a recording studio?

I used to hang around a studio in Streatham watching my mates punk band, Dead Clergy, when I was about 15, so I knew what to expect, plus I’ve been around musicians and artists most of my life, so it was nothing new.

I practice at home, so I don’t waste time in the studio, as it costs too much. I have picked up some old equipment and record a lot at home. Some of the tracks on my album “Threefold Return” were recorded at my

home, but I’m not telling you which ones.

What can people expect from the full throttle Bob Meyer live experience?

I don’t play live that much, even though I’m told it’s what I do best. But it’s not for me to say, as I’ve never seen myself live!

I do play straight through without stopping most times, so that the songs mould into a stream of consciousness. Well, that’s what Joe Cushley (former Blues Matters! contributor - SH) calls it! But there are no rules.

Do you ever see yourself performing live with a full band?

No, not doing what I do - it’s too spontaneous! I was in an ill-fated band called Driftwood Bears, but we all fell out and went our separate ways. I’ve also recorded a track with a band called Antenna for Malicious Damage Records - a song I wrote the lyrics for called ‘Rimshack’. I drove them mad with my lack of timing. But if the London Philharmonic Orchestra fancy doing a Bob Meyer retrospective, I’ll be right up for it!

And what’s next in the pipeline for Bob Meyer?

I would love to play a festival, so any offers...! And I’m working on my next album.

Anything else you’d like our readers to know? Have a good time all the time. SAH

ay Tamkin came to this magazine’s attention with former outfit The Crackers, and it seemed obvious even at that early stage of the band’s incarnation that it would only be a matter of time before Jay’s mature-beyond-his-years vocals and guitar dexterity would find a big audience. Following various tweaking of his band’s name, the former Blues Matters! unsigned feature artist has become a considerable drawer in this country –supporting major international artists (Chris Farlowe, Popa Chubby, Sherman Robertson…) and appearing more frequently at Blues festivals to steal the limelight from more established names.

Signing with Rokoko, a label able to provide a platform from which to reach European audiences seemed a sensible decision for an artist with the hunger and desire to make a serious impact on the Blues worldwaiting till he was in his twenties, and not rush-recording/releasing a debut album on the basis of his earlyguitar potential was another.

Unlike many debuts from young guitar hopefuls, “Sorted” branches out further from the usual Hendrix and SRV influences, enough life experience to draw from lyrically on original compositions, with Jay’s six years playing bass with Devon Youth Orchestra and a love of Donald Fagan helping the 22-year-old create a Blues album whose variety and aptitude has made it one of 2009’s standouts…

BM: I read that you were inspired to play guitar after hearing your dad’s Jim Hendrix albums? What was it you found so appealing about Jimi?

Jay: While I grew up listening to Jimi Hendrix, it was actually after hearing Buddy Holly - whose songs got ingrained in my head - that I went out and bought a Squier Strat. I could not afford a real one at the time!

You were the principal bass player for six years with the Devon Youth Jazz Orchestra, and this led you to play with some fine musicians, including Jools Holland’s band members Pete Long and Dennis Rollins. How has this background impacted upon your playing style?

It’s fair to say I came through jazz rather than through the Blues side.

Jazz teaches you about chords and progressions in music, which I may not have gained otherwise, and personally, I do prefer listening to Count Basie than Muddy Watersalthough both forms of music share the same origins.

With your jazz background and liking for that music, what was it that drew you to the Blues, and to play this form of music?

I love music with soul and feel, which you find in jazz, Blues and funk.

When I was really young, I was taken to gigs, and they were generally Blues bands, including the German band Blues Power. The other main factor was hearing recordings from Paul Jones’ radio show, which my dad would put on tape for car journeys. The many great artists featured - and a real mix of Blues - really inspired me.

And now you’ve been played on Paul Jones’ show…

It was fantastic to hear my song played on Paul’s show, to hear that it got good reviews, and to record a session for the show was a real honour. The three-song session was broadcast on 20th July 2009.

You have also toured the USA twice in the past. How did this come about?

Where we played locally, a guy wanted to promote us so much he arranged two tours for us of the East Coast, playing gigs in cities like Philadelphia, New York and Washington, which was a great experience.

The German record label ROKOKO released your album

"I actually find the bigger crowds less daunting - on those stages you can just focus on what you are playing, rather than the other issues, as everything is set up for you."

On the face of it, you may think that Jay Tamkin and John O’Leary have little in common. John is a veteran of the London Blues scene, starting his career with Savoy Brown in 1964, and Jay was born twenty-two years later. While John’s harmonica ability led him to be named “the best harp player since Sonny Boy Williamson” by Champion Jack Dupree, Jay’s style of guitar driven Blues is more reminiscent of Stevie Ray Vaughan. However, the Blues has a habit of bring people together.

John was an early fan of Jay, having attended his first gig in London, and since then their friendship has blossomed. John recently appearing at Jay’s CD launch for the album “Sorted” and took to the stage for a jam with Jay. As Jay says himself, he gets sparks from playing with John.

The admiration is mutual, John offered: "Jay is one of the most talented and multi faceted musicians of his generation. He's currently making a name for himself as a guitarist, but his abilities extend well beyond this.

And whilst we couldn’t avoid the name Stevie during our conversation, John sees Jay closer to a British favourite. “His career could take many musical directions, including jazz piano and song writing,” suggested the harmonica player. “A modern day Stevie Winwood!"

Fair praise indeed, but John is not the first musician to make this connection. During a tour of Germany with Spooky Tooth last year, their band members Mike Kellie and Mike Harrison also likened Jay to the Blind Faith legend.

Who knows, maybe one day in the future it will be Jay’s name that multi-talented musicians will be likened to. DB

“Sorted”. Can I ask how this came about?

We were supporting Chris Farlowe at the Tivoli Theatre in Wimborne, and Chris and his manager listened to our set. They liked what they heard and a little while later we got the call from them. Before too long, we went over to Germany and recorded the album. The songs were ready, so we recorded it in four days.

“Sorted” is an album with plenty of diversity, featuring some rockier songs, slow Blues and some impressive acoustic instrumentals. How do you feel about the album as a whole, which songs please you most, and does it represent your live act?

The album is like a documentary of my musical experience so far. I was specifically advised to make the best music album I could, rather than focus solely on Blues.

I’m very happy with the slow Blues song ‘I Remember When’, and 'Intermission Two – La Frescura’, which was inspired by a relationship and the work of Jonathan Butler. When I listened to what I had played, I felt it had a calm Spanish feel, so its name means the freshness or calmness.

I have written more songs since recording the album, which we now play live, and I also like to change the tempo or the key we play the song in. I’m always looking at other ways, musically, to interpret the material.

Stevie Ray Vaughan’s influence can be heard on some of the album tracks, such as ‘Troubles’ and ‘Leavin’ Town’. Tell me about his influence, and is there a balance to strike between showing some of his influence, and sounding too much like him?

You can hear Stevie Ray Vaughan’s influence in my music.

I’m proud to say that he has influenced me, and has been influential to a whole generation in the same way as earlier Blues musicians influenced him. Rather than try to sound like him, I leave a tribute to him in my work.

I also like Albert Collins, Albert King and Freddie King…

Which modern Blues guitarists are you influenced by?

Buddy Whittington is one. I feel very privileged to have been able to play with Buddy, whom I first saw around ten years ago with John Mayall’s Bluesbreakers. He gave me some advice, which I’ve tried to take. Meeting him again, it was nice to tell him how valuable it was.

Popa Chubby has also been an influence on me. He’s really friendly and exposed me to a lot of Blues, including his interpretations of earlier Blues songs such as Freddie King’s ‘Same Old Blues’. We play that one with the band.

Ian Parker has been really supportive and has both a distinctive guitar and voice. If anyone can make the Blues bigger in the UK, it is Ian. He is a musician of the calibre of John Mayer or Johnny Lang.

Matt Schofield is another that I admire, and we share many of the same influences.

British Blues legend John O’Leary has performed with you on stage on several occasions. Please tell me how this came about?

John is such a nice guy and has been like a brother to me. It is always a privilege to have John play Blues harp with us, and I really get sparks from playing with him.

John came to our first gig in London, we have sup-

John O’Leary holds Jay in high regard.

ported his band and he regularly attends our London gigs. I suggested he should bring his harp with him and come on to play. It has worked very well for both of us, as he brings a more established Blues crowd, while I perhaps attract a younger audience. We mainly jam together, and do songs we both know, like ‘Black Cat Bone’, which we play differently separately, but when we play together, we somehow meet in the middle!

The current UK Blues scene features some great young acts, such as yourself, Oli Brown and Joanne Shaw Taylor. Is this a positive sign that the Blues is alive and well in the UK? Yes! It is good that there are so many young artists interested in the Blues. I feel success is not impossible to

achieve. Joe Bonamassa playing at the Royal Albert Hall and appearing on “Later…With Jools Holland” gives hope for us. However, I do not wish to be known because I am young, but because of what I do; otherwise a young guitar player may in time become known simply as a guitar player. People can have perceptions of you because of your age. One fellow guitarist I recently enjoyed playing with was Chantel McGregor. She’s is one of the best guitarists I have come across, and there was a great rapport between us.

What would your response be to the suggestion that younger Blues players, such as yourself, “know the notes, but not where they came from?”

In my case, I’ve studied music at college - its different styles and its history. This is the genre I’ve chosen. I don't do it to be judged, I do it because I love it, just like the ones who invented it all.

You have already played at some festivals, including Glastonbury, Burnley, Maryport and Abertillery, amongst others this year. Is it more daunting to play a large festival than a smaller crowd?

I actually find the bigger crowds less dauntingon those stages you can just focus on what you are playing, rather than the other issues, as everything is set up for you. It is harder to play with a small crowd, although it is better to assess the sound on a smaller stage.

You are proficient at several instruments, and appear to have chosen the guitar as your main instrument of choice, although you move to the keyboard at times during your set…

When people ask, I don’t immediately say that I am a guitar player - I say that I play bass or piano. The focus in the industry is so much on the guitar, though, that you do need to have it. I actually write all my songs on keyboard, and it has been suggested to me that this method had been the reason that many of them are so melodic. There are times when I think I would just like to be a keyboard player, and other times I think I’d like to be the keyboard player in the band.

One dream would be to have a large band like John Mayer with two other guitarists, two keyboard players - and I can be left to control it all! But there is so much I would like to do. The main thing is that I do it because I love it. Composing music for others and film both have appeal.

‘Jedi’ is a very catchy song on the new album - perhaps a potential hit single. Are you a “Star Wars” fan?

That song was unusual in that I had the lyrics before the hook, which is rarely the case for me. However, I’m not that big a Star Wars fan - and I don’t really want to be a Jedi!

What would you like to say to the readers of Blues Matters!?

Thanks to the readers of Blues Matters! for their support. The Blues do indeed matter. Keep on supporting the music, as the Blues are looking very promising - and are due time in the spotlight. DB

"I’m not that big a Star Wars fanand I don’t really want to be a Jedi!"

ibling rivalry is not part of the mix, as Kitty, Daisy & Lewis continue their musical maturation amid a growing frenzy of global attention. Resistant to labelling because of their young age and family ties, they attract this attention because of their multi-instrumentalist talents and dedicated approach to what can only be called old-fashioned recording and playing.

The group’s faith in the roots of swing, rock‘n’roll, country and Blues has seen them continue to play the gritty smaller venues, as well as climb aboard the Glastonbury fashion wagon, and even find themselves working alongside the likes of Dustin Hoffman. With mum (Ingrid) and dad (Graeme) of the Durham family involved, but firmly in the background, Kitty, Daisy and Lewis are very hip, if not joined at the hip!

As the group’s debut gets its US release, Blues Matters! jumped on the bandwagon and spoke to Lewis Durham…

BM: Are you a three or five-piece?

Lewis: We started playing a couple of floor spots with Big Steve from The Arlenes on acoustic guitar. He ran a club at the Golden Lion Pub in London. We weren't a band, so we were introduced as "Kitty, Daisy and Lewis". Big Steve went to live in USA, and a couple of other guys stood in the few times we played, but the inevitable happened, so our dad, who had played songs with us since we were babies, had to stand in.

We played a few gigs with this line-up, and then we met another teenager, Kurt, who played double bass with us for several months. He played in a band that was getting busy, so, when he left, we asked our mum to learn fast on double bass.

So, that's where we have been as a line-up for six years. Plus, in the last year, we have had Jamaican Eddie "Tan Tan" Thornton on trumpet for a couple of songs. He is a legend

Who’s in charge?

As far as recording and producing, we are fully in charge. There is no one person who takes over.

Being a family, do you fall out?

There are always arguments, constant shouting and loads of swearing, but that's what happens in families! Five minutes after arguing and it cools down, it’s like it never hap-

Lewis Durham shines a spotlight on Otis Spann, and most Blues lovers will certainly have heard of him, but, like many of his generation, it may be familiarity by name only.

Otis Spann died of liver cancer on 24th April 1970, shortly after his fortieth birthday. Nearly forty years on, and he still sits comfortably alongside colleagues in the posthumous Blues alumni that includes Muddy Waters, James Cotton and Howlin’ Wolf.

Primarily known as the pianist in Muddy Waters Band (from 1952 to 1968), Spann made significant progress in a solo career, and as a very special session musician, until his far too early demise.

Otis was born into a musical Mississippi family; his father, Frank Spann, played piano and his mother, Josephine, had played guitar with Memphis Minnie.

Playing piano since he was 8, Otis was mentored in and around Jackson by Friday Ford and Big Maceo Merriweather until he moved to Chicago to work the club circuit. It was here where he met Muddy Waters and became a keys player for Chess.

For all his time with Chess, Spann’s solo work was limited to a 1954 single ‘It Must Have Been The Devil’, which featured B.B. King on guitar. However, he was prolific for other labels, and can be found on Storyville, Vanguard, Prestige and Decca recordings. The Candid published album “Otis Spann Is The Blues” from 1960 saw him work alongside Robert Lockwood, Jr on guitar, and some list the album as his most soulfully intense - ‘Otis In The Dark’ and ‘Country Boy’ being profound signatures of his writing talents.

“Complete Blue Horizon Sessions” makes for essential listening, with some twenty-eight tracks, many alternative takes, from his time with Mike Vernon and Blue Horizon. Listen out for members of Fleetwood Mac and enjoy three versions of ‘No More Doggin’’ and four versions of ‘Someday Baby’.

“Last Call: Live At Boston Tea Party” was recorded on 2nd April 1970, but only appeared about a decade ago after the tapes had been found in a warehouse. Original band member Peter Malick made it a personal goal to promote the memory of Spann’s contribution to the Blues and the release features a specially written new track ‘Blues For Otis’. The album is poignant because Spann was too ill to sing on the recording, so his wife, Lucille, took charge of the vocals, adding heartfelt emotional intensity - it’s a moving piece. GH

pened. You can’t say you’re gonna quit because that night you’re sleeping next door to each other!

You’re well known for studio-in-the-backroom mentality, and use of original instruments and a real sound. Does this make you averse to technology?

Yes! Since we were kids, there were always old instruments lying around, from junk shops or whatever.

We find that new instruments, especially guitars, have a very stale and clinical sound - they have no magic or vibe. This goes for recording equipment even more so. In our studio, which is non-digital, we use Ampex 350 recorders, standard of the early-50s, but used up until the ‘70s. We use RCA valve pre amps, Vortexion pre amps, and Ampex pre amps for microphone amplifiers. We have early-50s Lockwood cabinets for monitoring, Grampian disk cutting system for master disk recording (of vinyl) and RCA/Marconi ribbon microphones. We have a homemade mixing desk made from paint-on silver contact pots from the ‘50s. There are no printed circuit boards, and no transistors.

I had always been more into taking things apart and seeing how they worked rather that using them, like when you get toys when you’re a kid. So, I wanted to know how 78 rpm records were made. So, I got a disk cutting system,

similar to what Sam Phillips of Sun records had - except better! A lot of people think the Sun Records were cut by Sam at Sun, but they were sent to an out-house mastering studio. His system was the kind used in radio stations for recording speech, or adverts. So then I started cutting disks for DJs in my school, obviously not at 78 but 33 ⅓ and 45rpm. And from then on, I was collecting all this vintage sound equipment - anything built up until 1965 I would try and get my hands on. Stuff was given to us, and other stuff was homemade.

Then, when it came to making singles and an album, miraculously, we had enough gear to make our recordsalthough, equipment was constantly breaking down, even in between takes, so we would have to take five and get soldering. We have recorded in the modern day studio, for example BBC studios at Maida Vale. And what we played sounded nothing like the recording they made. There was no energy, and nothing stood out - it was a plastic sounding noise. Now we have quit a lot of gear, but only have stuff we need for making recordings. Saying that, you should see our shed!

Record players or iPods?

There are iPods in the house, but we have tons of 78s and vinyl records. Our turntable never stops spinning.

We are in the modern day, so we have to cater for the people who buy CDs and download the files from the internet, but we released a 78 album set like those released in the ‘40s and ‘50s. I always try to pursue people to buy records instead of CDs because of quality.

What are you each listening to at the moment?

I listen to a lot of jazz, Blues, R&B, Jamaican ska, ‘60s stuff, Jazz at the Philharmonic, hillbilly and swing.

Daisy and Kitty tend to listen to more current stuff than me. I think your taste in music is just something that's in your bones. Like you can’t explain why you like some foods and not others.

What are your musical influences?

We were making music from a very young age - almost in the folk tradition, when families sing and play music at home. Our dad came from a large family, and at gatherings, ‘30s and ‘40s ballads would be sung, and also Blues, pop, rock’n'roll and traditional songs, like ‘Coming Round The Mountain’. Of course, we heard, and were influenced by records, but the actual playing of music was there anyway.

We would listen to singles more than albums; one of our favourite albums was “A Swinging Safari” by Bert Kaempfert and his Orchestra. Another record we liked was “The Velvet Underground And Nico” (1967). Other records we listened to were by The Kinks, T. Rex, Gary Glitter and ska compilations.

A fan’s favourite is ‘Buggin’ Blues’. What’s the story?

Yes, the first Otis Spann record I heard was ‘It Must Have Been The Devil’, on the Checker label. The flip side is ‘Five Spot’. This is one of my favorite records. This was Spann's only record on Checker which was by him. For all his other records, he is sitting in for other artists, such as Muddy. I was heavily influenced by Spann's playing, so ‘Buggin’ Blues’' just came from me playing the piano after hearing Spann's record, and putting lyrics to it and recording it. The lyrics were not important to me, as the message I was trying to put across was not in the lyrics but in the music. I just wanted the music on disc - the vibe of the music. Also, Spann's voice is one of my favourites and sends chills down my spine. Luckily there are videos of him singing. Spann is the man!

Your work crosses many genres, but where would you file it in a record store?

I am not sure how I would file our music in a record shop. One track on our album is not always the same as the next. So, every song is different. I have been asked this question a lot of times, and still I don't know what genre our music would go in. It's like Duke Ellington said, he never referred to music by genres, he just thought music was music and couldn't understand what made

one sound one genre and another sound a different genre. Journalists always use the term rockabilly for us but, we don't really play rockabilly. I think people see our hair and pigeonhole us by saying rockabilly. I was thinking the other day that if we all shaved our heads and wore jeans and boots, but played the same music, we would probably get called skinheads! What I am trying to say is that a lot of people judge music by looks and not the actual music.

How have you dealt with going from backroom to big stage? We have always just rolled along with our gigs, and when we play on big stages, we try and deliver the same vibe as we do in small clubs. However, we always prefer playing the small crusty basement clubs where there is atmosphere and people are up for having funand the audience can interact with you and the music. Whereas on big stages, people are usually detached from you and the music, so its like two separate things going on instead of one big orgy.

Europe and now the USA… Do you have favourite audiences and arenas?

The German crowd is always ready for a good’ knees up’. The American crowd tends to be more reserved in the big venues, but they can let loose in the small clubs.

I think we are lucky with our gigs because we get a very eclectic mix of people in the audience, which is great - it’s very easy to get stuck on one particular scene. Bands would not be anywhere if it weren’t for audiences and people buying their records, so no matter what audience we have, we try and rock it as much as we can. But, we do not play to try and sell records! We play for our own enjoyment and the crowd’s enjoyment. If we didn't have fun playing, we would stop - music is about fun.

"You can’t say you’re gonna quit because that night you’re sleeping next door to each other!"

Would it annoy you if you were thought of as a novelty act because of the sibling angle and age?

Yes, it would be annoying to be thought of as a novelty act. But, luckily, I don't think we are. It can be frustrating sometimes when people are asking you your ages, because that has no reference to music.

We started playing because we had passion for the music, and that's why we carry on playing. A lot of the time, the media talk about age, fashion and all that kind of stuff but, that's what media is like - they try and make things exciting instead of concentrating on music. It’s like, if you read mainstream music magazines, the questions are about, how much booze they drink and who they have shagged, or whatever - the questions are not so music concentrated.

Sorry for asking this then, are all the exams out of the way?

Yes, Kitty just finished

Is it true you were first spotted doing a gig in a fashion shop?

I've never heard it like that, but our label owner ‘Rob the Bank’, saw us at a corporate gig where he was a DJ and then booked us for his festival called Bestival. He then later signed us to his label Sunday Best, whom we still happily record for.

Are you icons of fashion?

We just wear the clothes we like. The corporate gig was for Top Shop, and no, I do not own any Top Shop clothes!

Do you get time to yourselves?

Yeah, but it can be hard because we are away a lot of the time, in places like America, Europe and Australia.

You’re mixing in interesting circles now… It’s weird, we just get asked to do random things, like films with Dustin Hoffman (for “Last Chance Harvey”GH) - it’s great! I think he saw us on our MySpace page and then they wrote a scene around us, which was on the South Bank. We also did another film in Germany, which is not released yet.

What’s next?

We are going to be doing another album; recording has not started, so it’s probably going to be awhile. We have gigs coming up in Europe and Australia when we get back from the States.

Any thoughts of solo projects? Not yet! We’re always up for doing new stuff though!

And where do you see the band in five years time?

I am not sure where I see the band in five years time. We take things as they

come, so if we stop getting asked to play gigs, we would stop. Playing for me is just a hobby and I love doing it but, there are other things I like doing such as the record engineering. I would like to set up a full-time recording studio using the good equipment, because there are none around employing the American recording equipment of pre-1965. There are analogue studios, but most have some funky gear and then use ‘80s tape machines.

And where do you see the band in fifty years time?

Mum and dad will probably be dead, so that's bass and rhythm guitar gone! I would like to be sitting in a pub drinking real ale all day and smoking a pipe.

Everyone seems to be playing xylophone nowadays. Did you start that one?

That came from a junk shop in Wales years ago, as far as I can remember. At one point, most of the pieces were under the floorboards, but it’s now miraculously complete.

When Kitty wrote the song '(Baby) Hold Me Tight', Daisy started to play the piano, but it wasn't really happening, so she went over to the xylophone and that was that. Having said all that, I think it’s actually called a glockenspiel! GH

(from left) Daisy, Lewis and Kitty.

rowing up as a young troublesome teenager on the uppermost crust of the Irish Isle, I distinctly remember getting the impression that maturity was a trait that deserved to be shunned and sniggered at. Speak when you’re spoken to? In bed by nine? No thanks, I’ve got me a new Sceletrix track to build! Thankfully, as both my life skills and music taste have progressed dramatically since then, I have quickly learned how wrong I was: maturity is a trait that deserves respect, and in the music industry is reserved to describe only the most talented of up and coming acts.

Back Door Slam, formed in late 2006 and hailing from the magical Isle of Man, optimise the notion of maturity. They are fortunate enough to not be merely sprinkled with the trait, their Blues-rock driven sound is saturated in the stuff. Comprising of Davey Knowles (guitars, vocal, mandolin and lap steel), Ross Doyle (drums) and Adam Jones (bass), the band claim to rekindle the sound of days gone by, extorting influence from greats such as B.B. King, Howlin’ Wolf, Jimi Hendrix and Stevie Ray Vaughan, as well as the modern Blues of Knopfler, Clapton and Mayer. Such claims are often misused in the industry, particularly with young upcoming talent such as this, but on Back Door Slam’s 2007 debut release “Roll Away”, boy do they deliver!

From opening track, ‘Come Home’ right through to the melodic and reflective finale of title track ‘Roll Away’, the band succeed in encapsulating the true essence of what great Blues-rock is all about. Each and every track on this gem oozes a sense of catchy uplifting summer Blues, whilst also retaining an appreciation for the palpable presence of smart, intricate songwriting skills.

Despite the attendance of a scrumptious rhythm section combo of Doyle and Jones, lead man Davey Knowles ultimately walks away from this masterpiece as the true star of the show. With sizzling solos throughout, and a voice that urges to be given the utmost attention, he consistently performs as a young man who is clearly on a mission.

A combined age of only 56 tempts the listener to disregard this trio as wannabees, merely clutching on to the sounds of days gone by, but this could not be further from the truth. Standout tracks such as the hard hitting ‘Too Late’ and the pop-tinged ‘It’ll All Come Around’ deserve special mention. As does the terrific cover of ‘Outside Woman Blues’ (originally recorded by Blind Joe Reynolds) - a cover I personally hold in as high a regard as the 1967 cover by Cream.

The star of this debut, Davy Knowles has since put his name to the front of the band and released the follow-up “Coming Up For Air”, which should continue building on the group’s US success and, hopefully, see a belated breakthrough in his homeland. LB

A FAVOURITE BLUES ALBUM?

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

SHE'S NINETEEN YEARS OLD

Muddy Waters

This is Muddy at his best! I love the muscular and confident delivery when he sings. "I'm gonna say this to you/And I don't care if you get mad." This track has one of the finest endings of any song I've ever heard. I can only imagine how he must have brought the house down in the smoky night clubs of Chicago.

THAT'S HOW STRONG MY LOVE IS Otis Redding

From the opening measures of the track, it becomes obvious that this is a truly great band. Then one of the greatest voices of all-time comes in, and lord, have mercy! I love everything about this track. It's a love song that doesn't leave you feeling cheap, or pandered to. You can't listen to this without being moved. I've been going back to this song since I was a kid and I keep finding different things that I love about it.

FROM FOUR TILL LATE

Robert Johnson

This was the first of his songs that stood out to me. I love the lyrics and guitar playing. "A woman is like a dresser/Some man's always going through her drawers." That's funny stuff!

Folk singer Otis Gibbs continues to offer an insight into the less celebrated aspects of American life on “Grandpa Walked A Picketline”, tackling issues such as abusive relationships (‘Caroline’), inequality in the workplace (‘Everyday People’) and the misuse of religion in creating “fear for profit” (‘Preacher Steve’). The album, produced and mixed by Chris Starney in Nashville, Tennessee, has once again shown Gibbs as one of the finest songwriters of his generation, and one who warrants the comparison to Bob Dylan. To gain a glimpse inside of an America “you don’t see on the evening news,” tell us: What was the name of Gibbs’ band in the ‘90s?

STRANGE FRUIT

Billie Holiday

I can't imagine a more haunting track. She closed her shows with this and audiences around the world were left speechless. Few songs have had the same impact. It became the anthem of the anti-lynching movement, which lead to the civil rights movement. There are many great Billie Holiday tracks, but the greatness of this one just can't be denied.

TAPPIN' THAT THING

Yank Rachell

I have fond memories of seeing Yank play live around Indianapolis, Indiana when I was younger. I can remember women getting up to dance to this song, while Yank sang and played. It was obvious that he was a real, honest to God Bluesman, and that he was something special, but I had no idea of how fortunate we were to have him living in our town. This song is an example of how fun and upbeat the Blues can be. The risqué lyrics could make a gangsta rapper blush.

MUDDY WATER

Bessie Smith

When Hurricane Katrina hit the Delta, I couldn't get this track out of my head. I kept hearing the lazy, drunken horns matched against her huge voice singing painfully, "My heart cries out for muddy water." It was a fitting soundtrack.

Otis Gibbs: “I like my art to be imperfect and, dare I say, human.”

RIDE ON JOSEPHINE

Bo Diddley

A Bo Diddley song is always gonna have a great driving rhythm to it. I love his songs with the trademark ‘Bo Diddley Beat’, but this one stands out just a bit more to my taste. It swings and makes you want to move, and it's one of those rare Blues songs with a big singalong chorus. Bo sounds great singing the story, while the guitar pushes everything along.

SITTIN' ON TOP OF THE WORLD

Howlin’ Wolf

Lots of people have taken a stab at it, but Howlin’ Wolf owns this song. There's never been a more identifiable voice in any genre, and he shines on this track. This is also my girlfriend, Amy's favourite version, and I'm a firm believer that momma knows best!

DEATH DON'T HAVE NO MERCY

Reverend Gary Davis

I'm in love with his guitar playing, so I was tempted to list one of his instrumentals, but this song is just perfect. "You look in the bed and find everybody gone.” Who can't relate to that?

LEVEE CAMP BLUES

Son House

Son House was one of those rare artists that could meld man and guitar into one pure instrument, and, as he aged, he grew closer to the source. This song is a perfect example of that. The Alan Lomax recordings are beautiful, but later versions of ‘Levee Camp Blues’ pulsate and throb with every slide and moan. It's easy to see why he was so influential to later generations after listening to this track. OG

THE JIMMY BOWSKILL BAND

This is Jimmy’s fourth CD, and was recorded live. Jimmy is now a mature, experienced Blues-rock man - and he is only 19 years old! This CD is a mix of covers from the likes of B.B. King, Peter Green and FREE, and self-penned material. The covers are all high quality and flowing with the essence of Jimmy - not just copies of the originals. ‘Loser’ is selfpenned and starts with a gentle guitar and vocal, with a lyrical structure that is as Blues as you could want. The middle has an expressive guitar solo that doesn’t rip out your eardrums, but flows seamlessly through the changes.

‘Broke Down Engine’ has a Blues-rock bass line leading to a classic Blues lyrical form, but driven home with powerful guitar work and a moving Blues vocal. ‘Karadag’ is a power driven instrumental, featuring a Dan Neill drum solo of which Ginger Baker would be proud! ‘Link Into Your Chain’ has a feel of Peter Green and Paul Kossoff, and features tempo and style changes to emphasise this feel. Paul Rodgers said Jimmy is the spitting image of Paul Kossoff, and there is no doubt his spirit lives on in Jimmy - but he is no clone! Jimmy is a musician of quality in his own right. This live CD leaves one question unanswered: when will we get to see him in the UK?! Maybe I’d better holiday in Canada next year!

Carol Borrington

JIMMY CARPENTER

Toiling In Obscurity

myspace.com/iconsax

Jimmy Carpenter is a fine horn player who’s played on many a famous artist’s recording. He’d been toying around with the idea of his own solo album for around twenty-five years, and the fact that he’s got there at last is something to celebrate. He moved to New Orleans in 2004 – bad timing, as it turned out, what with the Hurricane – but he stuck it out, and that Louisiana swing and sway has stuck to him like blue. This isn’t a 110% Blues album, but it straddles the genre with one foot in the soul/jazz rock camp with ease. When he’s not blowing his impressive sax, Jimmy’s a more than competent vocalist, and he’s written six of these nine tracks, where he’s accompanied by the very cream of New Orleans musicians. From the opening song, ‘Screeching Halt’, through the moody, grumbling guitar riff of ‘Sinner Street’ and the Jagger/Richards composition ‘Shine A Light’, you’re pleasantly regaled with a big, fat

sound full of life and passion. This is one of those albums to put on when you’re feeling a little lacklustre – it certainly perked me up! So, let’s have some more solo material, Jimmy!

Roy Bainton

THE CHATHAM SINGERS

Juju Claudius

Damaged Goods

“Juju Claudius” is the second CD by The Chatham singers, which is a Blues and folk project by musician, writer and painter Billy Childish. Billy Childish has been a controversial figure in all he has tackled - a believer in free emotional expression, and on this CD he uses a Blues canvas for his writing and music. There is no doubt that the music is Blues, but in its raw and free-wheeling format - a wonderful purists nightmare! Nevertheless, it’s esoteric and very unique! ‘Upside Mine’, ‘Demolition Man’ and Evil Things’ are reminiscent of early Kinks music, with the addition of powerful Blues harp riffs. ‘The Son Of Art’ is as deep down, raw and dirty as the Blues gets - the lyrics drawn from Billy’s artistic experience.

‘The True Story Of Elizabeth Sargent’ feels like you’re sitting in a revival meeting deep in the Delta. There’s no polish in the vocals, it’s sung like an authentic meeting - a bit off key, with discordant harmonies, but it grows on you. Billy’s wife

Julie takes the lead vocal on a cover of Slim Harpo’s ‘Queen Bee’, and her vocal has real sting in the tail with its passion, while heavyweight Blues harp wails. Julie and Billy next take on Hank Williams’ ‘Angel Death’, and there is real spirit of Blues and gospel embedded in every syllable the pair sing! The CD finishes with Jimmy Reed’s ‘Baby What’s Wrong’, done in a classy ‘60s British Blues fashion!

Carol Borrington

LIAM McKAHEY AND THE BODIES

Lonely Road

Series 8

Liam McKahey, originally from the Republic of Ireland, has moved away from his adopted home of London to the far distant shores of Australia. But before leaving, he recorded his debut solo release, “Lonely Road”, in four days, with the help of The Bodies. Liam previously experienced some international success with the band Cousteau - their best known song ‘Last Good Day Of The Year’ featuring in advertisements, TV and film. I sort of guessed from the image of a dead deer on the front cover that this wasn’t going to be the most cheery of listens, and with November just around the corner, the image of dark rainy Sundays came flooding to mind. But don’t let that

OTIS TAYLOR

Pentatonic Wars And Love Songs

Telarc

Album after album, Otis Taylor confirms he is not only one of the most impressive and original voices in Blues, but also an incredibly talented songwriter. Following an album dedicated to the banjo, the bearded giant comes back with an album which is all tenderness and sensitivity. The arrangements are just magnificent, with trumpet and violin alternating with piano and cello. It’s an acoustic album struck here and there by lightning, a lightning that is Gary Moore’s luminous and mesmerising electric guitar. On vocals, the beautiful Cassie (our giant’s daughter, so don’t be too attentive, or else!) will make you feel weak at the knees with her tender and passionate delivery of the most burning love songs, such as ‘Sunday Morning’, which invites you to relive every Sunday morning lying in bed like an act of love. Some songs, like ‘Silver Dollar On My Head’ or ‘Lost My Guitar’, are of such profound beauty they could be hymns to love and life, and the last track, ‘If You Hope’, simply reaches the sublime, with musicians going beyond the song to treat you to something magical, nearly mystical (Gary Moore on guitar, Jason Moran on piano, Ron Miles on trumpet and Brian Juan on the organ). This is undoubtedly THE track which demonstrates that this artist is in a league of his own! Don’t miss this simply amazing album.

Frankie Pfeiffer/Nat Harrap

distract you. Liam has an excellent deep, brooding baritone voice, often compared to Scott Walker. He is expertly backed by The Bodies and “Lonely Road” contains eleven good tracks. Melancholic, yes, but good nonetheless. The CD has some up-tempo moments, ‘Fire’ and ‘Lovers And Fools’ the best examples. But it was the slower ballads that stood out for me, ‘Clyde’ and especially the excellent ‘Serafina’. There is a distinctive, luxurious quality to Liam’s voice and he obviously has the talent to produce material to match.

Davide Styles

live albums, this has a refinement and quality of recording which enhances Wolf Mail’s tidy Blues-rock.

CHRIS LATERZO AND BUFFALO ROBE

Juniper And Pinon

chrislaterzo.com

Wolf Mail hails from Montreal, Canada, but he was brought up in southern France and California. This live performance, at the end of the “Blue Fix” tour, which entailed an exhausting 437 performances in 707 days, was recorded at the Jazz Town Theatre in Moscow. Mail is joined by guitarist Arsen Shomakhov on the opening and closing tracks of this nine track, plus video trailer enhanced CD. The tunes are a mixture of his own compositions and standard Blues numbers, like ‘Old Time Used To Be’ (Albert King), ‘Honey Hush’ (Albert Collins) and ‘The Sky Is Crying’ (credited to Elmore James), which are all given Mail’s own interpretation. Here he comes into his own with three of the best tunes, ‘Love Breaking Shuffle’, a subtle instrumental ‘Blue Rose’, and the gentle ‘Hello’, which all show off his guitar skills and husky vocals to the full. These are followed by the cover ‘So Fine’, which again displays Mail’s concise and clean guitar solos. The final cut is a funky take on ‘We The People’, with its cross-cultural and universal egalitarian message, which went down well with this audience. Though lacking the atmosphere of some

I had to rush for the CD liner notes on first hearing this album, for here was Neil Young’s voice in all its glory. The whole feel and approach of the opening track, ‘Hacienda’, brought back the halcyon days when Neil and Crazy Horse were at their peak. For, sure enough, this is Californian folk/rock in its laidback and stoned format, as epitomized by the Eagles et al, but don’t get carried away, “Hotel California” it ain’t - and even the track ‘Holiday Inn’ conjures up a less than wholesome picture. Laterzo hails from the Los Angeles area and whilst this albums mixes country and folk with the odd smattering of R&B, I found the whole album far too predictable. Laterzo has a good voice, and his harmonies with Laurie Lagore are very pleasant, yet I was itching for something to take this to a higher level and blow me out of the stupor into which I was being drawn. I really lost interest, however, when the band broke into a version of ‘Home On The Range’, the classic cowboy song, which just left me cold. Somehow, I don’t see me playing this again.

Merv Osborne

WOODY GUTHRIE My Dusty Road

Rounder

This lavishly packaged four-disc set contains tracks recorded over a six day period in 1944 which were only recently re-discovered in a Brooklyn basement. Spruced up by digital technology, the results are terrific. Where in the past the brilliance of the songs has often been muffled by poor quality sound, here the songs have the clarity of the original performance. It’s like sitting round the fire with Guthrie and friends, and experiencing the magic first hand. Most of the songs have seen the light of day before, with the exception of six tracks, of which ‘Bad Repetation’ and ‘Tear the Facists Down’ are highlights. Each disc has a theme; on “Greatest Hits”, ‘This Land Is Your Land’

Noggin

THE BLACK CROWES Before

The Frost…

…Until The Freeze

Silver Arrow

If ever a band blew it, then it was The Black Crowes. On top of the world post "The Southern Harmony And Musical Companion" - it was #1 in America, but a series of lacklustre and downright awful albums (hello, "Lions") saw them disappear in a puff of apathy. However, the colonials like nothing better than a punch drunk heavyweight getting back to his feet. "Warpaint" was the comeback, seven years after they went on hiatus, and it restored them to the Top-10. It was a good record, but this is the one (actually the two) that fans have been waiting for. Recorded live over five nights at Levon Helm's studio, this is the sound of a band back in love with themselves and their music. The new line-up, featuring North Mississippi Allstars’ Luther Dickinson, click into a loose and funky vibe that really gels, without getting sloppy - something they were guilty of in the past. Songs like 'Good Morning Captain' and 'Kept My Soul' can hold their heads high amongst the bands finest, as their blend of Blues, soul, funk and country comes together magnificently. Even better, the album comes with a download code for a free nine track album called "…Until The Freeze", which is another absolute treat. The material is certainly no filler, and tunes like 'The Shady Grove' and the Manassas cover 'So Many Times' are the match of anything on the parent album. Twenty years on from their debut, this double release should put The Black Crowes back on top - where they belong!

sounds so good it’s like hearing it for the first time. “The Roots” sees Guthrie take the traditional songs of the American songbook and make them his own. It’s a defiant Guthrie on “Woody The Agitator”, all songs supporting the labour movement, but the real draw for Blues fans is disc four, which sees Guthrie joined by a jobbing Sonny Terry on harmonica and Cisco Houston on guitar. The threesome are in a playful mood - willing to jam, and there’s self conscious banter on some songs, which makes the spontaneity palpable. Terry’s harmonica jam ‘Sonny’s Flight’ is a delight. Timeless.

Duncan Jamieson

HEAVY TRASH

The band’s name tells you a lot here. I’m not just talking rubbish here, but a real mix of leftovers. The jangly opener ‘Gee, I Really Love You’ seems to mix something resembling rockabilly with ‘50s bubblegum pop and ‘80s guitar led garage punk, with a dark gothic edge - a rockabilly version of The Damned’s ‘Nasty’ gone wrong in the blender, perhaps.

Essentially this is rockabilly with a harsh guitar and an experimental and alternative feel. There’s Americana, garage punk and alternative country and Blues in the mixsomewhere. Some of the guitar riffs are pretty interesting, and it’s pretty energetic. Mostly up-tempo as garage rockabilly is, although ‘The Pill’ is a slow moody track with a dark storytelling feel. The use of

distortion to bolster a thin sound is rather annoying, something I really couldn’t get on with. Some of the tracks had a good feel, and the keyboard largely fits in well. Too jangly for me, and not something I could get through in one sitting.

Joe Geesin

SISTER MARY & THE CHOIRBOYS

Sister Mary & The Choirboys

Independent Release

This is the debut album from London’s Sister Mary & The Choirboys, featuring the wonderfully soulful voice of Emine Pirhasan. Their approach to the Blues is refreshing and upbeat, with an old time charm that is not heard too often these days. The band features some of London’s top up-andcoming musicians that include band leader/multi instrumentalist Fred Thomas. Their influences are apparent throughout, but it’s Emine Pirhasan’s vocals that immediately bring Billie Holiday to mind, thus conjuring up images of late night smoky jazz clubs. The overall sound is quite contemporary but still maintains that old time feel. The band have only been together a couple of years, and, on the strength of this, they should be looking towards a bright future - I don’t think they’d be out of place if they showed up on “Later… With Jools Holland” (in fact, I think he’d love them). On this CD, we have twelve selfpenned tunes that run through a variety of styles. Whether it’s the delightfully Bluesy ’I Love Your Money’, or the up-

Stuart A Hamilton

tempo country picking romp of ‘10,000 Years From Now’, Sister Mary & The Choirboys are a great listen.

Steve Hoare

HENRY’S FUNERAL SHOE

This is uncomplicated, regional, rustic rock, with a list of influences emanating from guitarist Alde Clifford’s early roots born out of inquisitiveness into everything from Robert Johnson, Peter Green and The Who. Blend these with drummer and younger brother Brennig‘s early forays into The Clash and Thin Lizzy, and an interesting twopiece is hatched, as though The White Stripes came from Ystrad Mynach.

Brennig‘s no-frills stick work (more accomplished than Meg White’s) compliments Alde’s hoarse, committed vocals – a shoe-in for the Cult if Ian Asbury got sick, and refreshingly unashamed to display a regional accent so prominently. His guitar sound is muddy and growling, and although sometimes a little repetitive, it is plenty creative and pleases throughout. Even though they trade on a thin sound, some tracks plead for a depth of sound that a bass guitar would bring – reverb isn’t always the solution. The catchy riff of the title track and opener stays in your head long after it’s over, and in ‘Maria Maria’ they have an engaging commercial potential – there’s an indie single in there, boys! ‘Mary’s Tune’, to end, is totally unexpected - charming and sentimental, it shows that this pair of inventive homeboys will definitely cut the mustard, so long as sibling rivalry doesn’t get the better of them. A worthy first album. Tidy, Butt.

Richard Thomas

LINO MUOIO

Lino Muoio is an Italian acoustic Blues player who is commendably doing his own material. The CD features a variety of styles and tempos, and some very accomplished playing and singing by all-Italian personnel. Lino Muoio demonstrates that he’s a dextrous acoustic guitarist, both picking and playing slide, and he’s no slouch on the mandolin either.

Guido Migliaro sings Lino’s Blues and Bluesy songs in English throughout, and his voice is quite powerful, but not mannered. Several tracks put the songs into an acoustic band setting, with rhythm section, and the sound is clear and straightforward, unspoilt by any over-the-top production. There is also some fine and tasteful harp playing, and some imaginative use of percussion. Highlights include the opening ‘Consolation Blues’, the catchy ‘Sunrise’, the stop/start rhythm of ‘Feelin’ Down’ and the closing guitar instrumental ‘Midnight Walk’, which is simple but highly effective. The songs deal

DELBERT McCLINTON Acquired Taste

New West

Delbert McClinton is the Blues’ answer to Van Gogh and Monet. The Texan, who famously taught John Lennon how to play the harmonica, has always been a class act, and this new album is no exception. For his latest release, McClinton has teamed up with superstar producer Don Waswho also worked with the singer on the Bonnie Raitt album “Luck Of The Draw” – and results are suitably impressive. There is no radical reinvention of McClinton’s style, instead Don Was has delivered a laid-back and slow-burning set of soul, Blues and honky-tonk anthems. No-one else sings the Blues quite like Delbert McClinton, and even though he has been around the block a few times, he can still turn in the most incredible of performances. His voice has worn well and he can still bring down the house, as he does on ‘Wouldn’t You Think’ and ‘Out Of My Mind’. “Acquired Taste” might not have the same sucker punch as previous releases, but it is essential listening nevertheless. There isn’t an artist on this earth who can sing about love, loss and regret like Delbert can. And he can still play the harmonica, too. The man is a national treasure, and he’s still going strong after all these years. Delbert McClinton, we salute you!

Jamie Hailstone

mostly with Lino’s take on everyday life, and they fit into the category of ‘simple but effective’, as good music usually is. The variety of instrumentation, together with the high quality of the acoustic guitar and mandolin playing, help to make this an excellent example of acoustic Blues.

Mark Harrison

ZACHARY RICHARD Last Kiss

Artist Garage

The five times French GRAMMY-winner from Louisiana returns with his first album in English in fourteen years. As well as a singer-songwriter, Richard is a poet and a militant environmentalist, and defender of the French language in North America. Sweet affecting songs, like ‘Au Bord De Lac Bijou’, are a good way of keeping this language alive. The songs are a hybrid of Cajun, Zydeco, Southern country and Blues. Richard has a sureness of touch, and knows the way to highlight his songs best is to put his voice out front and let it tell its stories. His voice is a combination of Lyle Lovett, Jackson Brown and Don Henley, especially on the standout track, a hymn for New Orleans, ‘The Levee Broke’. It’s accompanied by lush arrangements and mostly acoustic instrumentation. It’s meditative, nothing is hurried and the melodies and messages are put across in their own time. ‘Some Day’ nails the Blues in a mix of

AL HUGHES

"People seem to be playing it very safe, maybe because of the financial climate, but people can be bit blinkered about the music they listen to."

HELIUM SOUL

"We've always believed in the power of music to convey thoughts and feelings, and that’s what we are about."

JAY TAMKIN

"With the Blues, it takes real feeling and soul to express it properly."

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JAMES COTTON

Mighty Long Time

KIM WILSON Tiger Man/That’s Life Retroworld

These re-releases offer a contrast in the styles of two of the most instantly recognisable and respected North American harp players. For the older school, we have James Cotton’s renowned “Mighty Long Time”, originally released by Antones in 1997. Here, backed by an exotic pick-up band, including the likes of Jimmie Vaughan, Hubert Sumlin and Pinetop Perkins, Cotton ambles through a compilation of his early material and Blues classics. Apart from his impeccable backing and faultless harp playing, one is left to wonder how much revisiting songs like ‘Straighten Up Baby’ has improved upon the original –though, ‘Hold Me In Your Arms Baby’ is superb. Cotton covers a number of esteemed writers, such as his predecessor in Muddy Waters’ band, Walter Jacobs’ ‘Everything Gonna Be Alright’, Chester Burnett’s ‘Moanin’ At Midnight’, T-Bone Walker’s ‘Stormy Monday’ and, of course, the title track, which was written by Sonny Boy Williamson. The vocals seem tired, some thirty years on from the man in his prime. On the other hand, from the slightly younger school, Kim Wilson is in fine and soulful voice throughout the 2CD set re-release of his first solo albums, originally available in 1993 and 1994 respectively. Freed, to some degree, from the constraints of The Fabulous Thunderbirds' brand of R&B, Wilson cuts loose on a variety of covers in “Tigerman”, which displays his unerring sense of history, timing and masterful harp work. Fresh and new arrangements abound, as he tackles tunes such as ‘Don’t Touch Me’ (Johnny Guitar Watson) and ‘Hush Oh Hush’ (Roosevelt Sykes). Guitarists Duke Robillard and Derek O’Brien are a different class! The highlights in the later release are too many to mention, but I haven’t heard a better rendition of ‘Time Is On My Side’. The jaunty instrumental and delightfully entitled ‘Humpin’ To Please’ shows off his harp skills, and another Wilson composition, ‘Lowdown’, jumps and grinds with typical authority. My personal highlight is the pleading vocal on ‘I’ve Been Searchin’’. These rare and under-rated solo works are a must for lovers of the crossover between Blues and soul music.

Noggin

Marc Cohn and Kelly Joe Phelps. He even coaxes a cool country twang out of the normally warbly Celine Dion on a cover of the Band’s ‘Acadian Driftwood’, which should become a staple of American country radio for some time to come.

Duncan Jamieson

Mighty Mighty Fall’ has a nice country rock feel to it and could almost be sung by a certain Michael Stipe. It’s mostly quiet and downbeat, but tracks like ‘Stole Pills’ really rock out. The less said about the album cover, the better, though – even raccoons have rights! Expect to see it lambasted in the Daily Mail any day now! You will either love it, or hate it!

Jamie Hailstone

Music anoraks, and anyone who consults the internet on a regular basis, should know there are two bands who have used the moniker Spiral Stairs. In this case, it’s Scott Kannberg, who was in the band Pavement, as well operating with a musical nom de plume as the Preston School Of Industry. After a spell in Australia, Kannberg returned him to his native Seattle and formed this new indie-rock outfit, with their debut album described as “heavy with haunted Blues and bruised soul.” At times, he doffs his musical caps to people like Elvis Costello, but don’t let that put you off. He’s a great singer, and the post-rock guitars recall such other acts as Death Cab For Cutie, the Pixies and REM. Highlights include ‘Maltese T’ and the stirring ‘Blood Money’. ‘A

MAMA’S BLUES JOINT Blues In Many Colors

Mamas

Denmark’s Mama’s Blues Joint have gone and done it again! Following on from their debut self-titled album in 2005, their new release, “Blues In Many Colors”, is a collection of great songs, played with gusto by a truly tight and professional sounding band. In Lene Stroyer, lead vocalist, they have a powerhouse singer who can express both the pain and joy of what she is singing. This reminds me so much of Connie Lush, with her attitude and humour, but with a much fuller band sound that includes a funky horn section. I can find nothing to dislike in this release, whether it be the soulful and funk driven ‘Let It Rain’, the pop oriented ‘Eat You Up’, the reggae tinged ‘Soul Kitchen’ or the slow Blues of ‘Your Good Thing’. All songs are delivered with equal quality and the topping to it all is Lene’s voice. The whole band seem equally at ease, whether backing or soloing, and Lars Fabiansen plays some tasty guitar on the slow ‘I Tried’ with a jazz feel to his solo. With a band as good as this, I am surprised that we haven’t heard more of them.

Merv Osborne

Pollock is a Glasgow born singer-songwriter who plays both acoustic and electric guitars, and has probably stronger country than Blues influences. This 2008 album is Pollock’s first full album and kicks off very smoothly. Pedal steel guitar, drums, bass, and keyboards bolster the sound well, and there are touches of horns and plenty of backing vocals, too. ‘352 On The Last Run’ is one of the more Bluesy tracks, and features some decent guitar work, but the vocals remain on the easy side, adding an AOR feel. Yes, it’s radio friendly; there’s a big sound, big production, and it’s very inoffensive throughout. When the horns and strings give their full impact, there is a powerful film soundtrack edge. ‘It’s A Drag’ keeps the acoustic feel - it starts off folky until the lap steel and drums come in. It’s nice - nice being the operative word here. Some good moments, but if someone could be more MOR than Chris Rea, Pollock does it - and then some!

Joe Geesin

MICK CLARKE Solid Ground

Taxim

This is the thirteenth release from this London-based local legend - A master of UK-based Blues-rock. All tracks are originals, and nine of those give you just what you would expect from a man of Mick’s pedigree. Right from the opener, ‘How Many Times’, it’s good solid guitar-led rock, featuring Mr Clarke’s gravel intoned vocal. For the most part, though, it must be said we are covering fairly well travelled ground here. The lyrical

HOWLIN’ WOLF

The Best Of Howlin’ Wolf 1951-1958

subject matter is exemplified in the titles ‘Graveyard Shift’, ‘It Don’t Stop Rockin’’, ‘Jesus And The Devil’ and ‘Fightin’ Blues’. What lifts this collection a little out of ordinary is the inclusion of three instrumentals and ‘Haphazard Man’, with its Cab Calloway-esque arrangement, and a far lighter, more melodic touch on the vocal. There’s variety in the instrumentals. ‘Whassat!’ has the feel of one of those late-60s/early-70s tracks that were often featured on albums at that time.

‘Tatouine’ (don’t know if this is a “Star Wars” inspired missspelling or not) takes us on to a late-70s/early-80s timeline, with a much more sophisticated feel. Then to complete the trilogy, there is a nice piece of fingerpicking on ‘Horse Bolt Stomp’, which is enlivened by some nice harp in the second half. It all goes to prove there is more to life than just rock.

Thomas Rankin

HEY NEGRITA Burn The Whole Place Down!

Fat Fox

The British Kings of Americana subtitle this one “A Real Live Acoustic Smoke Out”. Into the studio they went (plus guests on accordion and pedal steel), with the intention of recording as many tracks – no overdubs – as they could in five hours. The result is a wonderful, rootsy album of remakes of earlier material from their three studio albums (plus the title track), with echoes of Hank Williams' classic honky-tonk country, a little of the acoustic side of The Rolling Stones (who inspired the band's name, of course), a hefty helping of Bob Dylan and The Band via “The Basement Tapes” and a side-order of The Band's classic self-titled album. Leader Felix Bechtolsheimer's vocals are totally effective and the stripped-down accompaniments are

Proper I’m in danger of getting a ‘proper’ reputation for praising this label, but when you hold a nugget such as this release in your sweaty mitts, what else can you say other than: Proper have done it again! The first of the four CDs, “Po’Boy” is a celebration of Wolf classics performed by some great originators – there’s Sonny Boy Williamson, Charley Patton, Skip James and numerous others, on twenty songs which all passed through the mighty Chester Burnett’s repertoire. The twenty-four-page booklet contains everything you need to know, but (disgusted of Tunbridge Wells alert…) why, oh why set the four-point typeface at double spacing when, at 1.5 or single spacing we could have had an easier read at six or seven point? Those of us who actually remember Wolf are lucky enough to be alive and standing, so trying to read liner notes with a magnifying glass somewhat detracts from the overall pleasure. (Ah, for the 12 inch sleeve days…). The two actual Wolf albums included here, “Howlin’ Wolf Boogie” and “The Wolf Is At Your Door”, are things of primitive power and pagan pleasure (beat that for alliteration), and the bonus DVD features some significant talking heads, including the dedicated and compassionate Dick Waterman, Charlie Musselwhite and Blues encyclopaedia-on-legs Paul Oliver. If there are still any newcomers to the Blues reading this magazine, who have never had their extremities grabbed by the Wolf, then step inside this cage and let him rip. What a joy he was.

Roy Bainton

spot-on. The band sound like they are having as good a time playing as you will have listening.

Norman Darwen

SAMBA TOURÉ

Songhai Blues: Homage To Ali Farka Touré

Just in case you were wondering, “Songhai” refers to a tribal people mainly centred on Mali, the country of origin of singer and guitarist Samba, who was born near Timbuktu in 1968. He was inspired by and eventually toured with Ali Farka Touré, the great desert-Blues master who died on 7th March 2006.

Ali himself had been inspired by the records of John Lee Hooker and others to create his own uniquely West African take on the Blues, and the style has, of course, spread and increased in popularity. Although he began recording in 1976, it really only took off over the last decade and a half, following his “Talking Timbuktu” collaboration with Ry Cooder. Of course, his former accompanists and relatives have all played the desert-Blues – Afel Bocoum, Bassekou Kouyate and Vieux Farka Touré among them – and Samba himself is certainly a master, with a similar combination of Bluesy guitar and traditional African percussion, aug-

CYRIL NEVILLE Brand New Blues

DixieFrog

Maybe not brand new, but it is mighty fine stuff! This is the fourth solo effort from the youngest of the Neville brothers. Surrounded by fine musicians, including family members Ian, Ivan and Art, plus guitar hero Tab Benoit and the excellent Brian J. There’s a nice mix of originals and covers over the ten featured tracks. Musically, the album can almost be split in two. The first half leans more to what you may traditionally expect from Cyril. It’s full of real Louisiana spiced influences and rhythms. Opening with a suitably cheerful take on Jimmy Reed’s ‘I Found Joy’. This is followed by the classy, funky title track, a couple of more up-tempo, very heavily innuendo laden numbers, in ‘Shake Your Gumbo’ and ‘Cream Them Beans’, and the almost obligatory soul ballad - a quality version of Brook Benton’s ‘I’ll Take Care Of You’, which was made famous by Bobby ‘Blue’ Bland, and recently covered by Mick Hucknall. The second half of the album takes on a much more classic Blues feel - more socially and politically aware. This culminates in what is undoubtedly the album’s piece de resistance - a version of Bob Marley’s ‘Slave Driver’. The reggae anthem becomes a slow Blues - new lyrics reflecting the tragedy that is New Orleans in the aftermath of Katrina. His heart may be in the Blues, but his soul still belongs to the bayou.

Thomas Rankin

STONE THE CROWS Radio Sessions 1969-72

Angel Air

Other than avid collectors, I can’t see this two-disc set selling particularly well, which would be a real shame, because the

Norman Darwen

music within is excellent. Maggie Bell is on top form throughout, sounding like Janis Joplin at various stages, whilst original guitarist Leslie Harvey lays down some fine earthy Blues. Harvey was tragically electrocuted to death onstage in 1972, and his replacement, Jimmy McCullough, is featured on a few tracks. Disc one has the edge over the slightly later material.

‘Touch Of Your Loving Hand’ features the more than adept vocals of James Dewar, as well as Bell on this slow, soulful Blues tune. A superb lengthy instrumental, opening to ‘Freedom Road’, is offered before Bell steps up to the microphone on this progressive rock track, and it is only bettered by a cover of Bob Dylan’s ‘Ballad Of Hollis Brown’. This time it sounds like Grace Slick fronting a heavy Blues band, with the track running over thirteen minutes, and with a dark foreboding underpinning the track. The music accentuates the story of the desperate, broken man, whilst the jam to finish is absolutely fabulous. The second disc isn’t quite as good, but features a fine cover of the Blues standard ‘Goin’ Down’, as well as a great blast of rock’n’roll with ‘Big Jim Salter’. This is an excellent set that is well worth searching out.

Andrew Baldwin

ZACK PRATHER & SLIGHT RETURN

Freak

Chicago born Zack Prather had an interesting introduction to the music business, making his first record at 15 years of age, then moving to LA where he teamed up with Cash McCall. Together they backed the likes of Screamin’ Jay Hawkins, Etta James and Willie Dixon - the man credited with teaching Prather all about the Blues. Time with Luther Allison saw Prather move to Europe, where he is now based.

“Freak”, recorded with his Swiss backing band Slight Return, is a rare venture into the recording arena, but what a great release it is! Calling upon all the styles that have influenced him over the years - Blues to funk, soul to country, there is something here for everyone. Opening with ‘Steam Roller’ - the track is exactly that, powering forward before ‘Mercy’, where the band is locked into a funky groove. ‘Freak’ is a spunky remodelling of Rufus Thomas’ ‘Walkin’ The Dog’. ‘Cadillac 69’ is an up-tempo Blues boogie with some Albert Lee styled picking. Otis Rush’s ‘All Your Lovin’’ is reverentially treated with a pleasant soft tone to the guitar. Likewise, Bill Withers’ classic, ‘Ain’t No Sunshine’ is respectfully treated and Prather’s voice comes over well throughout. Prather is a class act, it’s just a great pity we don’t see more of him.

Merv Osborne

THE

CURTIS WHITEFINGER ORDEAL

The Curtis Whitefinger Ordeal

Black Thumb

Now here’s an album that is difficult to label - both in genre and accessibility. Curtis Whitefinger, from Nottingham, is a guitarist with a slightly different approach - eschewing the normal solo styles and preferring a more complete fret scratching/ hammering style that allows rhythm and solo at the same time. On this self-titled five track album, the trio rip it up, and if comparisons can be made, then I had to think of early Cream,

JOHN MAYALL Tough Eagle

A new album for the tireless John Mayall, who, unbelievably, has now reached the grand old age of 76. It’s new in every sense of the word: Buddy Whittington has been replaced by an equally brilliant guitar player named Rocky Athas, Joe Yuele left his drums and sticks to Jay Davenport, whilst Greg Rzab remains on bass. It’s a kind of facelift, with the energy of those young 30-year-old electric Blues musicians giving John’s music a brand new shine - less ‘roots’ than before, but exploding with energy. It’s fair to say they’ve given a new lease of life to the British Blues legend. There may be a few nostalgic purists who’ll find that this album sounds more FM than Blues, but this is the sign of evolution - a rebirth engineered by of one the Blues masters? As if to laugh off possible critics, John Mayall has given his new album a title which says a lot about his determination to defend, but also to change the Blues. This guy is not happy with being a living legend; he also wants to be seen as a craftsman, forever shaping up the Blues with all his heart. And this heart beats strongly, with tracks like ‘Nothing To Do With Love’, ‘Playing With A Losing Hand’ and the punchy ‘How Far Down’. Respect to Mr. Mayall.

where all three musicians were busy following their own agendas - all trying to outdo one another in the solo field. Certainly John Russell on bass is capable of brewing up a storm. Four of the tracks are Whitefinger originals that raise two fingers at predetermined values and norms, and at twelve minutes in length, ‘Time Is Short’ is an extended jam session that sounds as if it has captured all it set out to do. The cover here is ‘Don’t Do It’, a Holland/Dozier/Holland song that is unrecognisable from the original. I’m not sure all the tracks work together on the CD, but I’d like to see these guys in the live arena.

Merv Osborne

DAVE PRESS

The Blues Album

davepress.com

It might not be the most original album title in the world, but at least “The Blues Album” does exactly what it says on the tin. It contains ten acoustic Blues tracks, all performed by Mr. Press,

THE DEAD WEATHER

Horehound

Third Man/Columbia

Meg White’s anxiety issues are well documented (having cancelled White Stripes tours in the past), and you would understand her panic on hearing Jack White’s latest venture – after all, what’s his motivation for reviving the Stripes circus when he sounds far more enthused and creatively inspired with projects outside the band (from helming Loretta Lynn’s “Van Lear Rose” to this, his latest ‘supergroup’). The album starts conceited enough (‘60 Feet Tall’) that you fear this is one gathering of egos too far for the once Detroit music scene’s saviour, but by second track ‘Hang You From The Heavens’, White’s penchant for Zepp IVesque bruising Blues-rock is realised in a way The White Stripes only hinted at on their last album (“Icky Thump”). White’s ability with the sticks (he takes on the role of drummer and vocalist) may be no more advanced than his much maligned former partner’s, but with Dean Fertita (Queens Of The Stone Age) and “Little” Jack Lawrence (The Greenhornes) on guitar and bass respectively, he provides the devilish rhythmic clatter from which Alison Mosshart can fire off her venomous tirades - her disturbed duet with White, taking on the roles of beleaguered lovers, on the Spanish-flavoured ‘Rocking Horse’ is particularly provocative, but it’s a fearsome collaboration throughout. In fact, her own musical partner, Jamie Hince, will have his own nerves jangling, ‘cos whilst he’s content to get snapped by the paparazzi with supermodel girlfriend Kate Moss on various businessmen’s’ yachts and expensive shopping sprees, his Kills bandmate has unplugged the drum machine and assembled a group of musicians as musically intimidating as her effortlessly sultry vocals.

Darren Howells

who has been performing with his own band in London and the south east. It clocks in at less than thirty minutes, so this might not be the longest record ever recorded, but what it lacks in length, it more than makes up with in terms of quality. Press is a first-rate guitarist and singer. The opener, ‘Jesse James’ is spine-tingling stuff. The flurries on the guitar really prick up your ears, and he really nails the vocal with an incredible performance. Dave sings like a younger, make that much younger Bob Dylan. If you can remember when Mr Zimmerman could sing a note, as opposed to strangle it and leave it for dead, then this is the CD for you. There is some great slide guitar playing. It might not be the most lavish or glossy record you will hear, but it is as worthy as it is unpretentious. It’s half an hour well spent, and no mistake.

Jamie Hailstone

STEPHEN FEARING

The Man Who Married Music: The Best Of Stephen Fearing

Fearing has been in the music business for many years now, releasing several albums, and he is a talented singer-songwriter. He is Canadian by birth, but spent several years in Ireland before returning to his roots, and that explains the Irish lilt in his sound. His music errs on the side of folk and pop, but there are strains of the Blues to be heard. This is a ‘best of’ collection, hand-picked by the man himself, spanning tracks from 1988 to the present, including two new unreleased tracks. He’s a decent vocalist, but can also play some pleasant guitar, as he does on ‘Yellowjacket’.

‘Beguiling Eyes’ has a beautiful melody and pleading vocals on a tale of unrequited love. The listener will feel like he is intruding on ‘Turn Out The Lights’, an intensely personal song that is heartfelt and sad. There are a few live cuts, the best probably being ‘The Longest Road’, a love song to his Canadian homeland. Fearing’s songs are reflective, poignant and nostalgic, and he will create an image in your mind’s eye.

Andrew Baldwin

MEMPHIS SLIM

Nobody Loves Me (Everyday I Have The Blues)

Wolf

Fip, Fil And Fim

Milan/Warner Bros.

Thankfully, there’s no such thing as too much of Memphis Slim, so two albums out in the same month, totalling sixtysix tracks is a cause for celebration. A big man - big in talent, Slim, or John Chatman, was born in Memphis in 1915, and like so many other African-American Blues artists, denied their due respect back home, he moved to Paris in 1962, where he passed away in 1988. His piano style is bold, rolling and immediately identifiable, and he was never afraid to experiment with a variety of styles – his back catalogue amply demonstrates this. So, here, on the “Nobody Loves Me” CD we get some real vintage Slim, with that clear, tuneful diction and trademark quality piano, and on the French CD “Fip, Fil And Fim”, the title track is enough to hook you for the whole twenty-one cuts. And on this album he has a rockin’ little band, too – Sunny Blake on harp, Evelyn Young on sax and

additional vocals from Booker T. Laury. Thank the Lord for the wonder of re-issues of quality such as these.

Roy Bainton

DAVE PERKINS Pistol City Holiness

Loud and proud, Dave takes route one to the kingdom of Blues-rock. His growling vocals and muscular guitar work are more than ably supported by a pounding rhythm section - a very much in-form Reese Wynans on piano and organ, and some masterful harmonica work from TJ Klay (more Sugar Blue than Little Walter). Dave has a lot of experience in the alternative rock scene in America, and the big, dense production underlines this. Many of his songs – eleven originals out of a dozen tracks, Don Nix's 'Going Down', best-known from Freddie King's blazing version, significantly being the only exception – use traditional sounding melodies and rhythms, though sometimes buried deep under the explosive music. His lyrics often betray his southern heritage – particularly 'Preacher Blues'. 'Devil's Game' slows the tempo and has fellow southern rock guitarist Jimmy Nalls as guest; the slightly reduced volume level and laid-back rhythm provide a needed breathing space, but if you like big, blasting, Blues-rock, track this album down – it repays the effort.

Norman Darwen

ERICK HOVEY Recycled Souls Blues Farm

erickhovey.com

56 DELUXE Like I Do

56 Deluxe

Many years ago, Hawkwind used a busty German exotic dancer to enhance their live appeal. They probably didn’t need to, but they did, and red blooded male fans attended each gig with a little extra spring in their step. Washington’s AZ Kenny Tsak and his Deluxe 56 have followed a similar marketing route, and live events are adorned by a quartet of leggy beauties. They won’t be the reason why Tsak is gaining a serious following since his return to the music business in 2005, after a twenty-four year hiatus, and the girls could only distract from some very worthy material - robustly, expertly and riotously played by Tsak himself and some tight sidemen. With a voice sounding like a canvas duffel bag full of bricks and rusty padlocks, he taps into what R&B fans like, and provides it with plenty of embellishments, like James Holt’s classy keyboards and Frank Perez’s mellow, rasping sax. It’s red hot rocking Blues at its blistering best!

‘Down South In Florida’ is especially enjoyable, as is the raunchy cover of Willie Dixon’s ‘I Just Wanna Make Love To You’. It’s occasionally formulaic, but when it sounds this good, who cares? Buy the record, and embrace the unusual marketing ploy in the interests of cultural research.

Richard Thomas

2000 LBS OF BLUES Soul Of A Sinner

myspace.com/2000lbsofblues

A Californian band known for their ‘40s jump Blues, but on this release, Mike Arguello (lead vocal) and Kirk Fletcher (guitar) have made a successful transition into soulful and funky harmonica Blues. Fellow band members Rich Wenzel (piano), Gonzalo Bergara (guitar), Bobby Tsukamoto (bass) and Tom

The first of this double release by the Iowa farmer, “Recycled Souls” has fifty minutes of fourteen selfpenned tracks, with Erick on guitars and vocals (Tom Gary is on keys, Jeff Foreman on drums, Dan Lodden on bass and Heather Kelly on vocals). There is a relaxed easy paced rhythm throughout, but sweet, chunky guitar lines replace wah wah, then a picking style, for example, provides subtle variation. Soloing is constrained, fluid and concise. His vocal style is pleasant enough, with an almost spoken cadence, but there is a lack of tonal variation. Serious lyrics do form a counterbalance with songs of life, love and death drawing you in. Reincarnation is the theme, hence the album title. ‘Hazy’ has a reggae beat and ‘Half Dead’, with the lines, “Don’t go looking/You don’t know what you might find,” demonstrates the contrast between the lyric and the musical style. ‘Thousand Times’ evokes the theme - “If I had a time machine/I’d comb the centuries looking for you”. ‘Sweet Fire Rain’ stands out, as it builds in intensity, using call and response between lead and backing vocals. This is singer-songwriter with eclectic influences, including reggae, rock’n’roll, country, and swing. A listenable album, but Erich Hovey is no Stephen Bishop or Marc Cohn. “Blues Farm” comes in at forty-eight minutes of twelve tracks, with the above mentioned personnel supplemented by Andy Blumenthal on harmonica and Al Foreman on trumpet. Do not be fooled by the title, though, as there is no real difference between the releases, other than a lighter more commercial feel. This is not the Blues of his earlier releases.

Bob Chaffey

Fillman (drums), and a horn section, are joined by guest harp players Johnny Mastro and Eric von Herzen. Thirteen tracks, all bar one penned by Arguello himself or with Rich Wenzel, last sixty-three minutes. Arguello is a talented vocalist, changing from earthy gravel to smooth (think Omar Dykes). Highlights include ‘Who’s Jivin’ Who’, featuring lovely, fluent guitar licks and soulful backing vocals by Teresa James. ‘Don’t Jump’ is a tongue-in-cheek tale about accidentally pushing his girlfriend out of a window! ‘I Need Your Love So Bad’ is given a quicker tempo than the Peter Green version, but remaining sympathetic, with an evocative vocal, subdued horns and inventive and tasteful guitar soloing. The title track is a rollicking piano country Blues, with a Blues shouter vocal. ‘Belly Of The Beast’ is the bête noire - a New Orleans flood protest, but with a rap section and narrative commentary that grates with the other material. However, this is a fine body of work - feel good, foot tapping, funny and danceable.

Bob Chaffey

J DORSEY BLUES REVIVAL

The opener sounds like The Rolling Stones, circa 1969, both in the vocal and musical arrangement, before a female singer takes the lead on the second track, a vaguely Yardbirds-inflected sub-psychedelic Blues-rocker based around a riffing keyboard – and she stays there except for the flatout rocking Blues closer. Josh Dorsey’s four-piece band, out of Cincinnati, Ohio, is firmly rooted in the sounds of the ‘60s Blues revivals, most often in a busy “freakbeat” style, but with a subtle contemporary twist (listen to Kristen Kreft sing “What have you done for me lately?” in the middle of ‘Get It Together’, which also contains “get your s**t together”, a phrase that certainly would not have made it onto record way back when). Plenty of heavy sounds, raw, distorted guitar playing, and manic electric piano, plus some fine Janis Joplin sounding soul on ‘Come Too Late’, but the title track opens with some straight Mississippi Fred McDowell flavoured slide guitar, and has traditional lyrics, before opening out into a sprawling slab of Blues-rock. These guys are different and good!

Norman Darwen

THE BILLY BATS

The Billy Bats

myspace.com/thebillybats

The Billy Bats are a two-piece from Kansas, consisting of Jason Vivone on guitar and vocals, and Zach McCall on drums and vocals. As such, comparisons to The White Stripes seem inevitable. Indeed, a song like ‘Tangled’ could in fact be the Stripes. However, what stops them becoming merely copyists is that their Blues influences appear genuine. There’s an Elmore James feel to ‘Crash And Burn’, a Wolf vocal married to a Hooker boogie on ‘Subtle Nuance’, and a Robert Plant lustiness to ‘Kung Pow Chicken’. It’s fat, bassy music with plenty of space in it. They’ve retained the rhythm of the Blues form but dispensed with the histrionic guitar parts. What Billy Bats have in their arsenal that gives them their own identity is a deadpan Blues

MARSEILLE FIGS

Jumbo

Figs Of London (EP)

Essentially rooted in London’s art school scene, and inheriting its high octane creative juices, this nomadic and disparate trio apparently travel from different Europe homes to perform. Strange then, that such a multifarious outfit, famed for improvised “experimental folk punk,” should produce such a conventional sound this time around. The vocals of songwriter J. Maizlish Mole are compelling enough to make ‘Jumbo’ a strong opener, but it’s a bit nondescript thereafter - although, final track ‘The Long Goodbye’ is a camped up show-closer par excellence. Ex Pogues bassist Darryl Hunt is in there, but sadly almost undetectable, and things are generally a bit too high pitched. There is a really good band, and a really good record in here somewhere, though - perhaps I missed the point.

Richard Thomas

SMOKE FAIRIES

Frozen Heart

Music For Heroes (EP)

The opening few bars of whining slide guitar hint at alt.Blues, but then the ethereal vocals come in - high and pure, and the impression is of a stripped-down Bluesy Steeleye Span - particularly as that band were partial to the odd spooky-sounding number or two. The final number, ‘He’s Moving On’ has more than a hint of old-time country music behind those exquisite harmony vocals, and in between are a further three tracks comprising a singer-songwriter approach, a little Blues, some English folk-rock, and a Celtic drone. Jessica Davies and Katherine Blamire make music that is sparse, haunting and intriguing.

Norman Darwen

SHOTGUN HEART CLUB

Devil’s Road

myspace.com/shotgunheartclub (EP)

“Devil’s Road” starts promisingly – uncomplicated and uncluttered with a subtle and unexpected second dimension. The title track is an obvious highlight, but the quality doesn’t drop far. The production is sympathetic if slightly formulaic, on occasions. ‘Flood Warning’ is a more menacing version of the Sweet’s ‘Blockbuster’ and ‘Come On’ is Bill Haley with long hair. This lot know how to keep a rhythm, how to leave the beaten track and how to write songs, but it’s not especially groundbreaking, and there are some naked influences. However, it’s moody, angry, well crafted with strong musicianship. Someone sign them up.

Richard Thomas

NATE CAMPANY & THE SERENADE

The Only Bridge I Need

Lojinex (EP)

Originally out of Ohio, but now based in Brooklyn, Nate Campany and his eleven-piece band, The Serenade, have put together this short but sweet EP. Recorded live in the studio, “The Only Bridge I Need” is a brief insight into the musical world of Nate - a blend of pop, Americana and alternative country. And it’s good, especially the opening track, ‘Stockholm, Paris, New York’. Nate describes his solo work as “nothing fancy.” Indeed, it isn’t fancy, but it has a romantic, Americana charm and is well worth a listen. This EP is a short taste of a full CD, “Estella”, due to be released later this year. Be sure to look out for it.

Davide Styles

MICK STOVER’S GENTLEMEN’S BLUES CLUB

The Sky’s On Fire

BIG GILSON Sentenced To Living

Blues Boulevard

Mick Stover, one time bassist with BB Chung King And The Buddaheads, has released an album of no frills Blues-rock that is dripping with power and excitement. Underpinned by a stomach churning bass line, this band - few gentlemen amongst them, I wager - take no prisoners. From the opening thunderous biker anthem of ‘Red White And Blue’, the titles indicate the nature of their music. ‘The Bastard’, ‘Walking Dead’ and ‘Shotgun Wedding’ are but three titles that indicate the attitude of this outfit. No matter whether the song is full on rocking or somewhat slower and laid-back, the threat of their potent aural assault is always there - the listener never knowing when it may be released! All studio tracks are band originals, and with Stover producing and Alan Mirikitani, aka BB Chung King, guesting on guitar and vocals on several numbers, as well as being engineer, mixer and mastering the album, the quality is excellent. The three bonus live tracks give a good pointer to how this band sound in the flesh and my favourite track is their version of Led Zeppelin’s slow Blues, ‘Since I’ve Been Loving You’. Brazilian guitarist Big Gilson, who has toured Europe and the Americas, is now attempting to break out from his homeland stronghold and ply his recorded music globally. Along with his band The Blues Dynamite, Gilson is augmented on nearly every track by a plethora of European and American musicians. The result is predictable, but quality. Gilson plays all manner of guitar and is no slouch on the Gibsonator slide, as on the title track ‘Sentenced To Living’ or the slow, smouldering ‘It’s Hard To Say Goodbye’ - complete with an excellent sax solo! At times, his powerful voice lets him down, but generally it suits the hard rocking Blues found within. I enjoyed the funky, Stones-esque ‘Ready’, with its horn section; the energetic ‘I Wonder Who’ that opened the album; and ‘Silver Train’, a blast of a duo between slide guitar and Jefferson Goncalves on harp. On the downside, however, I feel that Big Gilson has missed the opportunity to bring his Blues, tinged with a Brazilian influence, to the world, instead replicating what is being produced so industriously elsewhere.

Merv Osborne

sense of humour, such as the “MSG is good for you” chant in ‘Kung Pow Chicken’; the furtive development of a fledging relationship in ‘Bed Or Sofa’; or in the kookiness of love song ‘Sweat Pea’. It’s too adult and knowing to capture the teenage market the Stripes have, but for those with a taste for irony and off kilter Blues then you should find something to sink your teeth into here.

Duncan Jamieson

MUDDY WATERS

The Johnny Winter Sessions 1976-1981

Raven

Although there were many worthy contributors, Muddy Waters was arguably the most instrumental Blues musician in laying the foundations for the development of rock music. Leaving the rural south in the mid-40s, Muddy transported his Delta Blues to Chicago, and with the help of a fledgling label and, of course, some electricity, he began to define not only the typical Chicago Blues sound, but the foundations for the rock phenomenon that followed. Not just musically, but also leaving a blueprint for the rock band format. For many, including me, his early recordings for Chess Records have an almost religious, untouchable aura. So much so that his later work has never particularly interested me. In 1975, Muddy’s thirty year association with Chess records ended. Enter Johnny Winter. Over five years, his collaboration with Winter produced five albums from which this collection is garnered. Reverently revisiting such classics as ‘I’m Ready’, ‘Rock Me Baby’ and the very track that

started it all, ‘I Can’t Be Satisfied’, Winter brought out the best from Muddy and his band without compromising the integrity of his music, which is something his final recordings for Chess singularly failed to do. Whilst perhaps not surpassing Muddy’s early recordings, these tracks can stand up and be counted. If, like me, you have previously never given this material a second look, then this collection is a good place to start.

Davide Styles

JACK BRUCE & ROBIN TROWER

Seven Moons Live Ruf

“Us old guys, we get it right eventually,” murmurs a pleased Jack Bruce at the end of this show, recorded in Holland in February 2009. He is right to be pleased. The audience – and the music – start out a little muted, but all is right by the end. Back in the early-70s –when guitarist Robin Trower was touted as “the new Hendrix”, a power trio collaboration with bassist/singer Bruce and highly respected drummer Gary Husband would have been dubbed “a supergroup”, especially following on from Jack's membership of Cream. Trower does a nifty job of

showing his complete mastery of the wah wah pedal here, but when the repertoire turns to the Cream side of things, he does just enough to show his awareness of Eric Clapton's work, but puts across his own personality even more forcibly. As some of the numbers are dirge-like, and prone to overlengthy improvisations - taking themselves a little too seriously - it helps if you are of a certain age, and remember these guys and this music from the first time around. If that is the case, then as Jack says, you'll find this “a lovely vibe!”

Norman Darwen

THE BILLY WALTON BAND Neon City

billywaltonband.com

The US State of New Jersey has given the world its fair share of top musicians, including Bruce Springsteen, Walter Trout and Bon Jovi, and The Billy Walton Bands takes on this fine tradition in style. Billy’s use of guitar effects is masterful, but this is no surprise, as Billy was mentored by Roger Mayer, a major player in the development of effects in the ‘60s for the likes of Hendrix. Joined by bass and synth player William Paris and drummer Marcus Croan, with special guests John Larachi and Jerry Ramos, this CD reveals what a bunch of highly talented musicians they are – and gives them long overdue recognition. All tracks, apart from the last, are cowritten. The CD fires off with Blues-rocker ‘Radio’ - very indicative of the New Jersey style. If Bon Jovi had recorded this, it would have been an instant chart hit, and Ritchie Sambora would have been hard pushed to better the guitar solo, as it explodes into a glorious display of guitar technique. ’Neon Light’ is a Blues-rock ballad that carries on the fine vocal on display throughout the CD – and just take a listen to the effect usage on this track. ‘Soul Song’ starts in

Blues reggae format and finishes with a guitar master class. ‘Papa Was A Rollin’ Stone’ is the only cover, originally a Motown soul song that Billy drags kicking and screaming into the Blues! A superb album.

Carol Borrington

THE CATS

Let’s Have A Good Time

myspace.com/thecatsputtintherockinroll

Right from the start – the raucous instrumental ‘Peter Gunn’ – there is no doubt that this UK rock’n’roll trio know that the roots of their music lie in the Blues and Blues-inflected rockabilly (the Brian Setzer look of bassist and singer Andy ‘Mac’ McMillan and guitarist Fraser ‘Flash’ Graham tends to underline this), and indeed, a number like the slower ‘Women Are From Mars’ could pass muster on any album by any of today’s British Blues-rockers without comment (well, at least not on the music…). This debut CD includes a couple of rock’n’roll ballads, plus a mid-tempo ‘Babes In The Mood’,

which has a rockaNorman Darwen

ALBERTA CROSS Broken Side Of Time

Ark

Alberta Cross are a five-piece band presently based in New York and built around the Anglo-Swedish songwriting partnership of Petter Ericson Stakee and Terry Wolfers. They have been making quite an impact on both sides of the pond in the last two years, and have been compared to Kings Of Leon and The Black Keys. It might be better to say that Alberta Cross have managed, through their cross-fertilisation of Blues with rock, folk and gospel, to produce their own take on Blues music in the 21st century. This is their CD debut, and it kicks off with ‘Song 3Three Blues’, a Blues-rock ballad very reminiscent of Neil Young in structure. Heartwrenching vocals are passionately underlined by the instrumentals. ‘ATX’ jettisons you into a full-blown rock/Blues number, with its blistering vocal, supplemented with vamped up guitars and power drumming - a high impact number. ‘Broken Side Of Time’, the title track, is a moody, Blues-rock/folk ballad fusion, complex in its instrumental structure, the song rises and falls in tempo in response to the intensity of the vocal - all topped off with some great drum breaks. This CD is full of promise of a band on the verge of becoming a household name. There is a distinct feeling of the influence of the past masters of Blues, rock and folk but growing into the present, with one foot already in the future.

MR BLACK & BLUES

Michael Pollitt, a.k.a Mr Black & Blues, has travelled the world with his music, been a much sort after session player with musicians like Barry White and Marc Almond, and is capable of crossing genres with ease. Yet, his passion has always lain with the Blues. “The Morning Light” is his debut CD, and it is a testament to not only his musical skill but also his courage in the face of adversity. Michael was in a freak surfing accident, broke his neck, and was unsure if he would ever play again. The music he composed during this period is contained in this CD. ‘Corrina’ is a catchy rocking Blues ballad. Michael’s vocal has a more dry polished sound than the rough grit of many Blues vocals, with good intonation and feeling. There is some superb harmonica playing on this track from Lorne Stockman, also. ‘Two Forty Two’ is a Blues-rocker with impressive drumming and double bass, interpretative guitar adding to the vocal. ‘The Morning Light’ is Blues gospel - a song of hope. On ‘Going Down Slow’, Michael follows in the footsteps of Robert Johnson with his take on a visit to those fabled crossroads! This is a good debut that has something intrinsically embedded in it which is hard to quantify - it is life-affirming Blues.

Carol Borrington

DELTA WIRES Live @ 105 Degrees

Mud Slide

Delta Wires are a big, seven-piece, high-energy harmonica and horns Blues band from the Oakland/San Francisco Bay Area. This excellent collection of nine live tracks, running at just over

forty-five minutes, was recorded at the 2008 Northern California Blues Festival. It must have been some day! Having been around for over thirty years, they are decidedly old school, but play with a verve and enthusiasm that many musicians half their age cannot match. From their opener, a cover of Willie Dixon’s ‘Monkey Man’, they are off and running. A classic jump jive version, featuring a classy horns section. More of the same on ‘Pontiac Blues’, but with the harmonica sharing the limelight. Then we have a brassy, more Blues feel on ‘Big Leg Woman’. This is followed by a big soul ballad ‘Save Your Love For Me’. Plenty of variety so far, and it continues with three Blues tracks before winding up with two soulful, funky pieces, including the extended jam on final track, ‘J.B. In Oakland’. The whole album is infectious! Sounding better than many studio albums, it really captures the moment, conveying the joy the musicians obviously feel. It certainly put a smile on my face.

Thomas Rankin

NELSON KING Blue

NKR

Multi-talented Brighton born Nelson King wrote and produced the nine tracks on this, his latest and self-released CD, which was recorded at Empty Spaces, England. He cites esteemed British songwriters George Harrison and John Lennon amongst his favourite writers, but the influence seems more in the ilk of Chris Rea than that. Here he has moved from his previous more singer-songwriter compositions towards a true Bluesy feeling. This mood is largely achieved through some tasty guitar picking, and sparse rhythm tracks.

A feature of this album is its recording, which truly filled the room with its precise and full sound, none more so than during the sumptuous instrumental, simply entitled ‘Blue’. King is the

Carol Borrington

COMMANDER CODY

Rockpalast: Blues-Rock Legends Vol.1

JOHN CIPOLLINA/NICK GRAVENITES BAND

Rockpalast: West Coat Legends Vol. 1

JORMA KAUKONEN & VITAL PARTS

Rockpalast: West Coast Legends Vol.2

SPV

Rockpalast first started in 1974 as a German music television show, and over the last three decades has recorded hundreds of musicians. These three releases mark a small amount of the output by the company. The Commander Cody, a.k.a. George Frayne gig was recorded on 1st July 1980. Frayne and his band, Lost Planet of Airmen, had by this time become cult figures - the band being known for its boogie woogie Blues, rockabilly and country music. The audio has been remixed well, and the sound quality is good throughout. ‘Two Triple Cheese’ is hilarious good old-fashioned rock’n’roll, on the subject of the great American hamburger. ‘Beat Me Daddy 8 To The Bar’ is great ‘50s style boogie woogie. ‘Sea Wolf’ is gritty Blues-rock of real quality, with wailing guitar, power drumming and great sax underpinning impressive vocals. The music, instrumentals and vocals on this disc are not only classic but also damn good. The John Cippollina And The Nick Gravenites Band were recorded in Dortmund on 28th November 1980. John Cippollina sadly passed away in 1989, and he never produced a solo album, so this recording is rare. Guitarist Cippollina founded the San Francisco band Quick Silver Messenger Service, and it was there he met up with singer, songwriter, guitarist and producer Gravenites, who produced their first album. It kicks off with ‘Southside’ a Chicago Blues number. ‘Signs Blues’ is a heavier Blues-rock track, with some impressive guitar gymnastics. The Jorma Kaukonen & Vital Parts gig was recorded on 29th November 1980, again at the same venue in Dortmund. Kaukonen was a founding member of Jefferson Airplane, playing on their hits 'Somebody To Love’, and 'White Rabbit'. A leading player of fingerstyle, Kaukonen is known for guitar work in primarily Blues, folk and rock. Most of the tracks are raw rock’n’roll and Blues, and there is good demonstration of fingerpicking throughout. There are classic numbers to be found on this recording, including ‘Keep Your Lamps And Burning’ and ‘Wakin’ Blues’. All three CDs are aimed at collectors, and will satisfy fans of each act.

master of understatement, both lyrically and musically, and the late night feel of this work treads a careful line between moody and the mundane. Only occasionally does he allow a guitar solo to embellish the tune, but when he does, you are left wanting more - for example, on the groovy ‘Clouds Of Steel’ and percussive ‘Affairs Of The Heart’. His vocal style is tuneful and suitably relaxed. The subtleties of this album are exposed with repeated plays, and the highlight is ‘The Blues Is On Its Way’, in which King accompanies himself only with electric guitar.

Noggin

SUE FOLEY Queen Bee – The Antones Collection Retroworld

These days, Canadian singer and guitarist Sue Foley is something of a champion of women’s Blues. Her first album, though, back in 1992, was accurately entitled “Young Girl Blues”, as she was all of 22, and the Blues was still largely a male affair back then. Sue was based in Austin, Texas at the time, having signed for Clifford Antones label, and that debut made a strong impression. Sue may not be the best singer – her voice is rather thin, but it generally does the job – but her Blues guitar

playing is something else altogether. This set cherry picks four titles each from her five albums for Antones. The debut set is represented by one original and covers of no less than Slim Harpo, Ike Turner and Earl Hooker – which isn’t exactly taking the easy route. Sue does them full justice, though, backed by some of the Lone Star State’s finest. This incredibly high standard continues throughout the twenty tracks of this superlative set, and her two Bob Dylan covers are turned into stone Blues numbers, too. Impressive!

Norman Darwen

MR GROOVE BAND

Rocket 88: Tribute To Ike Turner

Zoho

This CD is the work of the Mr Groove Band, who are a group of experienced session players based in Nashville. Under

the leadership of Tim Smith, producer, arranger and bass guitarist on the CD, they have put together a chronological tribute to the long career of Ike Turner. There are also guest appearances by Bonnie Bramlett, famed for music with late husband Delaney Bramlett, and the first white female singer in Ike and Tina Turner’s Ikettes. Audrey Turner also features on the CD - she’s a singer-songwriter and actress, and Ike’s wife in the latter years of his life. Together they take a journey of fifty years, covering the music of a man considered one of the fathers of rock’n’roll, and with a lifestyle almost as famous as his music. The CD opens with the title track ‘Rocket 88’, which was originally recorded in 1951 at Sun Studios in Memphis. This cover has a real feeling of period authenticity, with its great brass and piano accompaniments, and vocalist Darryl Johnson giving it that early rock’n’roll feel. There can be few who have not covered B.B.

DOUDOU SWING

Doudou À Feu Doux

Frémeaux

A slightly old-fashioned (in today’s terms) music that finds the guitarist playing chords or breaking into dazzling single note runs… no, it’s not the Blues, it’s French gipsy-jazz! Don’t move onto the next review just yet though – it can be quite Bluesy in places, and B.B. King admits to a strong influence from Django Reinhardt, who virtually invented the genre. The bass player, Antonio Licusati, has a taste for Blues, jazz and rock, whilst second guitarist Victorine Martin supplies the necessary push. The leader of this particular string-jazz trio, though, is guitarist and singer Philippe ‘Doudou’ Cuillerier, himself of a notable musical family - and he can generate a mighty swing indeed. That, of course, should also highlight the fact that this kind of material is very close to the swing Blues sound so popular these days – and fans of that should certainly investigate this.

Norman Darwen

DR. JONES

Songs 1987-2009

Trouble Head

AL BASILE

Soul Blue 7

Sweetspot

Former Roomful Of Blues trumpet player

Al Basile is a man of many talents. He’s a published poet, singer, musician and songwriter for people like Duke Robillard. For his seventh CD (hence the title), which was also produced by Robillard, he pushes his singing and trumpet playing to the fore. With a studio band made up of Room Of Blues alummi, the result is a swinging and classy affair. The thing about great musicians is that they make it sound so easy, and the relaxed jams have a spontaneous and relaxed feel to them. But this is not some bland jazz CD, as Basile is a great Blues singer in his own right. Tracks like ‘Where Are You Tonight’ just ooze soul, and it also allows some of the other band members to shine. This man can sing the Blues all right! The wonderfully titled ‘Termintes In The Basement’, that closes the record, is pure Blues, and full credit must go to Sugar Ray Norcia for some sizzling harmonica. It’s a classy and fitting end to what is a Blues record of the highest quality. Basile swings like a winner.

Jamie Hailstone

Dr. (Ralph) Jones is a restless soul. Born in Basle, Switzerland in 1963, he evidently took up with music from a very tender age, and through countless changes, it is music that has been his guiding light. From supporting the Stray Cats, to membership of many rock and punk groups, band leader, solo troubadour, and studio technophile/producer, Dr. Jones has pursued his singular vision through many parts of Europe, including a lengthy stay in the UK. This compilation takes the listener on a non-chronological trip from 1987 to the present day. On some cuts, he plays all instruments himself - for example, the opening ‘Angel Eyes’ and rocking ‘Don’t Come Back’. The style is hard to pigeon-hole, but there are rock, punk and singer-songwriter influences. Though he is not possessed of a strong voice, he is an excellent guitarist, especially when picking acoustic. The ballad ‘Miss You’ is a sweet duet, and this, like others, has what I presume is a synthesised orchestral part. Some of the stylistic changes, though ensuring variety, make this compilation a disjointed affair - for example, the 1990 ballad ‘Don’t Beat On Me’ is followed by the fuzzy rock out ‘I Don’t Wanna Be Out Here’, and then the prog rock ‘Our Children’. The final track is the single version of the best track, ‘Miss You’.

Noggin

JACKIE O MOTHERF**KER

Ballads Of The Revolution Fire

This highly experimental project from Oregon probably wrote off any chances of commercial acceptance when they decided on their name, but one suspects that it wasn’t top of their priority list to begin with. The children’s party market is probably closed off to them, too. Describing themselves as a “conceptual/musical project exploring the possibilities of combining tape collage, free improvisation, and folk song structures,” they have a cult following and a wholly distinctive sound, but for many traditionalists this will be a

case of the emperor’s new clothes. They are also tagged a “free jazz and rock, graffiti, space rock, Xerox art, text/sound art, hip-hop, performance video art, electronic and primitive,” with some early Blues roots, but frankly, you will be pushed to find them, and will be unlikely to try too hard - this is atmospheric, electric and what frontman and notorious captain of the awkward squad Tom Greenwood does best. So random and indistinguishable are the six tracks, one wonders whether they could ever be reproduced the same way twice. Ageing punks with a penchant for The Jesus and Mary Chain and Joy Division, whale fishermen or those with a taste for strong hallucinogenics will no doubt give it some turntable time, but if you prefer Howlin' Wolf, you won’t. Odd, quirky and largely unfathomable, it has its place on the shelf, but not alongside SRV.

Richard Thomas

KEITH MILES

The southern states of America have a unique charm. Some say it’s the sticky heat, the Baptist churches or the bourbon. Nashville singer-songwriter Keith Miles has perfectly captured that mix of laid-back charm, Blues and Dixie jazz on this, his second album. Like J.J. Cale, he specialises in a mix of Blues, country and jazz, and his songs chronicle life in Tennessee. Tracks like ‘The South’ are like a love letter to his native State, while ‘Samson And Delilah’ has a nice Little Feat feel, with plenty of back porch funk. Most of the songs are written by Miles, although he does a great version of Allan Fraser’s ‘Dance Hall Girls’. It’s a touching song, and Keith really nails it. There’s a strong Dixieland influence, with lots of nice jazzy touches throughout. This CD is long on charm, and short on pretension. Artistically, it might not break any new ground, but it is good solid Americana. Every track feels like an

JEFF HEALEY Songs From The Road

Ruf

effortless walk down a well-worn road. Sometimes, it’s not the destination, it’s the journey, and you’re in safe hands with a musician like Keith Miles.

Jamie Hailstone

DUKE GARWOOD The Sand That Falls Fire

For his first release on Fire Records, nomadic singer-songwriter Duke Garwood retreated to a large, empty house to record a suitably spooky and avant-garde collection of songs. The warped instrumentation, background sounds and possibly the odd kitchen utensil make it very difficult to review this album without mentioning the words ‘Tom’ and ‘Waits’. But while the Waits-meister barks and howls, Duke is vocally more restrained. His Bluesy voice is more of a whisper and eerily adds to the atmosphere. Like a British Daniel Lanois, Duke has used his surroundings (Daniel reportedly uses a haunted house in New Orleans) to great effect. “The Sand That Falls” is high on atmospherics and the antithesis of dinner party music. Tracks like ‘Reap The Many Fruits’ and ‘Mellow Trucker Lady’ will genuinely make the hairs on the back of your neck stand on end. The arrangements are impressive and Garwood really did make the most of the acoustics on offer. Some of this record might be a little too avant-garde for its own good, but if voodoo folk is your thing, then this is one haunted house you will definitely want to enter. Just don’t stay there after midnight…

Jamie Hailstone

AWEK Burnin’ Wire On South Lamar

Mosaic

This French four-piece have been together for nearly a decade and a half, and have recorded six albums – including this latest - during that time. Although they have an international reputation, and are very popular in Francophone Canada, for this CD, they went to the source, Austin, Texas, where they recorded over three days in April 2007 - drafting in several local guests to help out, among them most notably veteran saxman Mark ‘Kaz’ Kazanoff. The band’s sound ranges from an accom-

I find it strange that Jeff could be such a convincing jazzman – because there is not the trace of that here. This is Jeff the Blues-rocker in full steam ahead mode. He died in 2008, and the recordings that make up this CD/DVD set were made in 2006 and 2007, at the Academy in London, in Norway (the famed Notodden Blues Festival, and the source for the eight tracks on the DVD) and his home base of Toronto, Canada. The CD is a fine collection of Blues and rock, from Robert Johnson to Mark Knopfler, and even including a country-styled cover of Crosby, Still & Nash’s hippie anthem ‘Teach Your Children Well’ and a fun rock’n’roll ‘Santa, Bring My Baby Back (To Me)’, alongside the likes of ‘I’m Ready’, ‘Hoochie Coochie Man’ (which features a guest spot by Randy Bachman) and Jeff’s biggest hit, the John Hiatt composition ‘Angel Eyes’. This is a fine set, but it is eclipsed by the beautifully filmed DVD, which features a white-hot performance by all concerned – just try ‘How Blue Can You Get’ or the sheer heavy metal mayhem of ‘Highway To Hell’ (it also reprises a few numbers from the CD). Jeff was one of Canada’s biggest selling musical exports – and he certainly inspired plenty of people in his home country – and this release shows you just why. You’ll also understand just why he is so missed.

Norman Darwen

plished swing Blues to tough Chicago sounds in a classic Muddy Waters vein, with harpman Stephane Bertolino (seemingly effortlessly) taking the Little Walter role. Sometimes there is more than a hint of The Fabulous Thunderbirds about them, as on the rocking Louisiana flavoured ‘Can’t Get Enough’, and several other numbers have a languid, swampy style. With the exception of Jimmy Reed’s ‘You Don’t Have To Go’, the songs are all strong originals, mostly penned by singer/guitarist Bernard Sellam, though drummer Olivier Trebel and Bertolino also contribute material to this fine release.

Norman Darwen

band, on the jazzy ‘Era Of Elegance, or swinging ‘One Summer’s Day’, it’s all gentle music, lighter than a summer breeze. ‘Train Tracks’ is a languid Blues - probably the closest thing to his day job - and ‘Diablo Suave’ has a slinky, sexy Latino groove. Of the classical pieces, the hidden track at the end of the record has the most affecting melody. People’s hobbies and passions are rarely as interesting to an observer, but there’s a warmth and skill here that’s worth checking out for all fans of Reinhardt or Montgomery.

Duncan Jamieson

NIC DAWSON KELLY Old Valentine

The Runners Club

Hailing from Colorado, Jasco is a Blues guitarist who’s played guitar since the ‘80s, and currently plays in the band Mojambus. “Ain’t Jus Blues” is Jasco sharing his hobbies with us; namely Django Reinhardt style gypsy jazz, Flamenco and classical pieces, all played fingerpicking style. It’s a pot pourri, and it’s an all instrumental affair, but rather than feeling that Jasco is showing off his versatility, the sunny vibe of the album reveals a musician’s genuine love and enthusiasm for exploring music and the possibilities of his instrument. Whether unaccompanied, as on the great central flamenco piece ‘Malaguena’, or backed by a

This set immediately comes over as singer-songwriter, with a band (information on just who is scant), without being folk - at least through the first few tracks. The acoustic guitars mix simple picking and strumming, the percussion keeping a simple rhythm. The melodies are nice enough, but the music lacks any real depth.

‘Marilyn’ has a more traditional feel, and the weepy strings bolster the sound. Elsewhere, the guitar sound is shallow, and several tracks have that walking horse rhythm. At times, Kelly’s voice almost has that Roger Chapman like vibrato, which is a Bovril moment at best, before you realise it doesn’t work here at all. The guitar sound is often thin, but at least the harmonica has some balls.

Some nice piano touches, but there’s another sound that could be gentle high lap slide or choir like backing vocals (like you find in a carol or festive soundtrack) - either way, it doesn’t work. There’s no melody in strumming, although the vocals at times do give a bit of power. Bluesy country folk at best.

Joe Geesin

BARRY BIG B BRENNER

It is often a challenge catching up with the ever growing army of solo Blues artists. Barry Big B Bremner was born and raised on the South Side of Chicago and has performed alongside the likes of Albert King and Eric Burdon. Here we have eleven tracks, a nice, crisp recording, and on songs such as ‘Hard Pushin’ Papa’ and ‘You Don’t Know My Mind’, there’s a great, raspy vocal style with pristine accompaniment, and Barry’s guitar playing on the instrumental ‘Denver Blues’ is

CHRIS SMITHER Time Stands Still Signature Sounds

Okay, Chris Smither has probably got more of a foot in the folk camp but, at 62, he’s obviously absorbed some of the finest influences across a forty-plus year career, and they show admirably on “Time Stands Still”.

That said, he’s his own man, and you’ll soon become addicted to his laconic delivery and fine, precise guitar playing - his ability as a lyricist has earned him plenty of high profile respect in the US media. Listening to the opening tracks, such as ‘Don’t Call Me Stranger’ and the excellent ‘Time Stands Still’, I was immediately put in mind of J.J. Cale crossed with Mark Knopfler, then noticed that there is indeed a Knopfler song, ‘Madame Geneva’s’, included. Of the eleven tracks, Smither wrote eight, and chosen the covers well – Dylan’s ‘It Takes A Lot To Laugh, It Takes A Train To Cry’ and Frank Hutchinson’s excellent ‘Miner’s Blues’. Sparse, simply recorded, this is a curiously satisfying album from a real American troubadour… and for people of my age; it’s heart-warming to experience shafts of wry, well-crafted musical wisdom from a fellow sexagenarian. Great stuff!

Roy Bainton

ery. But I’m not being fair; as a showcase for an artist who may be new to you, this collection is well presented, recorded and played. A decent album, and on the strength of this, the follow-up should be worth waiting for.

Roy Bainton

ELEPHANT SHELF In Trouble Again

Shelflife

London-based Elephant Shelf have been on-the-road for five years and consists of musicians with vast previous musical experience. Individually, this is an interesting band in its makeup. This their debut CD is an eclectic mix, Blues rooted but blended with Delta slide, city swing Blues, rock’n’roll and their own brand of creativity, which was inspired by a meeting that Vicky Martin had with Hendrix in her musical fresher days. The CD was recorded live; the band wanting an organic sound rather than a sanitised production that has become the modern norm. A lot of effort, love and thought has been put into the whole, including the presentation and liner notes. ‘In Trouble Again’ is a true Blues-rocker with clout - terrific duet, wailing harp, slide guitar and great piano. ‘Squeeze Me, Tease Me’ is a Blues-rock ballad, and it’s a sassy number, with its impressive instrumentals and get down Blues. ‘Fussing And Fighting’ combines Blues, country and gospel into a likable ballad. ‘Just Another Someone’, with its pain-ridden vocal and instrumentals, grabs you from the first note. This band and their CD are worth a real listen.

Carol Borrington

THE CEDARS Little Copper Still

You may be excused for forming a slightly misleading opinion of The Cedars. They describe themselves as an “Alt-American quartet plying tales of lost love, revenge and rural homicide,” but there is something soothing and innocent about their new record. Just a touch one dimensional in places, it powerfully evokes bygone days when the outlook was grim without ever quite succumbing to total misery. The dreamy vocals of Chantal Hill enchant throughout like an earnest Joni Mitchell –her range is never better than on the chillingly simple ‘Choke Chain’. The thirteen short, punchy tracks are reminiscent of an Imelda May or KT Tunstall, but you know there is a tongue in a cheek somewhere - their online sleeve notes convey a lively humour, despite the severity of their subject matter. Clear need for some more varied tempos aside (one or two tracks are a little swamped and anonymous), this is rather pedantic - if you like one of these tracks, you will end up loving them all. Good production and the clean sound is maintained throughout, with ‘Blood And Wine’ a contender as a standout, with Jason Moffatt’s beautifully understated slide catching the ear time and again. It is ‘Withering Pines’, however, that steals the show at the eleventh hour, unrelenting and passionate - sit on a bale of straw and buy into the nostalgia. They may live in London, but this is authentic, rustic, twangy and charming.

Richard Thomas

LUCINDA WILLIAMS Ramblin’

Happy Woman Blues

KATY MOFFATT Trilogy BLOODKIN

Baby, They Told Us We Would Rise Again ROBIN TROWER What Lies Beneath

Retroworld

Lucinda Williams has been performing for thirty years, and hails originally from Louisana. These two CDs are re-issues, with “Rambin’” her debut CD, released in 1978. It features all cover tracks, with Williams playing a twelve string acoustic guitar with a six string acoustic accompaniment. Her selection of covers ranges from Robert Johnson, Memphis Minnie, Hank Williams to traditional Blues, folk and country songs. The CD is Williams in raw, stripped back mode. “Happy Woman Blues” was originally released in1980 and was Williams’ second album. It saw a shift from her debut album, in that all the tracks were self-penned by her, and extended to include more accompanying musicians – it’s also aimed more at the country music market. Katy Moffatt's “Trilogy” is a two CD set of songs re-released from three of her most popular albums, comprising of “Evangeline Hotel” (1993), “Hearts Gone Wild” (1994) and “Midnight Radio” (1996). The three together display Moffatt’s singing and songwriting talents for a career that has spanned thirty years, and whose music has been a mix of Blues, folk, country and rockabilly. The three CDs on ”Trilogy” lay almost exclusively in Moffatt’s country music, and although three good CDs, which displays that Moffet has a good vocal, they are not really for Blues fans. Bloodkin are a Georgia-based gothic southern rock band, who have been on-the-road for twenty-five years, often in support of The Drive-By Truckers. “Baby, They Told Us We Would Rise Again”, is their eighth album, which plunges you into the depths of the human condition, through love, loss, sin and salvation. The opening track, ’The Viper’, is a Blues country rock song about drug addiction, full of the despair and pain that dependency brings on the body, mind and soul. ‘Rhododendron’ is lyrically complex, and the instrumentals are balanced beautifully with both the lyric and vocal expression. The CD does lean heavily towards rock and country, but if you like your music in the vein of The Drive-By Truckers then this is a must listen. “What Lies Beneath” is the latest offering from Robin Trower, the Blues-rock guitarist who first achieved fame in ‘60s with Procol Harum, and who has continued performing solo and in various musical combinations ever since. The CD opens with ‘Wish You Were Mine’, an instrumental, Blues-rock ballad. This is followed by the title track, ‘What Lies Beneath’, which continues what is to be an album of classy tracks throughout’. The album is moodier than that some of Trower’s previous material, but keeps its roots deep in the Blues. ‘Once The Spell Is Broken’ is a profoundly beautiful, gentle Blues-rock ballad, with guitar riffs to break your heart with their passion and clarity. A great CD!

Carol Borrington

JOEL OWEN Love And Music

Musician

This young singer/guitarist/harmonica (and occasional sax-) player hails from Leicester in the English Midlands and is now based in London. Although, in some quarters, his relaxed but passionate music may be designated “singer-songwriter” or “acoustic folk”, this CD, Joel’s second, also contains a very hefty helping of the Blues. In places, his vocal and guitar work can recall the likes of John Renbourn, Ralph McTell, sometimes Chris Smither, and less occasionally Bob Dylan, and when his band kicks in – as it frequently does – there is no doubt at all that many of his songs are based around Blues structures, though certainly avoiding clichés. Keyboards player

Lee Spreadbury makes a telling contribution whenever he appears, and drummer Dean Johnson has an individual and pleasingly old-fashioned style that reminds me a little of some of those old Pye records from the ‘50s and early-60s (think Sonny & Brownie). Vocalist Natalie Squance also adds her talents to several tracks, and this entertaining release is another counter to the opinion that the Blues is an old man’s music.

Norman Darwen

THE KING BEES

Weekender

myspace.com/thekingbs

There is no shortage of bands that think that they can play Blues and rock‘n’roll, but there is a shortage of bands who can

do it well - and make it sound fresh and original! The King Bees certainly can. As you look through the track listing, you begin to wonder just how the band can possibly have their own take on the music – Jimmie McKracken’s ‘The Walk’, ‘Who Do You Love’ by Bo Diddley, some J.J. Cale, Steve Miller and Ray Charles - but somehow they do. Marc Patching is a very talented guitarist, Jeff Dakin’s harmonica playing is both subtle and capable of carrying the melody, while Tony Morton and Andy Childs give the band a very fluid and delicate rhythm section. Their version of J.J. Cale’s ‘Lies’ is beautifully low key and laid-back, with a fine and reflective quality to the guitar solo, while ‘I Don’t Need No Doctor’ is gently funky with an insistent beat – completely different from Ray Charles original. Not many people try to do anything with Steve Miller’s numbers, but they give ‘Fly Like An Eagle’ a funkier and less spaced out treatment. The two numbers written by Marc Patching hold up well in a wistful and meandering way, with ‘Dr Feelgood’ the better, but they are at their best with other material.

Andy Snipper

PAMA INTERNATIONAL Pama Outernational

Rockers Revolt

Many readers will already be aware of the close links between early recorded Jamaican music and the jazz and Blues sounds

LAZY LESTER

Blues Stop Knockin’ BUDDY GUY/OTIS RUSH/MAGIC SAM

Snakebite

Retroworld

of the American mainland. These elements did not just disappear as the more specifically Jamaican elements asserted themselves as the ‘60s progressed – after all, rhythm & Blues and soul music carried a message of black empowerment, and this was bound to resonate on a newly independent island where over 90% of the population was of African heritage. Many of the tracks on this CD recall those heady days; vocalist Finny could easily pass for a Stax shouter in many places, as the band cook up a southern styled storm behind him (albeit with a reggae rhythm guitar). Producer Sean Flowerdew also recalls the days when Bluesy soul-jazz was in vogue with some fine organ playing throughout, whilst the presence of Lynval Golding and Sir Horace Panter reminds us that Blues was also a factor in the Two-Tone music of the early-80s. An intriguing release for those readers partial to a bit of reggae alongside their Blues.

Norman Darwen

THE ERIC STREET BAND The Route To The Blues Southside

Looking at the personnel, this is presumably some kind of offshoot from the well known Reading based Southside Blues Band. I would have to say that this is the most mature, polished and well produced piece of material I have heard thus far from vocalist and co-writer of eight of the nine featured tracks, Dennis Siggery. Only nine tracks, but, with a playing time of over fifty minutes, its good value. For the most part, it’s slow to medium paced and fairly gritty, contemporary stuff, all dominated with an earthy vibrato vocal style that reminds you to a certain extent of Roger Chapman. Also on his best form is fellow scribe and lead guitarist Neil Sadler. The album title could be a bit misleading to some. Although there is undoubtedly a

Born in 1933 and, at 76, still treading the boards, Leslie Johnson earned the sobriquet ‘Lazy Lester’ for its alliterative quality from Jay Miller, when Lazy was cutting sides for Excello Rocords. However, there’s nothing lazy about this man’s fine music. He can turn his hand to anything – swamp pop, Cajun, R&B, country, and he’s an excellent, harp player. On these nine tracks, he’s accompanied by Jimmie Vaughan of The Fabulous Thunderbirds. There’s a clutch of excellent Blues, and some driving, country flavoured tracks, such as the eponymous opener. This is a nice, fat recording, with Lester’s gritty voice evoking all manner of his earlier contemporaries – Jimmy Reed on ‘I Love You Baby’, and Muddy Waters and Howlin’ Wolf on ‘Nothing But The Devil’. All in all, a fitting showcase from a true legend. “Snakebite” is two CDs by three genuine giants. The three original albums this material emanates from are Otis Rush’s “Good ‘Uns”, Magic Sam’s “With A Feeling!” and Buddy Guy’s “Southern Blues”. These recordings are also a milestones from the history of Cobra Records, formed in 1956 by Joe Brown (no, not the spiky-haired UK guitar wiz) and Howard Bedno. It is hard to envisage the prosaic situation on Chicago’s West Roosevelt Street where none other than Willie Dixon, Cobra’s big act at the time, cut tracks in a small room behind a TV repair shop. Apparently, speakers were mounted on trash cans, and the echo chamber effects were achieved by somehow feeding the music into the building’s plumbing system! This makes Cobra’s first release, Otis Rush’s ‘I Can’t Quit You Babe’, all the more staggering. This is a must for any Blues fan worthy of their name – rich, urban Blues with gritty city roots. Cliché alert! They don’t make ‘em like this anymore – and you can take that as gospel.

Roy Bainton

Blues influence to the album, much of the music has moved into a more mainstream position. As well as a handful of songs concerning relationships, we have a bit of social commentary on drugs, with ‘The Habit’ and ‘Sweet Cocaine’; a little political jibe with ‘Mr Fat Cat’; and a swipe at TV in ‘The Reality Show’. If you don’t already have any of Mr Siggery’s material then this is definitely worth a listen.

Thomas Rankin

ORCHESTRE POLY-RYTHMO

Echos Hypnotiques Volume Two: From The Vaults Of Albarika Store 1969 – 1979

The first volume was reviewed a few issues back, and like its forerunner (“The Vodoun Effect”), the set presently under review contains some mightily funky music. Look at the dates and recall the music of James Brown from around this time – then imagine it reworked by a big West African band who recognise the music’s kinship but do it their own way. There are influences from western musical forms such as soul, jazz, rhythm & Blues (take a listen to ‘Malin Kpon O’, with its soul Blues stylings), Latin music, rock, and more than a hint of Fela Kuti’s own fusion of Africa and the west, Afro-beat. Many of the vocals are chanted, or in

call-and-response form, the guitars sometimes sound as fierce and as Bluesy as any Blues-rocker (try the nine minutes long track ‘Gan Tche Kpo’), the organist frequently seems to be a fan of psychedelic music, and the groove is relentless – and hypnotic, of course.

Norman Darwen

EDDIE TAYLOR JR/TRE/ HARMONICA HINDS From The Country To The City

Wolf

This is a collaboration between three obscure Chicago Blues musicians, and it’s a down-home, rootsy affair that is unplugged and raw. It seems the label wanted to recreate the acoustic outing of Muddy Waters, Buddy Guy and Willie Dixon of many, many moons ago. It is good, but nowhere near that class. Each of them receives four vocal outings, with Hinds the weakest, being quite nasal in his approach - but he can sure play his instrument, and he’s all over these twelve tracks. ’Love

Me While I’m Livin’’ features some good vocals from Taylor, and tasty harp from Hinds, whilst Tre’s ‘She’s The Reason’ is as soppy as hell, but features a sweet little guitar solo from Taylor, who comes across as an accomplished guitarist. There aren’t any particularly standout tracks, probably because it is a shared approach, but it is a

DEADSTRING BROTHERS

Sao Paulo

Bloodshot

Comparison in this context is a touch lazy, but sometimes unavoidable. There is plenty of Mick Jagger here but these Detroit-rooted retro rockers are no poor man’s Stones.

Lead brother and songwriter, Kurt Marschke has also co-produced, and in so doing has helped to quietly propagate something of a triumph - a staggeringly passionate record - rough and tender in equal measure. There are no duds out of ten in a disappointingly meagre track listing, but “leave them wanting more” wins the day. The opener and title track is a moody escalation and sets a high bar, but the clear zenith is ‘The Same Old Rule’ - startling for its intensity, and as visceral a piece of writing you will hear. ‘Yesterdays Style’ is a tragicomic reflection on life, in a Tom Waits kind of way, and Spencer Cullum‘s wailing pedal steel throughout adds a further layer of poignancy. Memorable musicianship aside, this is notable for emotionally standing on your chest and jumping - they hardwire into your head, so you’re quickly thinking about issues deeper than who they sound like. Waste no time: invest in some sibling superiority. Outstanding.

Richard Thomas

solid enough effort, and while it won’t break the mould, it is an authentic slice of acoustic Chicago Blues.

Andrew Baldwin

THE LOW ANTHEM

Oh My God, Charlie Darwin

The Low Anthem come from Providence, Rhode Island, USA, and this CD was actually recorded in a homemade studio on the isolated Block Island in the middle of winter. The band consists of Ben Knox Miller, Jeff Prystowsky and Jocie Adams, and a selection of very different, as well as conventional instruments. These range from guitar through to scrapmetal drum kit, clarinet, harmonica, alto horn, crotales and a WWI portable pump organ!

The CD is an eclectic mix, based around Blues, folk and Americana, and is very creative in the way it blends the different genres. It opens with the folksy ballad ‘Charlie Darwin’, which is a truly haunting song of merit, with its superb lyrics and beautiful vocal harmonies between Jeff and Jocie. ‘Oh Ohio’ is an instrumental lilting Americana style ballad with heartfelt vocal - very reminis-

cent of Simon & Garfunkel in structure. ‘Home I’ll Never Be’ is a stomping Blues folk rocking ballad cover of the Tom Waits classic that uses the words of Jack Kerouac. ‘To Those Ghosts Who Write History Books’ is a captivating ballad, very much in the vein of a Neil Young composition. ‘Cage The Songbird’ and ‘OMGCD’ are hymnal in composition, and although The Low Anthem may not be for mainstream Blues fans, it is clear from this CD that they have talented songwriters, vocalists and instrumentalists, and will collect their own following from the broad church of music.

Carol Borrington

JOHN HAMMOND Rough & Tough Chesky

After the man’s fine recent Blues-rock outings, Hammond strips everything bare and records this album live to tape, with just his acoustic guitar and harmonica for accompaniment. Recorded in St. Peter’s Episcopal Church in New York, this is his Bluesiest effort for several years. At 67, he still sounds fabulous vocally, with his, at times, sleazy voice projecting remarkably well on these tracks. His guitar playing, too, is in fine form, judged on the evidence of his take on Howlin’ Wolf’s ‘My Mind Is Ramblin’’ – here he lays down some great Delta Blues, playing and singing with raw abandon. He admits, in the liner notes, that this is pretty much a live gig without an audience, and it comes across as such. He covers the likes of Muddy Waters, Little Walter and Blind Willie McTell. He also likes to raid the Tom Waits songbook from time to time, and here he knocks out an excellent version of his ‘Get Behind The Mule’. A cover of the country standard ‘Chattanooga Choo Choo’ alters the mood and, to be honest, is probably misplaced, but this will stand proudly alongside his best albums.

Andrew Baldwin

BIG JAMES AND THE CHICAGO PLAYBOYS Right Here Right Now Blind Pig

Big James (Montgomery) on vocals and trombone (Little Milton, Albert King and Buddy Guy) wrote most of the songs, and, with Charlie Kimble (saxophone), he has formed a dynamic ensemble, featuring Kenny Anderson (trumpet), Joe Blocker (keys), Larry Williams (bass), Cleo Cole (drums), Mike Wheeler (guitar) and Theresa Davis (backing vocals). Big James’ excellent vocals are reminiscent of Luther Allison. The horn section is punchy, controlled and sumptuous over the eleven tracks. This is an opportunity missed, though, due to the frankly risible nature of the lyrics. “A mama like mine is not that tall in fact kinda small/I love her so much I wouldn’t have anybody else/I wish that everyone had a momma like mine.” Laudable sentiments, but did he need to share them? In his favour, he did not write ‘The Goose’, with the memorable lines, “The goose that laid the golden egg was an extraordinary goose/You don’t lay me golden eggs but you are a golden goose to me,” and, “I am happy as a monkey with a nut machine/I don’t need no nut machine ‘cos I’m nuts over you.” Humour in the Blues has always been

perfectly valid, but the incongruity of this material against the sumptuous arrangements grates, as indeed does the rap section during ‘On The Grind’. Given the quality of material to match the talent on show here, though, I am confident in expecting big things from Big James in the future.

Bob Chaffey

STRAWBS

Dancing To The Devil’s Beat

The Strawbs were founded in 1964, but at that point went under the names of The Strawberry Hill. 1969 marked their first album as The Strawbs, and this year is their fortieth anniversary - celebrated with the release of this latest CD. Originally a bluegrass band, over the decades they have flowed through the genres, including folk, rock, glam and progressive rock. The line-up for this CD sees Dave Cousins, Dave Lambert, Chris Cronk and Rod Coombes back together with the addition of piano and keyboard player Oliver Wakeman, who is the son of Rick Wakeman. The songs are nearly exclusively self-penned, with a major contribution from Dave Cousins. The CD commences with ‘Revenge (Can Be So Sweet)’, a very present day socio-political comment that points the finger at corruption in the heights of power.

‘Beneath The Angry Sky’ has a feel of The Strawbs in the ‘70s,

VARIOUS

but the lyrics now point to the present day! ‘Pro Patria Suite’ is a tri-part song of pure English folk - the saga is set in WWI, but it could equally be 2009. Forty years on, music still protests the mindless waste of war. ‘Dancing To The Devil’s Beat’ is a powerful Blues-rock number, and a reminder that The Strawbs can rock it up. The CD ends were The Strawbs started, with ’Oh How She Changed’, which was their first single in 1968. For this CD, it’s been reworked to celebrate their longevity. A beautiful and poignant release.

Carol Borrington

GERRY JABLONSKI AND THE ELECTRIC BAND

Gerry Jablonski And The Electric Band

Fat Hippy

Of Polish descent, Jablonski lives in Aberdeen (not Mississippi, but Scotland). Twenty years ago, as a student in Aberdeen, Monday night was Blues night, and it was there I regularly saw him play his fiery brand of Blues with his own band or local heroes Mojo Pep. Slightly wary putting this disc on, worried that great memories might turn into generic pub rock, I was delighted to find instead nine great tracks of smouldering electric Blues. All self-penned, the tracks use the old Blues idioms and make them relevant for today, such as ‘Break The Stones’, which is about the drudgery of work. I remembered Jablonski as a flashy guitarist, but I’m impressed by how he’s matured into a restrained player and expressive singer - valuing tone over flash. The band are happy to burn slowly, and there’s some great harp playing courtesy of Peter Narojlzyk, but there’s also up tempo numbers, such as the Freddie King sounding ‘Blues Power’ and the Walter Trout …continues on page 111

Foot Tappin’ And Dance At The Screaming Festival Vol.2

CC JEROME’S JETSETTERS

Introducing CC Jerome’s Jetsetters

El Toro

The tracks on “Foot Tappin’ And Dance…” typify the kind of music you’d get at the Screaming Festival on the coast near Barcelona. Basically, it’s a weeklong party on the beach, and the music is largely ‘30s to ‘50s. Very little in the way of Blues, but there is everything else - from jumpin’ jazz to skiffle, rockabilly to boogie woogie. If you want to swing, it’s here! Vintage dance music I guess you could call it. Dave Lee Roth fans will recognise ‘Just A Gigolo’, and there are tracks by Roy Hall, Jo Stafford, Tommy Dorsey and Ella Fitzgerald amongst the twenty-seven numbers. Sadly, the booklet is very light, and some of the mastering is poor –crackles aren’t vintage, they’re annoying! That said, whether or not you want to sample the festival, it is a good introduction to the genre - musically at least, but historically suffers with the lack of information bar the track list. CC Jerome’s Jetters have produced a fine album of rockabilly, with a modern sound that makes the sound as raucous and blistering as it deserves to be. Jerome has worked with a number of big-name musicians, including Chuck Berry, whose influence comes through on opening track ‘Hot Rod Party’. There are a range of rhythms on the album, where the rockabilly veers into Blues and soul territory. The three-piece (which includes an upright bass) are energetic, with some the electric guitar excellent. A number of guests include piano, Blues harp, trumpet and saxophone, the latter giving a George Thorogood feel in the Bluesier moments. The organ on ‘Mohair Sam’ gives an R&B feel, and elsewhere there are tracks by Fats Domino, Ike Turner and Johnny ‘Guitar’ Watson. A retro feel with a warm sound - and pretty consistent, too.

Joe Geesin

The Ballad Of Britain

Heron

Wandering through Britain, recording the indigenous music, is a romantic notion indeed, and Will Hodgkinson’s odyssey has spawned a book and this twenty-one track musical accompaniment. For the less rustic, it may contain too much “hay nonny nonny” and straw chewing, but the opening track, ‘Mabe Cloud’ by The Rosemarie Band, is a rousingly impressive folk instrumental which earns patience for what follows. It is immediately followed by a two medieval folk offerings of ye olde pedigree, which, although pleasing and uncorrupted, are rather an anti climax – you’d have expected something a bit friskier. This curate’s egg of a collection ebbs and flows thereafter, and although some of the a cappella contributions are indistinguishable from each other, it remains charming throughout. The sinister and Bluesy ‘John Barleycorn’ by Ed, Will and Ginger is an atmospheric highlight, representing a more modern sound - modernists will notice Super Furry Animal Gruff Rhys also lurking within. There are mid tune discussions, false starts and bum notes all adding to the impromptu charm and authenticity. Wantonly folky, unashamedly unworldly, this is smock rock for social historians, and even the most bookish of listeners will crack a smile at the magnificent ‘Ayres The Bakers – The Boycott Coca-Cola Experience’, and the earnestly serious recording of sheep in a Welsh field.

Richard Thomas

Keep Your Soul: A Tribute To Doug Sham

Vanguard

Born in San Antonia, Texas in 1941, Doug Sham was something of a child prodigy. Making his radio debut at just age 5, for Little Doug Sham, as he came to be known, the radio and stage appearances continued to flow. In 1952, he appeared on stage with Hank Williams in Austin, less than two weeks before the legendary musician died. Doug Sham went on to create a vast musical legacy over a fifty year career that encompassed country, Blues and rock. He is also considered to be one of the originators of the tex-mex rock‘n’roll sound. Indeed, no less than Jerry Wexler labelled Sham “the most gifted, the most versatile” musician that he had ever worked with. “Keep Your Soul” is released to commemorate the tenth anniversary of the performer’s death - celebrating Sham’s legacy by bringing together an impressive line-up of artists. These included Los Lobos and Jimmie Vaughan, giving us versions of Sham’s best songs spanning his entire career. Highlights include Los Lobos performing ‘And It Didn’t Even Bring Me Down’ and I was quite

taken with Flaco Jimenez With The West Side Horns performing ‘Ta Bueno Compadre’. Elsewhere, Jimmie Vaughan, with ‘Why,Why,Why’, and Shawn Sahm, with ‘Mendocino’, standout. This is a fitting and enjoyable celebration of a talented musician’s life.

Davide Styles

It Ain’t Over!

Delmark

Subtitled “Delmark celebrates 55 years of Blues at Buddy Guy’s Legends in Chicago”, this does just what it says on the tin. And here’s a remarkable thing; Chicago’s Mayor, Richard M. Daley, declared 7th March 2008 ‘Delmark Records Day’ in Chicago. So, to celebrate this proud announcement, some fine Blues artists assembled at Buddy Guy’s Legends club on Wabash Avenue, and this stirring CD is a solid souvenir of the event. Delmark is another of those great labels which, like Chess and Cobra, had the courage and vision over five and a half decades ago to sign Blues and jazz artists who possessed the seeds of legend. Their first Blues release in 1965 is a case in point – the Junior Wells classic “Hoodoo Man Blues”. Soon they’d signed high-calibre acts such as Magic Sam, Carey Bell and J.B. Hutto. So, here’s eleven live offerings from Delmark Day, from the seven-plus minutes of Zora Young belting out ‘Til The Fat Lady Sings’ to Trail Dragger’s racous, bouncing approximation of Howlin’ Wolf on songs like ‘Tend To Your Business’ and ‘My Woman Is Gone’. If you can’t get to Chicago to soak up some live Blues, turn down the lights, crank up the volume and immerse yourself in this – it’s the real thing!

Roy Bainton

Things About Comin’ My Way

Black Hen

If you do not know much about the Mississippi Sheiks, between 1930 and 1935, they recorded around seventy tracks. The CD, subtitled “A Tribute To The Music Of The Mississippi Sheiks”, was recorded essentially in three big sessions, of which one comprised of a house band backing several of the artists. This process gives a more spontaneous and live feel to the material. Another advantage of this tribute release is that there is a chance to hear a range of sometimes new artists on seventeen tracks. Highlights are Ndidi Onukwulu’s emotive rendition of ‘Things About Comin’ My Way’ and a sultry performance of ‘Please Baby’ by Madeleine Peyroux. Other contributors range from veterans John Hammond, Bob Broznan and arranger Van Dyke Parks to younger artists like the Carolina Chocolate Drops (performing the classic and personal favourite ‘Sitting On Top Of The World’), the North Mississippi Allstars and Kelly Joe Phelps. Also featured are vocal group The Sojourners. To paraphrase from the notes, “The songs come down to us from a world long gone…listen carefully and you can almost hear the wind moaning through empty graveyards and churches.” A very pleasant and worthwhile listen with authentic arrangements, including instruments such as washboard, tub bass, pump organ and fiddle, as well as on its own merit, with gorgeous production and instrumentation.

Bob Chaffey

THE TWISTERS Come Out Swingin’

NorthernBlues

As a former newspaper journalist, I would just like to say that the layout design for this record was nothing short of genius. It also sums up the unique charm of this Canadian band, who also happen to be produced by a certain Chris Isaak and his brother Brandon. As refreshing as they are enjoyable, the group mix skiffle, jazz and Blues together in a highly enjoyable cocktail. The two singers are Dave Hoerl, who also plays harmonica, and Brandon Isaak himself. Both men do an excellent job. The music is insanely retro, but it swings with such confidence and vigour that you really don’t mind. It’s hard not to listen to tracks like ‘Overdue’ or ‘Doghouse’ and not smile. It’s refreshing to hear a band play early rock’n’roll straight. There are no ironic nods and post-modern lyrics to be heard. It’s just straight down-the-line music. They even manage to crown it with a song about themselves called ‘Twister’s Theme’. The most Blues-based track is ‘Guess That I Was Wrong’, and it contains some excellent harmonica playing by Hoerl. Music might have been a wicked game for Chris Isaak, but his brother’s band have got it sussed.

Jamie Hailstone

playing, and the playing of his ngoni and percussion backing group, is very interesting, sometimes recalling old-timey banjo styles, and once or twice freaking out almost Hendrix style. Readers who enjoy those West African Blues will certainly find plenty to their taste with this excellent album!

Norman Darwen

THE JOOKS OF KENT

Demon Stink

Dirty Shoe

The Jooks Of Kent are a punk Blues trio from the Medway Delta, and this album is a no-nonsense thrash that presumably, more or less, replicates their live act. Just about everything is at maximum distortion, creating a wall of sound with spiky, scratchy guitar, flailing, crashing drums and plenty of wailing harp. There is a defiant non-musicianship about the whole thing, as aficionados of punk Blues would expect and demand. The tracks are all short, sharp and bracing and there is not a lot of what you might call light and shade. The reference points are the one-chord groove of North Mississippi Hill Country Blues, such as RL Burnside’s Fat Possum outputthough, this being punk Blues, it’s more in-your-face, with shouted vocals jostling for position with the instruments. All but one of the thirteen tracks are originals, though, since the vocals are somewhat buried in the mix, it’s a bit hard to tell whether there are interesting ideas lyrically in there. Titles such as ‘Big Bug Asshole’, ‘Bucket O Blues’ and the title track indicate the down and dirty flavour of the songs. The one cover, Sonny Boy Williamson’s ‘Fattening Frogs For Snakes’, has been put through the blender, too. The aim is, of course, not to produce a pleasurable listening experience but to nail you to the wall, and that aim is fully achieved. For lovers of punk Blues, I would have thought this is a must.

Mark Harrison

P-A-U-L Gunshot Lullaby

E&E

continues from page 109...

like ‘Crime Of The Century’ to vary mood. Let’s hope closer ‘Every Dog Has Its Day’ is prophetic, as Jablonski deserves better than playing to drunken students.

Duncan Jamieson

BASSEKOU KOUYATE & NGONI BA

Bassekou’s debut album caused a lot of stir in both world music and Blues circles. This Malian musician plays the ngoni, often cited as the African ancestor of the banjo, and he worked with Otis Taylor on the latter’s ‘Reclaiming The Banjo’ tour. He also used to play with the late Ali Farka Toure, the father of the West African desert-Blues style, whose son, Vieux Farka Toure, supplies some excellent Bluesy guitar work to a couple of tracks here. Some of the material on this, Kouyate’s second CD, is in a traditional sounding West African style – mostly call and response vocals, with Bassekou’s wife Amy Sacko taking the lead on many numbers - and there are plenty of those desert Blues. Bassekou’s own

Paul Andrew Ulysses Lamb, to give him his Sunday name, hails from Detroit, Michigan. Home to hard rocking, blue collar rock and Blues, his hometown will be happy to hail him as one of their own after listening to this. I'm assuming the P-A-U-L is to distinguish him from Britain’s Paul Lamb, who does his Blues thing with the King Snakes and Blues Burglars. In ye olde days, this would have fitted in snuggly between your Lynyrd Skynyrd, Black Oak Arkansas and Wet Willie albums. With gritty riffs and chick backing vocals, a surprisingly funky rhythm section, all topped off with Mr Lambs earthy vocals, it's an album that definitely gets the pulse racing. Most of the tunes chunder along in a mid-tempo groove, but the lack of variety in pace is more than made up for with some inventive arrangements, such as the drop into gospel on 'I Ain't Givin' You Up' and the unexpected electronic drum pattern on 'Martyred Eyes'. However, when he does get his head down and rock hard, as on 'I Will Never Tell', then things move up to a higher plane. He's not so hot on the ballads, so you'll probably be skipping them. With a hotshot band - drummer Eric Hoegemeyer, bassist Paul Randolph and keyboards man

Charles Weldon Hughes - and the splendid backing vocals of Angelica, Layla, Elizabeth and Celeste, this makes for a full force listening experience that I can heartily recommend.

Stuart A Hamilton

FLORENCE RAWLINGS A Fool In Love

Rawlings is the latest find of songwriter Mike Batt. They first met when she was 13, but a sensible Mr Batt sent her off to finish her studies. Now 20, she is launching this, her debut album. It is a mixture of classic covers and newly-penned Batt (who also produced and arranged) material. It is Blues rooted, but with a blend of soul, jazz and rock’n’roll. The CD opens with a superb rendition of Bobby ‘Blue’ Bland’s ‘Wouldn’t Treat A Dog’. Both vocally and instrumentally, the song is treated to a new make-up. Florence’s vocal, with its ability to move from raw Blues to warm velvety polish, is sensational.

‘The Only Woman In The World’ is a Batt composition. It’s an up-tempo Blues number that Florence executes in true Blues mama style; with just a hint of gospel passion flowing through to perfectly complete the whole. ‘Jump On The Wagon’ is a rocky Blues number, which has you tapping your foot and body swaying to the beat. ‘Wolf Man’ is Batt’s take on the ‘Three little Pigs’

narrative. On ’Can’t Catch Me’, Florence takes the Chuck Berry’s legacy forward to a new generation in a lively rendition of another classic. The closing track, ‘Love Can Be A Battlefield’, is Batt at his songwriting best - placed in the safe vocals of his new prodigy, it is a truly beautiful ballad.

Carol Borrington

TOMMY CASTRO Hard Believer

Alligator

Tommy Castro’s “Hard Believer” is his first for Alligator Records, and could well rank amongst his best. Taking a cue from his last album “Painkiller”, Castro has dug deeper into his soul influences with a superb album that pays homage to the Memphis sound. This collection of upbeat and wellcrafted song is equally split between Castro’s impressive self-compositions and his unique interpretation of tunes recorded by Ray Charles, Delbert McClinton and Wilson Pickett. Each is treated with reverence, yet all feature the Castro stamp. His vocals are the focal point of the album, and are exceptional, with both grit and emotion. Take, for example, the title track, where his singing recalls Otis Redding. Underpinning the voice is a fine accompaniment from his band. Castro’s guitar is used sparingly but to great effect, the rhythm section is tight and, most notably, a horn section is regularly

present that really fills out the sound. A highlight is the funky shuffle ‘It Is What It Is’, penned by late Texas musician Stephen Bruton, to whom the album is dedicated. ‘Trimming Fat’ is more topical, with reference the current economic climate, featuring redundancy, rising food prices and a club owner putting on karaoke as it’s cheaper than paying a band. Dylan’s ‘Gotta Serve Somebody’ is given the Stax treatment before the playful rock’n’roll of ‘Make It Back To Memphis’. Castro has made some fine albums in the past, but this is one that is particularly well rounded.

Duncan Beattie

BILL WYMAN’S RHYTHM KINGS The Best Of Bill Wyman’s Rhythm Kings

This CD is a celebration of seventy years of the music that has imprinted itself into the soul and every cell of Bill Wyman’s body - the Blues. It is a mix of classic covers and self-penned musical hits by Wyman and Terry Taylor, and it covers everything from Blues, R&B, swing, gospel, swamp pop, and even revisiting British Beat Boom. Bill Wyman, and his colleagues on this CD, comes directly from an era when music was creative and innovative. It was okay to cover, but you didn’t clone songs - they were made to move on with the developing musical technology of the ‘50s and ‘60s. If you have any doubts, listen to their improvisation of Creedence Clearwater Revival’s ‘Green River’ and Willie Dixon’s ‘Too Late’. The instrumental and vocals are superb throughout, and the sound is pristine. Then, when you look at the liner notes, there is no surprise, this is a musical cast drawing from the finest in Blues and R&B, including Georgie Fame, Gary Brooker, Albert Lee, Ian Siegal, Mike Sanchez, Chris Rea, Andy Fairweather Low, Peter Frampton, the regular Rhythm King’s, and more!

Carol Borrington

GARY MOORE Essential Montreux Eagle

THE WIYOS

Broken Land Bell

Truthface

Taking their name from a New York City Irish street gang from the late 19th century, this Brooklyn based four-piece mix folk, jazz and Blues, and update it with touches of hip hop, human beat-box and distorted vocals. Old-time Americana roots music is at the heart of their sound, but they throw all sorts of weird and wonderful instrumentation into the cauldron, including mouth trumpet, ukulele, victrola, and megaphone. They have opened for the likes of Bob Dylan and Willie Nelson, and this is their fourth album, having been together for six years. The music is laid-back, playful and Bluesy –albeit, in an almost cabaret style. All four members have a featured vocal on these twelve short songs that pull in ragtime, swing and hillbilly music, and is taken from an era long gone, but updated with modern flourishes. They have a sound not too dissimilar to Old Crow Medicine Show, albeit a bit further out there, and not quite with the same quality of songs. They are finding a following in the UK already, but, unfortunately, it was all a little bit too ‘strange’ for this listener to jump on their train.

Andrew Baldwin

REV SIMPKINS & THE PHANTOM NOTES

Babbler & Crow

Righteous Holler

At first play it is easy to dismiss this as a joke, yet I begrudgingly admire Rev Simpkins, for this is a very clever compilation of his music. The Reverend sings, plays bass and acoustic guitars, organ, virginal (yes, that’s an early type of spinet), violin,

With this 5CD box set, Eagle Records have produced a truly superb retrospective of five concerts performed by Gary Moore at the Montreux Festival between 1990 and 2001. Now what’s the difference between the already existing CDs and DVDs and this latest release? Easy, for each concert, the songs have been carefully chosen to mark those years - like steps in this great guitarist-singer’s career. For example, for the concert in 1990, there is the fabulous ‘The Messiah Will Come Again’, for the concert of ‘95, you are treated to the burning ‘The Blues Is Alwright’, whilst you get the intense ‘Still Got the Blues’ for the one in 2001. Of course, there are those unmissable and unmistakable Gary Moore songs without which no retrospective of the brilliant six-string player would be worth its weight - you can’t avoid ‘Parisienne Walkways’ being featured twice in this box set, but each time Gary’s performance is slightly different both in intensity and in the guitar playing. This is undoubtedly the secret of this 5CD box set, the fact it has succeeded to offer five concerts whilst avoiding filling in with the unavoidable many repeats. Eagle Records have managed to produce a work of great quality and give a true ‘live’ retrospective of a brilliant artist. A must have.

Frankie Pfeiffer/Nat Harrap

viola, cello, synthesizer, theremin and more, plus he uses a revolving door of guest musicians for both live and recording purposes. Having grown up in a family with a long line of preachers, it’s no wonder that there is an almost religious aura to his songs, yet nothing could be further from the truth. In fact, this falls more in the Tom Waits/Captain Beefheart envelope of expressive storytelling. All songs are Simpkins originals, and each deals with a diverse array of subjects. ‘Lucifer Rag’ deals with meeting the devil and the lure of the dark side, whilst ‘Try To Stroke His Muzzle’ deals with the shallowness of friendships. ‘The Death Of John Simpkins’ is a sad lament, which, I believe, has close ties to his own family. Certainly the Rev. can play, and his voice is strong and compulsive. I wonder, though, what goes on inside his head! This is an interesting window into the mind of the artist.

Merv Osborne

KEITH CROSSAN

Keith Crossan is the former saxophone player with the Tommy Castro Band, and he says that after a million miles of travelling, ten thousand gigs and eleven records with the Tommy, he’s decided to make it on his own. He describes this recording as music that reflects the experience of growing up and surviving as a musician. Big band jazz, garage band rock’n’roll, R&B and even the late folk scene in San Fransisco are things that shaped these songs. There are eight tracks on offer here, and all of them display Keith’s tremendous ability as a sax player and instrumental writer. However, whilst listenable, the music is a little on the safe side. Saying that, there’s a nice mixture of styles from the swing of ’Turks Groove’ to late night jazz and Blues of ’Paris’, and the funky groove of ‘Out Of The Gate’, I’m sure, will hit the spot with all saxophone lovers. The tunes are well executed, and you can tell that the band are accomplished musicians. There’s a lot to like here, and it’s definitely worth a listen.

Steve Hoare

TOMMY McCOY Live Blues In Britain

Blues Boulevard

This is good honest Blues-rock, with just about all styles of that genre, including shuffles, walking Blues, funky Blues and slow Blues, represented. There are occasional deviations into other areas, such as Little Feat’s ‘Spanish Moon’ and Pink Floyd’s ‘Money’. The sound is nice and clean, with some decent guitar work and competent vocals. The keyboard work features fairly prominently, and is a particularly bright feature. Weighing in at a hefty seventy-five minutes or so, there’s plenty of music on the CD, and it makes for an undemanding listen – the sound is smooth, and this isn’t the kind of Bluesrock that attempts to knock the listener back with volume. Though many of the numbers are originals, most of the material plays it on the safe side of formulaic structures and lyrics, and there’s a sprinkling of songs about the Blues itself. Some of the spoken introductions have been left in, and

these often show Tommy McCoy establishing his credentials with a fair amount of name-dropping of people he’s been associated with over the years – albeit, it’s an impressive list. If Blues-rock is your thing, this could very well be one for you, as it’s very respectable example of the genre.

JOHNNY DICKINSON & PAUL LAMB Playin’ With The Blues

paullamb.com

These two Blues musicians haven’t worked together since the early-90s, when they were both members of the King Snakes. They recently got back in touch, and decided to tour themselves as a duo, and this CD is a live recording from their dates, and acts as a tour souvenir as much

SAM BAKER Cotton Music Road

Following the example of the black Bluesmen from the Delta, who sang the pains and hopes of a people toiling in the cotton fields day after long day, Sam Baker sings the pains and hopes of men and women from the 21st century with the same intensity - and the same heart. The title of the album says it all: “Cotton” - a symbol which has other pains, other cries, other realities like this Mexican immigrant in ‘Mennonite’ who chooses the love of an ordinary girl to a life exploring the world, or those who, in ‘Signs’, stand up for a cause and dream of an easier life. A life which is given such luminosity when performed by Steve Conn and his piano or when Sam sings the heartache of not knowing what has become of a loved one who just left one Christmas eve. With a voice broken with sorrow, Sam makes you ask yourself why, without every finding the answer. A question which has been haunting Sam Baker for years, ever since a tragic train journey in Peru, which scarred and changed his life forever; leaving behind his job in finance to become an artist. Sam has been trying to answer this question in each album, like those old black Bluesmen who sang to find out why their life was so different from those white people they worked for.

Frankie Pfeiffer/Nat Harrap

VARIOUS Let Me Tell You About The Blues Chicago Let Me Tell You About The Blues Memphis Fantastic Voyage

Looking at the tracks listed on these two boxes, you can already hear people complaining: “Not another Blues compilation?!” True, they are compilations, but they both have the merit to offer old recordings which have been particularly well restored and cleaned. These two 3CD box sets will give anybody who wants to find out about the original Blues the opportunity to own the essential pre-war pieces, as well as lesser known tracks. The other interesting thing about these two boxes is the link they make between the two breeding grounds, which gave roots to the Blues and allowed it to grow - Chicago and Memphis, two metropolises from which Bluesmen have drawn inspiration to write their songs; to express their anger, dreams, pains and loves. On the Memphis side, you’ll discover, amongst the seventy-five tracks recorded, songs written by the likes of B.B. King, of course, but also Howlin’ Wolf, Walter Horton, James Cotton and Ike Turner. There are also a few nice surprises, such as Furry Lewis, and someone called Elvis Presley performing ‘Mystery Train’. On the Chicago side, naturally there is Muddy Waters, but also Otis Rush, Buddy Guy and Tampa Red, plus some lesser known names, such as Peetie Wheatstraw or Meade Lux Lewis. Throughout these two box sets, you follow the path the Blues took in these two cities for more than thirty years through its evolution. These two box sets have a historical value, vital to anybody who does not yet have a compilation about the history of Blues made in the first half of the twentieth century.

instrumental originals. The tracks are well performed, and come over as very relaxed in manner, almost as though the two are there to satisfy themselves before any paying audience. Lamb sounds on top form throughout, blowing mournful and sad one minute, then breezy and joyous the next. Dickinson, on the other hand, is particularly unspectacular on the guitar, whilst his singing is okay if a little flat at times. ‘Lost Lover Blues’ is probably the best cut, showcasing Lamb’s prodigious talents, and fans of the harpist will want to snap this up, as he’s all over this recording.

Andrew Baldwin

JOHNNY HAWTHORN

This is multi-instrumentalist Johnny’s second album, and whilst the opener is catchy alternative rock – is that a touch of The Boomtown Rats? - the title track recalls the early Rolling Stones, with its punky, Bluesy energy and wailing harp in the background –though the guitar break is more inventive than anything The Stones ever came up with! Originally from Philadelphia, but now based in Los Angeles, Johnny tours with Toad The Wet Sprocket, whose Todd Nichols helps out with production and engineering. This short CD – just thirty minutes - is a showcase for his influences and abilities. As a guitar player, he can be awesome, whether in out-and-out country mode (as on ‘Loser’s Game’, with his wistful lap steel playing) or playing full-throttle Blues-

rock - try his cover of Blind Willie Johnson’s ‘In My Time Of Dying’, which owes more than a little to Led Zeppelin. There’s some smooth jazz followed by the Blues of ‘Cold Hearted Woman’ (big rocking and electric) and ‘Traveling Roadside Blues’ (acoustic and slide guitar), before proceedings close with an evocative mood piece. A lovely, varied set.

Norman Darwen

THE BURR JOHNSON BAND What It Is

burrjohnson.com

As the quotes on his website testify, guitar people love Burr Johnson. “Intelligent and inspired” according to the late, lamented Les Paul, and “….one bada**ed Motherf**ker” according to B.B. King - it would be foolhardy to disagree with either. Like Johnson, sidemen Thierry Alpino (drums) and Al Payson (bass) are maestros in their chosen fields, yet in the opposite way that Wimbledon once won the FA Cup by performing in excess of the sum of the parts, three virtuosos have somehow conspired to produce a slightly dull record. That’s dull, not bad – anyone with a yearning for Steely Dan, Average White Band and Robert Cray will be in scrubbed-down guitar sound heaven. Such is the dexterity of Johnson’s fretboard gymnastics and the sheer dominance of the chief weapon that you go looking for the rhythm section all the more and aren’t disappointed –there are lovely rolling bass lines and delicious drum accents aplenty. This is a fulsome

Frankie Pfeiffer/Nat Harrap

CAPTAIN BEEFHEART AND HIS MAGIC BAND Safe As Milk

Rev-Ola

To anyone growing up in the mid-to-late ‘60s, the reissue of this album is a poignant reminder of the legend that is Captain Beefheart And His Magic Band - and will rekindle all the feelings of alienation and wonder that are summed up in this eccentric’s work. Though far from unique in being championed by John Peel, this was perhaps the first occasion that constant playing and stubborn non-conformity brought an artist some underground success. One of rock’s most endearing and yet mythical characters, Don Vliet, now approaching his 70th year, was an early collaborator with Frank Zappa, who shared his love of the Blues. He then ploughed his own furrow, first aided in this venture by musical arranger Ry Cooder, and in particular an amazing unorthodox drummer John French. This release contains all the original material on “Safe As Milk” recorded in April 1967, plus some bonus demo material from the proposed album “It Comes To You In A Plain Brown Wrapper”. The latter gives a clear indication of the band’s even stranger direction spurred on by Vliet’s vision, but it does not sit easily with the relatively-speaking, listenable earlier material. Cooder left to avoid a mountain of acid, and Beefheart went on its merry way. The affectionate liner notes by Kris Needs that accompany this re-release are an excellent read. The music is weird and wonderful.

collection of well crafted, complex, superbly played and yet, sometimes, anonymously bland numbers, and it is ironic indeed that one of the simplest, stripped down offerings - ‘Winter’ steals the show. Largely instrumental, with Burr perhaps agreeing that his singing is not a highlight, it is an album that promises more than it ultimately delivers, despite some very crisp production.

Richard Thomas

THOMAS FORD AND THE DIRTY HARMONYS

You know you are in for a good time when the first song is entitled ‘richmanpoormanbeggarmanthief’. Thomas Ford and his band are from the south west and have already built up a strong live reputation around Plymouth. There’s a strong mix of rockabilly and Delta Blues, with lots of dobro, harmonica and raspy vocals. The rowdy backing vocals give the songs a swaggering feel. There are also a lot of hand claps, which give the songs a shambling and pre- World War II feel to them. There are nods to Tom Waits, Ian Siegal and Robert Johnson throughout. Thomas is an excellent Bluesman, delivering some great guitar and harmonica work, and credit must also go to Vince Lee, who plays lap steel, ukulele and a thousand other instruments. The title track is particularly strong, and any album that contains a song with the title ‘(It’s A Mean Old World For A) Drunken Hearted Man’ has got to be worth hearing. There are plenty of tracks for you to drunkenly sing-along to, and Thomas even managed to save the best to last, with ‘Human After All’ - a haunting slice of Blues with gravelly vocals. Ian Siegal has some competition!

Jamie Hailstone

JOHNNY RAWLS Ace Of Spades

Catfood

His last record “Red Cadillac” was Living Blues Critics' Choice as Southern Soul Album Of The Year and there’s a feeling of “If it aint broke, don’t fix it” about this one. Bob Trenchard is on board again to help produce and write on a record that sees Rawls continue to mine the sound of 60s and 70s soul music. Supported by horns that have the same optimistic blue sky quality of Jackie Wilson’s catalogue, Rawls’ soul is effortless. There’s uplifting soul on ‘Drive All Night’, cool Blues on ‘Live For Today’, social commentary on ‘American Dream’ and wistful nostalgia on ‘Going Back Home’. His old mentor O.V. Wright is evoked in the grooves and the title track ‘Ace Of Spades’ is dedicated to him. ‘Gasoline On The Fire’ adds a little uncharacteristic fire to Rawls guitar and his vocals here bring to mind Little Milton. Every tune is well crafted with nary a hair out of place, but with so many other great artists out there an award may prove elusive this time out for this much nominated performer. That said, this is still a sunshine platter of top class soul Blues.

Duncan Jamieson

CALVIN RUSSELL Dawg Eat Dawg

XIII Bis

His previous album, “Unrepentant”, had led us to believe that, after getting married, Calvin had grown wiser, but with his latest work, “Dawg Eat Dawg”, he’s swept everything away and gone back to the rebel of his first albums, when he sang furiously about whatever was making him mad. Right from the start, ‘Like A Revolution’ hits you with its killing riffs and roaring

Noggin

voice. Like a tornado ripping everything in its way, it’s straight into ‘5 m2’, a really poignant song, with Calvin singing in French the words of Charlie Bauer, right hand man to one of the most famous criminals in France, Jacques Mesrine. Don’t miss the bonus at the end of the album, another mesmerising version of this track, sung, this time, by the French actor Gérard Lanvin, whose son, Manu, co-produced and co-wrote with Calvin this album. Manu’s presence undoubtedly weighed heavily towards Calvin Russell’s return to his roots. Despite the truly beautiful love songs, ‘To You My Love’ and ‘Sweet Tenderness’, don’t you start believing that our Texan has gone soft - he still has plenty to be angry about. On ‘Are You Waiting?’ and ‘Dawg Eat Dawg’, Calvin rages with his music and lyrics about a society manufacturing selfish people who would sell mother and father to get what they want. There’s no contest, this is one of the best albums of the year: you’re not taught a lesson but told to listen up and be responsible. Take care, guys, Calvin is back!

Frankie Pfeiffer/Nat Harrap

BILLY CHILDISH Archive From 1959: The Billy Childish Story

Damaged Goods

You could know Billy Childish for all the fifty years since he entered post war and pre-60s Britain and maybe still not understand him – that’s probably the point. Of the thousands of artists covered in these pages, he is the possibly the hardest to categorise. Since punk’s early days, he has released over 100 albums of unfathomably rustic rock, and this comprehensive travelogue through his eccentric musical journey features many of his stopping off points, like the Buff Medways and Thee Headcoats. Any album this prolific will struggle to maintain quality, but nothing lasts long enough to dislike it too

much, and many of the angry rants are over before they really begin. If you were born in the early-60s, formed a band with your mates but never performed to an unsuspecting public, you will smile dreamily in a sea of nostalgic teenage angst. If you want guitar solos, middle eights and subtlety, you won’t find it here - retentive reviewers make arty comments about the production, the multifarious artists featured would probably have forty fits to go with the fiftyone tracks. Sounding like it was made in a garden shed, it’s terrific fun, but unlikely to be played at this year’s Tory conference. Play it when the kids have gone to bed – a rare highlight is the strangely Bluesy ‘Ballad Of Hollis Brown’.

Richard Thomas

KRIS DOLLIMORE Now Was The Time

Sun Pier

I first encountered ex-Godfather Kris Dollimore when his solo debut CD, “02/01/1978”, arrived a couple of years ago, and wove a powerful, John Lee Hooker-inflected spell through my

opens with the hypnotic tremolo-laden ‘The Mercy Man’, before settling into a familiar John Lee groove for ‘Preachin’ The Blues’. ‘Asylum’ is another toe-tapper, driven by Dollimore’s insistent stamping foot, while ‘Sylvie’ is a short, sweet beautiful, haunting, instrumental, underpinned by a bassstring. A second, slower instrumental, ‘Saudade’, maintains the mellow mood, as does the closer, ‘Tears In Tijuana’. However, with Kris Dollimore, you’re never far from another helping of tough, passionate, driving Blues. ‘No Wonder She Left Me’ takes us into Muddy Waters territory. “02/01/1978” convinced many Kris Dollimore was one to watch, and this CD cements Dollimore’s claim to a place in the first division of solo Bluesmen – more musical than Dave Acari or Seasick Steve, but with his heart, his soul and those hard-stomping boots very much in the same place.

Tim Aves

GRAHAM LINDSEY We Are All Alone In This Together Spacebar

A delicious piece of folk based Americana. Full of melancholic, melodic musings and poetic portraits underpinned by a Dylanesque vocal intonation. It must be said that the twelve original songs featured all lean towards the dark side. If you are looking for uplifting inspiration then this is a visit to the wrong house. Introspective images and reflections on the human condition

emerge from the shadows to fill the musical landscape. The themes, in the main are familiar, with opener ‘Tomorrow Is Another Night’ a tale of the heart, achingly filled with regret, and this is followed by ‘If Ever I Make it Home’ about the desolation that can be found in life on the road. With further tracks entitled ‘The Bird That Lived In A Burning Tree’, ‘Woe’ and ‘Big Dark World Of Hate And Lies’, you could make the mistake of thinking this was just a collection of depressing dirges. Not true! The arrangements at first seem simple, but there is fine musicianship in there providing some very nice melodies to compliment the emotional vocal stylings. ‘Old Roger’ sounds like a good old fashioned, hillbilly foot-stomper, but the lyrics, “Old Roger, he lives at the top of the hill/He killed his wife and children,” take you to another place. Interesting stuff.

Thomas Rankin

VDELLI Ain’t Bringing Me Down Jazzhaus

This is the eleventh album in twelve years from the pride of Western Australia’s rock community. The band just seems to get better and better. They won’t change your life, they don’t bring much that’s new to the table, but these guys can entertain. A really tight unit led by a powerful vocal and guitar, backed up by hard driving drums and bass. This is old school, and many believe that school days are the best of our life. Most of the twelve original tracks featured are fairly full on rockers, but there is still a good deal of variety in the delivery. ‘Could Be Good’ is truly funky, ‘Boogie A’ does just what it says on the tin, dark heavy electric Blues on ‘Going Too Hard (For Too Long)’; acoustic Blues with ‘Suck It Up’; and there’s even an instrumental, ‘Boogie Sea’. Also some of the lyrics are a bit more imaginative than those provided by many of their con-

temporaries. “Masquerading as a human being/Controlled all knowing and all seeing/When the makeup runs, the mask falls off/Watch the flame torch the moth,” from ‘Condescending Lies’ gives an indication that there is a good deal of thought behind the rock.

Thomas Rankin

PETE CORNELIUS AND THE DEVILLES

Cornelius is the young guitarist and vocalist in this three-piece band hailing from Australia, and they meld several Blues styles on this album that was released last year. The songs on this, the group’s fifth album, are mostly originals that are well constructed and range from swing to surf to jazz to more regular Blues. ‘Missin’ You’ is a strong opener, featuring some nice dirty guitar and decent vocals. Guest saxophone features on ‘Done Got Over It’, which also displays some nice guitar work. The title track sounds like it could be a lost Hoax track, before the vocals enter, and it’s an enjoyable slice of Blues-rock. The band borrow the Ray Charles tune ‘It Should Have Been Me’ to explain their hard luck and troubles in ‘What’s Wrong’, whilst ‘Hard Times’ slows proceedings down to a crawl - whilst good, it is quite cliched. Covers of Clarence “Gatemouth” Brown and Nappy Brown clearly show the sort of artists who have inspired them, and whilst the band initially sound fresh, they do seem to run out of ideas towards the end of the album. Overall, a decent little effort.

Andrew Baldwin

SCOTT H. BIRAM Something’s Wrong/Lost Forever

Bloodshot

He describes himself as the original “Dirty Old One Man Band”. There is thankfully a lot more to his music than this self-proclaimed title would suggest - based in country, with more than a touch of the Blues, a bit of gospel and some rock bordering on the edginess of punk. He’s also a hard man. Back in 2003, just a month after being hit by a truck, he was back on stage with two broken legs, a broken foot, a broken arm, a foot of intestine gone and an I.V. in his arm. That kind of strength and attitude comes through in much of his music. Tracks like ‘Time Flies’, ‘Judgement Day’ and ‘Hard Time’ pretty much grab you by the throat and overpower your senses with driven, raucous vocals. On the flip side, ‘SinkinDown’, ‘Draggin’Down The Line’ and the excellent ‘Still Drunk, Still Crazy, Still Blue’ would be at home on any country star’s album. Interestingly, the three covers featured are all Blues. A fine foot stompin’ harmonica lead on E.R. Wilson’s ‘Ain’t It A Shame’, an up-tempo rockin’ take on Bill Broonzy’s ‘I Feel So Good’ and a powerful a cappella version of Huddie Leadbetter’s ‘Go Down Ol’ Hannah’.

Thomas Rankin

BJORN BERGE Fretwork

DixieFrog

With this new album, the Bluesman from the North reveals an unexpected side to his talent, as a songwriter and singer-gui-

tarist. We’d got used to him playing a band all by himself, but for some tracks on “Fretwork”, the Nordic giant has invited violins, cellos and percussions to add real sensibility - sending shivers down the spine. Of course, this fantastic guitar player has put together a few tracks with the rage and power we know from his previous albums, and Bjorn demonstrates he doesn’t joke when it comes to his six-string. There are also a few covers mixed to his own recipe, such as ‘Zebra’, borrowed from John Butler, and ‘Killing Floor’, written by C.A. Burnett, but it’s undoubtedly the tracks radiating from those violins and cellos which really hit you. Let yourself be transported by the charm of ‘You’re So Fine’, and fly away to the sound of violins whispering to Bjorn’s voice in ‘Skijumper’. An unforgettable voice in ‘These Streets’, a song

GEMMA RAY Lights Out Zoltar!

Bronzerat

If Nick Cave was ever reincarnated as a ‘60s pop chick, then this is the music he, or rather she, would make.

Gemma Ray’s brand of gothic pop chic is totally unique, and unlike anything else currently doing the rounds. For her second album, she has delivered an incredibly rich and lush selection of songs. Some are achingly seductive and some are just plain spooky, but she never loses sight of those allimportant hooks and choruses. She proves yet again that you can tell a great story in the space of three minutes. Her mastery of the Harmony Rocket guitar means there are plenty of interesting sounds and stirring melodies. Joe Gideon pops up on ‘1952’ for some Cave-esque dueting, and despite the all-pervading noir-ish vibes, the songs never get too dark or depressing. Anyone who enjoyed Isobel Campbell and Mark Lanegan’s recent pairings will love the track ‘Death Roll’. The juztaposition between day and light is never far behind!

Gemma even manages to save the best until last with ‘So Do I’, which is a pop song of such unbridled optimism that it could have been written by the master himself, Brian Wilson. It’s all incurably romantic, yet rather foreboding at the same time.

Jamie Hailstone

HOLLY GOLIGHTLY Painted On Up The Empire Down Gina’s At 3 Damaged Goods

It appears that the Damaged Goods label are re-releasing the entire back catalogue of this ex- Thee Hoadcoatee singer, who blends Blues, pop, punk and plenty of rock’n’roll in her solo act. “Painted On” was originally released in 1997, and is a short studio album, with ten brief blasts of punk inspired Blues - she is backed by a solid Blues band comprising guitar, bass, drums and harp. ‘A Length Of Pipe’, written by guitarist Dan Melchior, is a decent rocker about a dangerous woman, and features some stinging guitar and a dose of harp. Golightly sings in a softly, almost spoken tone with a punk edge on all the tracks, and she either sounds uber cool or completely detached, depending on your taste. ’For All This’ is a quiet and dignified “f**k you” to an ex-lover, and is a good little track. After hearing her studio material, I was hoping that “Up The Empire”, a live document from 1998, would show off her talents somewhat more obviously, unfortunately it all meanders along at a similar pace. It sounds like it was recorded in a small, sweaty club, and her vocals are quite low in the mix. Her band are again enjoyable, reminiscent of a popular ‘60s British band - the Yardbirds come to mind, and they sound like a goodtime party band. ‘The Ride’ is a creeping slow Blues, whilst her cover of Ike Turner’s ‘Troubles On My Mind’ is a good version with a bit of attitude. The covers of ‘It’s All Over Now’ and ‘Mellow Down Easy’ are a touch more energetic, but I was left perplexed to what all the fuss is about. “Down At Gina’s At 3” is an extension of her live repertoire, with another twenty tracks of originals and covers, including an aggressive workout of ‘Can’t Stand To See Your Face’, which features some fiery axe work and a nice interpretation of Jesse Mae Robinson’s ‘Black Night’. The audio quality again isn’t great, with the drums of Bruce Brand overpowering the rest of the band. Of the three, I preferred the latter, but it would be an effort to have to sit through them again.

Andrew Baldwin

also a music of the future. This is one of the great Blues albums of 2009, where diversity is synonymous of quality.

Frankie Pfeiffer/Nat Harrap

KARL DENSON Brother’s Keeper

Saxophonist Karl Denson has been around for a few years, as bandleader, sideman and in demand session guy. His brand of danceable jazz, soul, R&B, Blues and funk has won him admirers across the music world. It is no wonder why the celebrated saxman and vocalist has been first call for such musicians as Warren Haynes, Lenny Kravitz, Michael Franti (Spearhead), The Allman Brothers and James Brown alum Fred Wesley. “Brother's Keeper” sees Denson joined by an all-star cast, including Meshell Ndegeocello, Marc Ford (The Black Crowes) and musicians from Lenny Kravitz's band, The Dap Kings, The Greyboy Allstars and Switchfoot. It’s a likeable set of groove laden tunes that show why Denson is a man in high regard. ‘Shake It Out’ starts the mood with an uptempo gospel-tinged work to kick off the ten song set, reggae

lovers will delight in ‘The Mighty Rebel’, as dance jazz fans will with the album closer, ‘Just Got Paid’. There’s a lot on offer here, if you like this type of music, but I’m not sure there’s an awful lot here for Blues fans.

Steve Hoare

BLUESSMYTH Sola Gratia

Mandusa

That’s Bluessmyth, not blacksmith, despite their self descrip tion as a “symbolic forging and fusion of the roots of Blues music with heavy, metallic overtones.” Quite heavy, but this is a very handsome Canadian-three piece – indeed, some of their PR shots could equally be for a city ad agency. Let’s say there have been uglier rock bands, but that’s being flippant - they can’t help their chiselled good looks (and in the case of drummer Celene Yohemas, statuesque resplendence). Forget the style; look at the substance, because they sound much dirtier than they look, with some of Chris Yaholkoski’s dishevelled guitar licks really igniting this consistently strong third album. It all opens up with the unyielding ‘Down On My Luck’, which instantly shows you that Yaholkoski has a robust, grimy Blues vocal

which many in the business would kill for – a revved up Paul Weller. The rhythm section of Jason Yaholkoski and Yohemas is tight, and a perfect compliment. By the time we get to show stealer ‘Rosemary’s Blues’, their credentials are safely established. There are some cracking harmonicas, and even a Hammond organ in there to add to the depth and balance. The only black mark is that there are only eight tracks, although they are eight corkers. So, not just pretty faces.

Richard Thomas

ASH GRUNWALD

On the song ‘Mojo’, Ash Grunwald might call someone to give him his, err, mojo back, but having listened to his latest offering – there can be no doubt, this gentleman’s mojo is working just fine. It’s time to crank the speakers up to 12, because “Fish Out Of Water” rocks, and needs to be played as loudly as humanly possible. The Aussie’s brand of hardrocking Blues gets a welcome hip hop injection this time round, courtesy of beat master Countbounce from TZU.

makes for a highly accesrecord. One minute, Ash is channelling Beck, the next minute he is ZZ Top - particularly when he rocks out on ‘Breakout’, which is screaming out for a cover by the beard-

ed Texan trio. His ability as a guitar player is never in doubt. On track after track, he pulls off some seriously tasty solos that demonstrate his commitment to the Blues. The slowerpaced and highly atmospheric ‘Port Campbell’ gives the album an extra sense of depth. At times, he sails perilously close to Lenny Kravitz/Marc Bolan territory, with plenty of retro rock, but Ash Grunwald has produced an original album that deserves to be heard. He might be a fish out of water, but he sure knows how to rock! And rock he does.

Jamie Hailstone

CHOCOLATE THUNDER

Ear Candy

Independent Release

Linda Rodney – perhaps now better known as Chocolate Thunder (The Southern Wonder), given that this is her second CD – is a big voiced soul-Blues singer out of Greenville, South Carolina to be exact. As might be expected – and certainly indisputable after even the slightest exposure to her voice –she began singing in church, and she cites Muddy Waters, Aretha Franklin and gospel legend Shirley Caesar among her influences. Those southern roots are in evidence on this diverse but always Bluesy CD, which contains twelve original tracks – and don’t be surprised if one or two of these are picked up by more established artists. ‘The Other Side Of Memphis’ is a classy soul-Blues that has already attracted a lot of radio play (and the stupendous powerhouse Blues ‘555HELP’ should do the same), but really there is not a weak track on this album, from the testifying of ‘It’s All Good’ and the positive message of ‘Power of A Lady’ to the tough, funky, rocky ‘Love Caused It’ and jazzy Blues of ‘My Georgia Pine’. A couple of southern-soul styled lilters complete a very fine album.

Norman Darwen

TINARIWEN Imidiwan: Companions

Independente

I had my first live experience of Tinariwen last year at the Coutances Jazz Festival in Normandy, and it has stayed with me ever since as an exotic memory. These people are desert dwellers; proud Tauregs, equally at home on a camel as they are in a 4x4. They’re the real deal, and despite the temptations and blandishments placed in their path on their numerous international tours (they have played, says one Saharan fan in the accompanying DVD, “on every place on the earth which is not ocean”) their music, albeit utilising electric guitars and amplifiers, retains all its powerful African simplicity, with a lyrical subject matter which forever celebrates their culture and history. If you’re coming to Tinariwen afresh, you may find their one-chord mono-style approach curious, but stay with it; I warn you, this music is as mesmerising as a desert mirage - as for their spectacular, traditional image, all robes, sandals and turbans, they bring a visual excitement most bands could only pray for. Is it Blues? Sung in Taureg languages? Damn right it is – listen to the guitar styles, the infectious rhythms, the sometimes subdued vocals and all the echoes of John Lee Hooker or Son House seep out from between the strings. This is my favourite album of 2009, and the DVD, short though it is, is an informative work of art in itself. A simple life they lead, perhaps – but don’t be deceived – this music has a depth I’m still discovering.

Roy Bainton

RICH HOPE

Canadian guitarist Rich Hope has grown up with an interest in rock and Blues, and combines them fairly well here. The threepiece band make plenty of noise, and on the opening track ‘My Baby Likes To Boogaloo’, the guitar is chunky - a good sound, which sadly leaves the track a little disjointed. A pick-up is the title track, which has more of a raucous Blues influence. The harmonica bolsters well, and there is an element of The Rolling Stones. Hope’s guitar work is largely riff based, with some interesting work. The music is stripped down at times, with a

fuzz to the guitar and soulful sound to the vocals. ‘Let’s Jump Around’ is a standout, with punk like bursts, and a Blues riff to the hard rock that Paul Samson typified in the ‘90s. Throw in the harmonica, and you have a real bash. At times, on the album, the music is a little rough, but the acoustic moments and changes of pace are good. Enjoyable, but not sure how frequently I’d go back to it.

Joe Geesin

13TH FLOOR ELEVATORS

Psychedelic Circus Retroworld

Readers “of a certain age” may recall Bob Groom's book “The Blues Revival” or even Richard Middleton's lesser-known tome “Pop Music And The Blues” - both from the early-70s. They both forcefully made the point that the popular music of the previous fifteen years or so had been profoundly Blues-influenced. It may seem obvious to us, with hindsight, but neither author confined themselves to, for example, Elvis, The Beatles, The Rolling Stones and Led Zeppelin, but cast their respective nets much wider. A release like this confirms just how right they were. This Texas band are acknowledged as masters of psychedelia, and this collection of live recordings from 1966 and 1967 is further proof they deserve that status. But – a big but – what is a Blues lover to make of numbers such as the cover of Solomon Burke's 'Everybody Needs Somebody To Love' and Bo Diddley's 'Before You Accuse Me'? Or of the use of an electric jug, for gawd's sake? A couple of these guys went on to back Lightnin' Hopkins. It might sound unlikely, but this release makes sense of it all.

Norman Darwen

NORTHSYDE Mercy’s Medicine

myspace.com/funkyband

On ‘Devil Said’, Lorna Fothergill relays the story of how the devil promised “he’s gonna make me a star.” After listening to “Mercy’s Medicine”, however, it would seem that no satanic pact is required. This collection sees the band formerly known as Funkydory faithfully recreate their intense live sound on CD. As statements of intent go, album opener ‘Get the Funk Out’ is pretty effective, it’s sexually charged lyrics and unbridled funk sound getting proceedings of to a bang. However, this is an eclectic album from a versatile band, as evinced by second track, ‘Hole’ - a classic rock sound providing the perfect platform for some Santana-esque guitar heroics. There is a token nod to the Blues, too, with a brave (and successful) attempt at The Allman Brother Band’s opus ‘Whipping Post’, hiding away as the album’s closer. However, Northsyde’s stab at various genres is somewhat hit and miss, with the classic rock of ‘Hard Shoes’ slightly plodding, the generic funk riff of ‘I’m Not Crying’, and the ZZ Top Blues-rock of ‘Devil Said’ simply incongruous. This does leave “Mercy’s Medicine” lacking cohesiveness. Despite that, this is an album with much to recommend it, propelled by the nimble guitar work of Jules Fothergill, and the charisma of wife and singer Lorna Fothergill, who sounds like a Delta Blues singer.

A.M. Bates

GLEN

TERRY Soul Searchin

How is this for a biography? Glen Terry was born in India, but currently lives down under in Australia. Somewhere in the middle, he managed to tour across Africa, Sri Lanka, Mauritius and everywhere else besides. This new CD has already attracted rave reviews in Australia, where Glen has been hailed as the country’s answer to Buddy Guy. He could also be Aussie’s answer to Eric Clapton or Robert Cray, if the truth be known. Not only is he a superb singer and a great guitarist, but, on this showing, he is also a thoroughly entertaining performer in his own right. “Soul Searchin” is a funky, soulful example of electric Blues at its very best. There are some terrifically strong tracks, including ‘Real Cool Cat’ and ‘Sugar Blues Express’, but the highlight has to be ‘When The Saints’, which really raises the roof. The title of the CD might suggest a record of contemplative introspection, but

FIONA BOYES

Blues Woman

WOODBRAIN

Swimming In Turpentine

Yellow Dog

Both these releases are on Yellow Dog Records, and both feature drummer Jimi Bott, but there the similarity ends.

this is lively bar room Blues that will get the party started each and every time! Like modern players, such as Sherman Robertson, Glen Terry knows how to work a crowd and keep the punters happy. This record is full of fun and will put a smile on your face.

Jamie Hailstone

STAN HIRSCH Compelled To Play

Blue Falcon

After a brief ‘60s foray within a group format, Stan Hirsch’s background is mainly as a solo performer of folk and Blues, and as a guitar tutor. This latest release represents a worthy accomplishment of entirely first take renditions of a mixture of his own compositions and personal arrangements of well known Blues classics. As an exercise in brilliant acoustic guitar virtuoso playing, it is doubtless on another level, and the vocals are certainly well suited to the music, but it fails to generate excitement - more admiration. He reworks ‘Got My Mojo Workin’’, Robert Johnson’s ‘Walking Blues’ and Jerry Williams ‘Baby Please Don’t Go’ with great dexterity. The guitar playing in ‘Mystery Train’ is impressive, but when compared to other well known versions, it lacks the power that more backing would have afforded it, and the recording suddenly fades and stops. Most of the tunes are his own compositions, but I found myself thinking how much more I enjoy the work, in a similar

“Blues Woman” is the sixth solo album Australian guitar picker Fiona Boyes, who has an excellent Blues pedigree. Fifteen largely self-penned tracks, offering fifty-two minutes of feel good traditional Blues, with boogie and gospel featuring prominently. The instrumentation and arrangements are top quality and varied, with b-3 organ, upright bass and the Texas Horns, amongst others, supplementing her electric and acoustic guitars. The sparkle is added by the contributions on several tracks of luminary guests Marcia Ball, Watermelon Slim, Pinetop Perkins and the vocals of The Congregation. Highlight tracks are ‘Train To Hopesville’, a train song tinged with gospel, and ‘The Barrelhouse Funeral’, which features Watermelon Slim as the hellfire and brimstone preacher on vocals and harp, and rollicking boogie piano from Marcia Ball. Juke Joint on ‘Moses Lane’ is a fine country Blues, with Fiona solo on resonator guitar and stomp box – a nod back to her acoustic roots. Another plus is her illuminating and interesting sleevenotes on the raison d’etre of each track. Recommended then to lovers of goodtime Blues, with my only reservation being having to get past the ‘frog in the throat’ hoarseness that she uses to deepen her voice from what appears to be her natural sweet and clear higher pitch. “Swimming In Turpentine” is the debut from from Portland, Oregon four-piece Woodbrain, previously the Joe McMurrian Quartet. Thirteen tracks and sixty minutes long, it features Joe on guitar and vocals, David Lipkind on harmonica, Jason Honl on bass and organ and the aforementioned Jim Bott on drums. It is a curious mix, starting with high energy Delta Blues – think ‘Rollin’ And Tumblin’’ by Cream, with the harmonica dominating throughout. ‘Northbound’ is a well executed train song, but, as on many of the tracks, Joe Mcmurrian’s hoarse throaty vocal is drowned in the mix, leaving almost a punk rock feel to the overall sound. ‘Home Of My Own’, with a more relaxed tempo, works better, and ‘Good Man’ is reminiscent of Canned Heat. Easily the best track for me is ‘Storm Clouds’ – ironically, a quiet and reflective acoustic track, with haunting harp and effective vocals worth the admission price alone. In contrast, the last track, ‘Pottsville Conglomerate’ appears to be a series of uncoordinated sounds - absolutely awful. Lots of potential here, though, if the band take their collective talents in the right direction.

Bob Chaffey

genre, of people like John Hammond Junior and Tony Joe White. To many, this album will be studied assiduously for its technique and mastery of the instrument, but as an emotional experience, one perhaps should look elsewhere.

Noggin

TREASA LEVASSEUR

Low Fidelity

Treasa Levasseur is a Toronto-based singer-songwriter. “Low Fidelity” is the follow-up to her 2006 debut CD “Not A Straight Line”. Her music is Blues rooted but a very complex mix of soul, country and ‘60s pop - and it’s different. Her songs are well crafted - this is one talented songstress, and she writes hook-lines that lock instantly into the memory. Vocally, she is equally memorable - it is like listening to Carole King with more Blues and soul, and some grit added to the polish. Levasseur has surrounded herself by musicians that are highly skilled in their craft and seem able to sense the essence of her music. There isn’t a bad track on this whole album, and this is a lady ready to musically fly. ‘Help Me Over’ opens proceedings and sees her in full southern soul mode, as she powers her way through the number with emotion, superb intonation and a vocal range. ‘Good Ones Never Share’ comes next, and we are into R&B with a good helping of soul and wailing Blues harmonica. This is a really catchy song - you find yourself instantly tuning into the lyrics and singing along, too. On ‘Low Fidelity’, the vocal becomes more accusing and assertive, as she defies a hurting lover with venom! If you need any more persuasion, just listen to the final track, ‘Amen’, as she takes off into full throttle gospel with a vocal to die for!

Carol Borrington

IMELDA MAY

Love Tattoo

Universal/Blue Thumb

KRISSY MATTHEWS

Allen In Reverse

Membran

Krissy Matthews is just 17 years old, yet he’s already made waves within the European Blues community. He’s also shared a stage with some pretty big names and has toured extensively. While there’s no doubting he’s a very talented young guitarist, I am left wondering why he hasn’t got himself a singer to front his band, because his voice makes this CD impossible to listen to all the way through. His vocal style sounds like a hybrid of a young Bob Dylan and Johnny Winter combined (neither known for their great singing exploits). The music is very good and the song arrangements (for someone so young) are excellent but I just can’t get past the annoying vocal style. The CD contains ten originals and two covers, the covers being John Lee Hooker’s ’Hug You Squeeze You’ and Albert Collins’ ‘Iceman’, both of which see’s Krissy put in some great guitar work. Of the ten originals, I have to say there’s a good mixture of styles that keep things fresh and interesting. Everything from acoustic country ballads to funky rock to full on Blues-rockers, he‘s got a lot of potential, but unless the singing changes then I’m afraid it‘s not for me.

Steve Hoare

ZAKIYA HOOKER Keeping It Real Boogie With The Hook

With a famous father like John Lee Hooker, you don’t come with more royal ‘Blues blood’ in your veins. Like many offspring of famous musicians, Zakiya, although staying with her father’s genre, has struck out to make music in her own style and refused to be a clone of her father, simply living off his glory. The technical production of the CD is pristine and Zakiya has

Imelda May first made her presence felt in 2007 on “Later… With Jools Holland”, and “Love Tattoo” is her debut CD. Imelda’s vocal, with its clear intonation, fiery vocal gymnastics and raw sensual nature, reveals just what a find she is. The CD is an eclectic mix; Blues rooted but Imelda has amalgamated the root with jazz, rockabilly and rock’n’roll, creating a synthesis of top quality music. The instrumentals, like Imelda’s vocal, are breathtaking. The CD kicks off at a flying pace, with 'Johnny Got Boom Boom', a great Blues-rock number with a real ‘50s swing feel. Guitar driven, it gives a first taste of Imelda’s vocal ability, as she races through the song with flair. 'Feel Me' has a bossa nova bent; Imelda’s vocal serenaded by some great brass, with guitar taking over in the middle, and all punctuated by excellent drum riffs. The track 'Knock', with its hint of an Irish lilt, is dark and moody, perfectly displaying the seductive quality of May’s vocal. For 'Falling In Love With You Again', think a present day Doris Day meeting Rock Hudson, and the pair falling in love on a porch on a warm summer night all over again! The CD goes out in a fit of glory, with the moody but highly frenzied number 'Watcha Gonna Do'. This gal’s got real class and longevity!

Carol Borrington

VARIOUS Music Maker WAYNE LAVALLEE Trail Of Tears DEMI EVANS My America

DixieFrog

The French label, DixieFrog continues to excel itself with three releases, which show three very different interpretations of the Blues. The “Music Maker” CD features four veteran Bluesman, the youngest of which was born in 1937. The four Bluesmen - Boo Hanks, Dr. Burt, Neal Pattman and John Dee Holeman – are all beneficiaries of producer Timothy Duffy’s Music Maker Relief Foundation, which aims to help older artists. The recordings themselves were all made at various points over the last twelve years, and, despite the age of the men themselves, they all give fantastic and spirited performances. The listener is transported back to where the Blues began by four singers who really have lived through it all. It is also a perfect antidote to some of today’s more over-produced and anodyne recordings. The CD is totally raw and straight from the heart. Singer and guitarist Wayne Lavallee has a unique heritage. With both European and Cree ancestors, his music has a stunning and sacred feel to it. Indian chants mix with the Blues, rock and folk. He even manages to take Bob Marley’s ‘Buffalo Soldier’ and make it interesting once again. The song might be something of an old warhorse, but it really works on this album. The mysticism of Cree culture fits well with the spiritual yearning, which is an integral part of the Blues. As an artist, Wayne Lavallee is utterly unique, and this record is unlike any other. Singer Demi Evans encompasses another facet of the Blues. Her rich and soulful voice puts her in the same league as Carleen Anderson, Ruby Turner and Nina Simone. “My America” is funkier than the average Blues record, with plenty of deep grooves. Anyone who used to the dig the Brand New Heavies will dig this! There are plenty of good songs, including the title track. Ultimately, this is a record of hope, with the odd funky backbeat to give it some extra sauce. There’s also a strong gospel influence, which makes it an uplifting listen. All three releases are well produced and, for the technically minded, they also have embedded videos on the CDs, which can be viewed on both PCs and Macs. C’est formidable, as they say in France.

surrounded herself with a band of musicians who not only compliment but instinctively meld with her style. ‘Hug U Kiss U’ gives you a first look at her vocal, which is classy, melodic and full of professional assertiveness. Her intonation is spoton as she launches into a swing Blues number that has you immediately tapping with a desire to get up and just dance the night away. On ‘Cold Cold Feeling’, Zakiya drops into a soulful, yet accusative vocal, in classic iambic lyrical style. This is all accompanied by equally classic urban Blues guitar and subtle piano that just adds that final cherry to this musical cake. If you haven’t heard the Blues sung in Spanish, listen to the exquisite track ‘Desconfio’. Clinking glasses introduce the swing Blues of ‘One Bourbon One Scotch’, as Zakiya laments lost love with a bit of talking Blues. ‘Rock

Those Blues Away’ is a previous recording with her father, and is a beautiful contrast between his gritty Blues vocal and her more velvet tones. The legacy continues!

Carol Borrington

GREG NAGY Walk That Fine Line

Big O

Michigan’s Greg Nagy is guitarist for the band Root Doctor, but he has stepped forward for this, his first solo outing. Backed by many members of the Root Doctors, Nagy has produced an

album of fine music that straddles a whole host of different genres. Opening with the title track, ‘Walk That Fine Line’, the listener is greeted with an a capella gospel sounding intro, before breaking into a great funky rhythm that showcases both Nagy’s fine vocals, as well as his guitar playing. A deep and tasty bass line introduces Albert King’s ‘For The Love Of A Woman’, with Nagy handling all guitar parts most capably, and with fine Hammond B3 existing quite harmoniously with the piano.

‘Blues Will Take Care Of You’ is a surprising song, for it sounds as though it belongs more in jazz sampler or a Latin rhythm album, but there is some great Hammond playing on this from Jim Alfredson, the song’s writer. Harking back to a simpler time, Willie Brown’s pre- World War ll Delta Blues ‘M & O Blues’ is given a reverential treatment, as is the mighty fine ‘You Can Love Yourself’ by Keb’ Mo’ Altogether, this release points to the fact that Greg Nagy, who has been playing for over thirty years as a sideman, is a capable and talented musician.

Merv Osborne

THE BLACK CROWES

There’s giving the punters what they want and then there’s fleecing them for every penny they have. In the past twelve months, The Black Crowes released “Warpaint” as a studio album, then as a live album and now it is also available as a live DVD (not to mention uber sexy Blu-ray for HD fans). You can argue the relative merits of this, but as the music industry continues to freefall, mostly because of online piracy, the chances are we will see more multiplatform releases like this. Minor gripes aside, this is a great show - and it looks amazing on DVD. Recorded live at the Wiltern in Los Angeles in March 2008, the Crowes play the “Warpaint” album in its entirety, along with some cover songs. The band have been criticised in the past for being Rolling Stones-lite, but Chris Robinson is a tremendous frontman with bags of charisma and stage presence. He also continues to shine as a singer. The band themselves are on top form. They were always a thrilling prospect live, and this concert is no exception. What can you say about Luther Dickinson? He’s one of the greatest slide guitar players in the world right now, and the camera work on this DVD gives you the chance to enjoy his playing in all its majesty. There is also a choice of three different audio mixes, including 5.1 and DTS surround sound, so those with home cinema systems can seriously crank it up. Whether fans will want to own the same album in so many formats is a moot point, but judged on its own merits, this is a first class live DVD.

Jamie Hailstone

TUTORIAL Learn To Play… Gary Moore Note For Note Learn To Play… Gary Moore: The Solos

Quick Licks Gary Moore: Up Tempo 8 Bar Blues

Lick Library

These packages are aimed at the aspiring or professional guitarists who would like to expand their repertoire of music, a la Gary Moore. As an aspiring, yet ‘very’ amateur guitarist myself, I was a good subject to test them out on! Played on a laptop in my practice room, they all played well, though in terms of learning, a desktop PC or DVD player may have been better. All three tutors present well as their antecedents sug-

gest they would. Each DVD has good quality P.I.P. views of the picking hand, whilst the main picture features the fretting hand. In the first package, Richard Barrett takes you through five Gary Moore tunes systematically. He goes at the right speed and revisits each segment of the song whilst taking you to the end, by which time you should be able to play the whole song. I cannot say I can yet play the whole song, but this package will certainly help and encourage me to get there. A CD of backing tracks - though I will have to improve a bit before accessing those - accompanies the DVD. The second package focuses on five Gary Moore songs (two of which are on the first DVD), with particular reference to the solos they contain. Stuart Bull delivers these sessions well. They are slightly more technically descriptive, but explained wellyou do not need a doctorate in music to understand them! Of the three, the fretboard fingering is clearest on this DVD, and the progression through the respective solos was easy to follow and copy. Once again, there is a CD of backing tracks to accompany the DVD. The third package is a tutorial of various guitar licks in the style of Gary Moore, and begins with Danny Gill demonstrating the essentials of chord progressions in the Blues, before moving onto playing the various licks. The main problem was Danny’s fretboard technique, which I found a bit confusing as other fingers often masked the fretting fingers. That said, with a bit of perseverance it became clear. These three DVD’s won’t make you Gary Moore overnight, but you’ll have fun learning with them.

Carol Borrington

LITTLE FEAT Skin It Back Eagle

Despite a formidable live reputation and countless bootlegs, there are still very few legitimate video recordings of the Lowell George era Little Feat. This DVD sees the band live onstage in Essen, Germany, back in 1977, and goes a long way to explain why critics and fellow musicians raved about this band at the time. They might have lacked the clout of The Band, the sex appeal of The Rolling Stones, or the finesse of The Meters, but they out play every single one of those groups. This Rockpalast concert has been out before on DVD. It was first released back in 2000, but this new version has considerably better sound and picture quality. The good news for hardcore fans is that this new release also boasts some previously unseen rehearsal footage. Little Feat had a very turbulent history during the late-70s, but the

ERIC CLAPTON AND STEVE WINWOOD Live From Madison Square Gardens

Reprise/Warner Bros.

Clapton and Steve Winwood have been playing together for years, from the Powerhouse project back in ’67, through Blind Faith and various jamming projects over the years. The concert at Madison Square Garden had the feel of two old friends playing the music of their hearts and just enjoying themselves, plus the choice of songs, as well as the easy swapping of lead roles, gave both artists full rein to express themselves and to test each others’ chops. Most numbers have a story behind them, but the cut-ins of the narrative doesn’t interfere with the flow of the show. Clapton’s guitar work is superb, easy and detailed with that wonderful tone that he seems to have made his own, whilst he is beautifully balanced out by Winwood’s keyboards and piano. However, Winwood’s vocals are a street ahead of Clapton’s, and his soulful bellow really puts over the material with passion and balls. The song selection is a trifle predictable, but I for one can’t imagine Clapton not doing ‘Presence Of The Lord’ or ‘Little Wing’ - and it really is a pleasure to hear a ripping version of ‘Glad’ with the piano pumping away and guitar lines weaving in and out of the piece. ‘Well All Right’ has a slightly eerie sound to it but ‘Double Trouble’ has all the Blues that anyone could wish for, as Eric gives his best vocal performance of the set. Winwood gets back on to the Hammond for ‘Pearly Queen’, and those fat, rolling chords chime out with full glory. The hits keep coming – ‘After Midnight’; ‘Georgia On My Mind’, with Winwood solo on keys and vocals; a stunning ‘Rambling On My Mind’, with Clapton and an acoustic; and ‘Little Wing’. ‘Voodoo Chile’, here, is played as a straight Blues; ‘Dear Mr Fantasy’ gets the full treatment; and then, inevitably, they close with ‘Cocaine’ - two greats, playing together like the old mates they have been for years. This DVD is an excellent record of the event.

Andy Snipper

sound check film shows how much everyone was getting on with each other at this point. The late Lowell George seems particularly relaxed, particularly on the rehearsal of ‘Oh Atlanta’. The main concert sees the band firing on all cylinders. Little Feat gigs were the stuff of legends and it easy to see why. The interplay between George and fellow guitarist Paul Barrere is a joy to watch, while keyboardist Bill Payne dazzles on a variety of what are now vintage synthesizers. The fiery drumming of Richie Hayward drives the group’s syncopated and looselimbed beats. The only downside is that the original commentary track from the 2000 release, which featured Paul Barrere and Bill Payne talking about the concert, is no longer present. This is still sadly one of the few videos of a truly great live band, and vital viewing for anyone who loves rock music.

Jamie Hailstone

VARIOUS It Ain’t Over!

Delmark

The footage on this DVD is taken from a live show at Buddy Guy’s Legends Club in Chicago that celebrated fifty-five years of Blues on the local Delmark record label. Recorded in March ’08, it features several Delmark recording artists, such as Jimmy Johnson, Lurrie Bell and boogie pianist Aaron Moore, ably backed by talented musicians. All kinds of instrument Blues are featured: guitar, harmonica, piano, saxophone and vocally, courtesy of the excellent, but demonic preacher-like Tail Dragger. All the artists featured are well into their careers, indeed, sadly, harpist Little Arthur Duncan has since passed away. Guitarist Johnson’s selections are the most soulful on offer, including a fine version of ‘You Don’t Know What Love Is’, whilst Shirley Johnson’s one offering, ‘As The Years Go Passing By’, is drenched in emotion. Bell backs most of the other artists, including playing some tasty axe behind the power-

house vocals of Zora Young. The sax Blues is from Eddie Shaw, and his two cuts are possibly the best featured. Visually, it’s not the most exciting DVD you’ll ever watch, but there’s nothing wrong with the music.

Andrew Baldwin

THE DOORS From The Outside Sexy Intellectual

Does the world really need another retrospective documentary about The Doors? Probably not, but this is a welcome surprise, and whilst following the traditional documentary route of talking heads, interspersed with snippets of performance, it’s a fascinating production and worth the wait. It follows a chronology of the band’s work, from debut album to the demise of Jim Morrison. What makes it different from other documentaries is that it analyses the musical evolution of The Doors’ music. The detail discussion regarding the Indian influences on ‘The End’, and how ‘When The Music’s Over’ led to a change in musical direction, is engaging and the parallels to the likes of John Coltrane and The Byrds gives cognitive consideration to their music, rather than just saying their creativity was drug-fuelled. Specific tracks are deconstructed and, for example, shine new light on ‘Horse Latitudes’ and ‘Spanish

Caravan’. The abandoned plans for a whole side of an album, entitled ‘Celebration Of The Lizard’, are revealed alongside the reasons why “Morrison Hotel” was designated a Blues album. Diversions into the anti-war campaigns, censorship and shamanism are predictable but still rewarding. All the interviewees, including Patricia Kennealy-Morrison, freely give opinion and recollection, as if in confessional. To top it all, the whole thing is around two-and-a-half hours long. Jim would have been proud of the length. Recommended!

Gareth Hayes

VARIOUS Woodstock Diary 1969

Wienerworld

A couple of years ago, I had the great pleasure of interviewing Richie Havens, who was the first artist to take to the stage at Woodstock. “As far as I am concerned,” he told me. “It was the beginning of the world, and I mean that on a conscious level.” The 1969 festival was notable for many reasons. Sure, there were some great musicians, including Joan Baez, The Who, Janis Joplin and Jimi Hendrix. But more importantly, Woodstock brought together a generation of young Americans and provided a rallying call for the hippie movement. This DVD, which is spread over three hour long sections – each representing a

COMMANDER CODY

Blues Rock Legends Vol.1

PAUL BUTTERFIELD BAND

Blues Rock Legends Vol.2

SPV

single day of the festival –contains some fascinating archive. Anyone who is used to the luxury of modern music festivals may be horrified to see the primitive stage and conditions. As the interviews with the organisers make abundantly clear, it was total and utter chaos. As hundreds of thousands of people descended on the farm where the festival was being held, the organisers had little option but to declare it a free concert. As the weekend concert progressed, things got more and more disorganised. Over 100,000 cars carrying eager teenagers brought the roads around the festival to a grinding halt. The interviews on this DVD give a glimpse of just what the organisers were facing. You genuinely feel for them as they recount how the managers of The Who and Grateful Dead demand cash before the bands go on stage. There might not have been much peace and love

Exciting German TV – the ultimate oxymoron? Legendary music show Rockpalast has hosted acts as diverse as Chumbawamba and Ted Nugent, and the no frills presentation on these DVDs dispenses with the peripheral stuff and plunges you headlong into the action. There can have been no more energetic show than this 1980 performance by Michigan’s finest, Commander Cody And His Lost Planet Airmen. In the first thirty seconds of opening number ‘Thank You Lone Ranger’, the Commander wrestles with his waistcoat, as if removing a straightjacket, plays piano with his plimsoled foot, throws back his tumbling mane and sets the scene for a highly charged, tongue-in-cheek performance that will leave you in need of a nap afterwards. Amid the eccentricity and peculiar subject matter – cheeseburgers in the case of ‘Two Triple Cheese’ - there is plenty of hearty rockabilly Blues here and the Commander is likeable, nutty as a fruitcake and plays a mean boogie woogie piano. Bill Kirchen, a Hank Marvin doppelganger, contributes some slick rock guitar and vocals, especially on ‘Beat Me Daddy 8 To The Bar’ - an early highlight. It is the Commander himself, though, that steals the show with his visual antics and virtuoso piano, and Rockpalast provides a live, albeit undemonstrative audience, and a simple platform for seventeen upbeat numbers and seventy minutes of mayhem. The second DVD is a strong 1978 showing from harp king Paul Butterfield and his band. The Blues wouldn’t necessarily be your first point of reference - the opening number ‘Fair Enough’ is a funky upbeat number showcasing dual guitarists Peter Atanasoff and Buzzy Feiten, reminiscent of The Average White Band, but despite a sometimes slightly lopsided mix, when ‘Butter’ starts the mournful howl of ‘One More Heartache’, you know you are in Blues territory. The zenith of the show is the vigorous ‘Goin’ Down’ - as lusty a cover of this you are ever likely to witness. Described as “the white ambassador of the black Chicago Blues,” it is the level of emotion rather than Butterfield’s Blues harp playing that makes the impact, and sadly perhaps, there weren’t too many more such intensively physical performances to savour before the body that he punished so hard for many of his forty-five years finally gave up on him in 1987. Let’s revel in the good days, though. Don’t miss the bizarre bonus interview - a bizarre triumph of multilingual eccentricity.

Richard Thomas

back stage, but the musicians themselves were busy making history. Havens’ performance of ‘Freedom’ is electrifying, as are The Who and Hendrix. People might rave about music festivals these days, but Woodstock was an epoch making event in every sense of the word.

Jamie Hailstone

STEVIE RAY VAUGHAN

Learn To Play… Stevie Ray Vaughan: Volume 1

Learn To Play… Stevie Ray Vaughan: Volume 2

Jam With Stevie Ray Vaughan

Guitar Techniques: Stevie Ray Vaughan

Quick Licks S.R. Vaughan: Slow Blues

Lick Library

The two “Learn To Play…” DVDs give over six hours of tuition by Jamie Humphries, and covers tracks such as ‘Texas Flood’, ‘Scuttlebuttin’’, ‘Pride And Joy’ and ‘The House Is Rocking’. Each song is broken into manageable chunks, with Humphries breaking down the notes and demonstrating them in an easy to follow fashion. The “Jam With…” DVD gives a three hour session, over seven tracks, and there is a CD supplied featuring the backing tracks for each song, so that you can overplay that which you have learnt. “Guitar Techniques…” is presented by Stuart Bull, who appeared on the Musicians Channel as advanced guitar tutor. His DVD deals with Stevie Ray’s ‘Double Stops’; ‘Chords’, which includes some really cool chords for shuffles or general rhythm playing; ‘Open Position Licks’; ‘String Bending’, and Stevie Ray really pulled off some difficult bends; as well as ‘Blues Licks And Runs’. Finally, the “Quick Licks…” DVD deals with a slow Blues as may be played by

Stevie Ray. Here there are five examples, all based around the same backing, and then a jam track for you to play to after. With it comes ‘Scale Choices’, as well as a short talk on equipment to help you achieve the SRV sound. A great package.

Merv Osborne

THE BLUES BAND Bungay Jumpin’ Live Official Blues Band Bootleg DVD Umbrella

The first DVD with bonus soundtrack CD was recorded live in November 2007 at the Fisher Theatre, Bungay, Suffolk. Video presentation is no frills with no audience shots or between track patter, which does make the audience applause seem a bit like the canned laughter on a TV sitcom. The band look lean and fit, just the receding hair and facial lines betraying their longevity. Throughout the set, they clearly demonstrate their love and continuing passion for the music which has endured for thirty years. It is with their own material that they come closest to transporting me to a Mississippi juke joint or Chicago club. Of particular interest is ‘I Want To Know’, with a fervent vocal by Paul Jones, which he says was performed by Eric Clapton’s Powerhouse. Highlight, ‘Sonny Boy Williamson’, is a tribute to the great man by Paul Jones, originally recorded with Jack Bruce. It features some lovely wah wah slide by Dave Kelly, pulsing bass and, of course, harp and vocals from Paul.

Blues Band Bootleg Album”. Filmed in the same session as the Bob Chaffey

HUSKY BURNETTE

My sound is southern and swampy. It's definitely rooted in the old style of Blues, with rockin' and boogie to it. There are hints of rockabilly that come out every now and again, ‘cos it's in my blood from Memphis. People like to call it punk Blues, but it's all just Blues to me.

“The Blues is real, man. It's as real as it gets. Even though I have songs that are only influenced by certain things, the majority of everything I write is true. Getting locked up, people cheating you, addictions, good times, a good woman…all real.

“There are quite a few bands doing it these days, such as my hometown friends Black Diamond Heavies or Left Lane Cruiser. There's a ton more though, of course. We're all bringing that old sound back, while putting our own spin on it. I'm really excited that there's such a movement going on. I see it growing even bigger and better than it already has in the last five to ten years. With all the artists coming along and getting their name out there, and the fanbase growing so quickly, it can't go anywhere but up.

“Ultimately, I want to make music that people dig. To make music people can boogie all night long to. It's my full-time job, so I guess you can say I've achieved one of my goals already. I've shared the stage and toured with some great artists/bands, so there's another goal achieved. Taking it to the next level would be the next priority - touring out of the

VENTURE SOUTH

How would you describe your sound?

We generally describe ourselves as Blues-funk-rock, but we also have a strong influence from progressive rock.

What stands you apart from other bands today?

The first thing is the funk edge to our rhythm section, which used to be seen with acts like Robin Trower, and in some of The Hoax’s output, but isn't seen as much today. The second is the influence that progressive music has had on us. It means that we often take songs to somewhere quite unexpected, with a total change in sound that keeps you on your toes!

States and hooking up with a solid indie label.

“Indie is the way to go, so the artist can still make the music that he/she wants to make without someone altering it. Don't get me wrong, I have no problem with producers, and I definitely have no problem writing songs, as a songwriter, in another genre to have someone else record it. I have country/rockabilly tunes that people are pitching to publishers and artists for me right now, just as a songwriter. That's fine; it's money in the bank. But with the way the music industry is, and what is considered popular music in this day and time, I don't really fit in - and I'm glad! I get to do my own thing. I get to do what I want to do and feel.

Husky Burnette huskyburnette.com

Husky Burnette is an outsider.

What does the Blues mean to you?

For us, the Blues has always been more than a twelve bar structure. The most important element of Blues is undoubtedly the soulful playing. Guitarists like Steve Vai may be talented Venture South may surprise you.

AARON WILLIAMS AND THE HOODOO

I would like to think we have a hard driving/high energy Blues sound. I love the old school stuff, but what I hear in my head and what comes out of my hands is a hybrid of new Blues and roots music.

“Blues music to me is a way of approaching music. Blues has a certain sound, sonically speaking, that appeal to my ears. It’s very hard to explain to someone that doesn’t feel or hear it the same way I do. Loving Blues music is like being part of the hippest club - you either get it or you don’t. When you play Blues music for someone for the first time, it either grabs them and doesn’t let go, or they just don’t get it and they move on. Which is why Blues is so cool - it’s more about the way it makes you feel than anything else.

“I think the most important element of Blues is the ‘free, improve’ approach to playing, singing or writing it. The artist is free to take what is inside of them and apply it to their music. It’s not bound by popularity or other rules of the trade. Blues allows for so much interpretation that gives it a broad approach.

“I believe in creating, not copying. I was just never good enough to copy other Blues

it.

technical players, but they lack the soul of a far simpler soloing style that people like Albert King had. The song comes first, and this is something that I believe has been a staple of Blues music, rather than technical virtuosity.

How do you see the Blues scene currently?

The Blues scene today is relatively well catered for, with artists like Ian Parker, Aynsley Lister, Matt Schofield, Joanne Shaw Taylor, Joe Bonamassa and The Martin Harley Band all catering to different ends of the Blues market. Media recognition has never been fantastic for Blues acts, and the same still applies today, with Seasick Steve being considered more of a novelty than being judged on his musical merits.

guys, or was never willing to spend the time to learn note for note their songs. There are a lot of cats out there that learned the ‘right’ way, by copying and learning the old school player’s licks. I’ve never been a fan of doing that, so I like to think I don’t really sound like anyone - new or old. There are players that I love and listen to all the time, and I know some of their licks come out in my playing.

“Our philosophy is to plough you over with our music. I think we all lack restraint. A lot of bands sound ‘perfect’ on CD or live, but we don’t go for that sound. When we are able to open up and go for it, we like to teeter on that edge of music where a train wreck is about to occur, or something new and exciting is going to happen. By pushing ourselves, it gives us that raw sound that I love so much.

“We have a new CD coming out. ‘Hypnotize’ has been getting good reviews, which is a straight up rockin’ Blues tune. It has hot guitar and a hypnotic beat that gets the heartbeat going. All in all, the whole CD turned out really well - it has a good mix on some hard driving straight up Blues songs and some new hybrids.

“My goal is to be happy doing what I’m doing. Playing music for a living is something a lot of people dream about doing but aren’t willing to make the commitment or sacrifices to attain it. I’ve been lucky enough to take those steps to getting there.

When it comes to ambition, I think a lot of people under estimate my outlook or drive - I have a very carefree way about my life, not much bothers me, but what people don’t see is the drive and hard work that goes into putting oneself in the position to reach those goals. It certainly takes luck to ‘make it’ in music, but it has to do a lot more about getting yourself surrounded by the right people that are going to help you reach your goals and dreams. I’m always thinking about what’s next, what I can do to make this better or make this happen. It’s hard work that drives ambition.

Aaron Williams myspace.com/jjvicars

How important is it to you to try and get a record deal?

It’s hard to get noticed among the sheer number of acts available online, so record deals are still important for the kind of promotion that you just can’t get otherwise.

myspace.com/venturesouth

Aaron Williams And The Hoodoo keep pushing

The Blood And The Blues

Authentic (Author: Danny Smith with Bill Hampson)

The author was moved to write this book by an interest in music, a career in journalism, and his passion for human rights. It i well researched, reliably sourced and factually based account concerning the slaves who were stolen from Africa. Little is mentioned of William Wilberforce, because by the time his contribution to eliminating the wicked trade was complete, the damage was already done to half a million slaves already wrenched from their homeland and transported in shocking conditions to another continent. It focuses rather on their subsequent and terrifying ordeal, and struggle to gain some measure of basic human rights. Despite their appalling enslavement, they multiplied quickly, both within their own race and by the scurrilous misdeeds of their masters. Of course, every slave born in captivity was a marketable commodity, and thus served to increase the wealth of their overlords. The book supplies detailed accounts by runaways from this brutal oppression, and who used the “underground railroad,” with its analogies of conductors (helpers), stations (safe houses) etc. to gain their freedom. It describes how they followed the North Star as a beacon of hope to the more enlightened northern states and Canada. Their music was born in adversity though field hollers and codified spiritual songs, which provided comfort, inspiration and hidden messages to those driven to escape. Over time, these songs became recognisable as the earliest forms of Blues and gospel music. The book later describes how this music was “stolen,” for example by paying the composers and artists few or no royalties, and how the music was plagiarised and exposed to wider markets, without benefit to the composers. Credit is given to Elvis

I’d Rather Be The Devil – Skip James + The Blues

Chicago Review (Author: Stephen Calt)

The wealth of detail in this book’s 385 pages is astonishing as Calt relates the life and times of Bentonia, Mississippi's Skip James. The author recorded James on numerous occasions between 1964 and 1969 – “discourses rather than interviews” – and hopes his book will give “something of the flavour of Skip James’ life.” It does far more than that – Calt is at the very least highly contentious. The impression he frequently conveys is that he did not like James that much; he finds the Blues singer lacking in virtually any moral sense, and his artistry lacking, apart from a handful of numbers. He also finds the Blues lacking originality, and I did wonder at certain places if he actually likes the music. He also believes that Blues researchers have deluded themselves and others! He does however justify these statements, and that is where much of this book’s great value lies. Calt examines the role and mores of the professional Blues singer – as opposed to amateurs such as Mississippi John Hurt, who had no trouble in being accepted and loved by the folk-Blues revival audiences. He has the ‘60s’ Blues fan’s disdain for the ‘30s' urban Blues sound, demolishes the ‘country Blues/city Blues’ divide (this having been decided upon by researchers working from flawed evidence), and pours scorn on the frequently expressed idea of a “Bentonia style of Blues playing.” In other words, he gives us plenty to think about, peels away much romantic nonsense, and makes the reader examine the facts, at least, rather than just accepting Blues norms – Calt as the devil’s advocate, perhaps. He even seems to soften a little when discussing Skip in the ‘60s; though certainly not when discussing those who ripped him off.

Norman Darwen

The First Time We Met The Blues

Music Mentor (Author: David WIlliams)

Subtitled: “A Journey Of Discovery With Jimmy Page, Brian Jones, Mick Jagger And Keith Richards”. David Williams isn’t a name that will spring to anyone’s mind when they thing back to the British Blues boom of the ‘60s. But, in true Zelig fashion, he was right in the epicentre. Well, to be exact, he was slightly to the side of the epicentre, but a lot closer than most. This is his reminiscence of his childhood and teenage years, when he grew up in the same street as his childhood friend Jimmy Page, and about he and others discovered the Blues. It tells of how they encountered and befriended other teenage Blues fans – names like Brian Jones, Mick Jagger and Keith Richards – and ends up with their pilgrimage to the 1962 American Folk-Blues Festival in Manchester to see the likes of T-Bone Walker, Willie Dixon and John Lee Hooker. It’s a slight book, but it’s the slightness that makes it compelling. Because it isn’t a story of greatness, it’s a story that could have happened to anyone. It’s about discovering music, making friends and having adventures. Despite being considerably younger than the author, I found myself nodding along, remembering about the pre-internet years, when hearing a record for the first time could be a defining moment, about the exploration into unknown territories, scrimping and saving for enough money to buy that record or go to that show. Mr Williams doesn’t try to lecture in the way of a music ethnologist; rather it’s like having a blether over a nice cup of tea. It’s an enjoyable read, with some nice illustrations, including a couple of hand-written letters from Brian Jones, as well as a couple of paragraphs of introduction from Jimmy Page.

Stuart A Hamilton

Crossroads

Demers (Author: Tom Graves)

Subtitled: “The Life And Afterlife Of Blues Legend Robert Johnson”. Tom Graves’s relatively thin book ironically mirrors that despite Johnson’s huge influence, scant information exists about him and the author sensibly avoids superfluous padding. Despite its forensic nature and slightly disappointing photographs, it is extremely readable and perhaps will become the seminal study of the Mississippi mystery man, placing Johnson into context socially, economically and culturally. The sketchy nature of his early life is carefully researched and the controversial nature of his death gets plenty of coverage - indeed, there seems no element of Johnson that is not shrouded with conjecture and rumour. Grief stricken at the death of his first wife, the young Johnson became a travelling musician and much of his transience was due to a fondness for “women and whiskey,” and the need to quickly escape the trouble that accompanied such distracting passions. Much is made of Johnson’s death; the theory of poisoning by the jealous husband of a female conquest is favoured, although even more scurrilous possibilities are explored and Sonny Boy Williamson is quoted as claiming to have witnessed the event first hand, complete with the agonising convulsions that preceded it.

A Tribute To Zed Beddington

Mam Tor (Author: Nick Wray)

Nick Wray resides in Derbyshire and for thirty years was on the road as a piano player. He’s also a science fiction writer and in this book he has turned his hard earned knowledge of the Blues scene into a fictional thriller about a Blues band. It is the story of Zed Beddington, an aging Bluesman and his band, Bill, Otto, and Danny…and then there’s Bob! This gripping tale of sex, drugs, transit vans and life on the road is very close to the knuckle, but with fictional characters and venues based round the Midlands and especially the Nottingham area. Zed Beddington, as well as being a legend for his life-long touring and four chart hits, had supreme mastery of the nostalgia kick and working a crowd with his good standard of music. The typical fading and aging musician, but with a cult following. The band, as often happens, play their music in the shadow of Zed, their musical quality and contribution an irrelevance to those who come to worship at the feet of the man himself. Author Nick Wray knows the Nottingham scene well and his characters come from the less salubrious cracks and crannies of the city, and the language throughout book is authentic Meadows, Forest Fields, St Ann’s-based - and very rock’n’roll in its nature! The thread of the storyline, with its twists and intrigues, is superb, without giving away too much of the plot. The first chapter seems to be a little detached from the second, but cleverly becomes a central feature of the books narrative. It is woven expertly into the plot, drawing you into wanting to know just what is going to happen next in a tale of murder, fraud, creative accountancy and rip-off lyrics, revealing the side of music the punter chooses to ignore in their quest for entertainment. The structure of the book is conceptually fascinating; it is laid out like a gig set-list. The opening chapter is the sound-check and rest of the chapters subdivided in to first set, interval, second set and encore. Each chapter is given the title of a classic Blues song from the likes of Son House, Robert Johnson and Muddy Waters, each giving intrinsic clues to the meat of the text. The book’s a splendid read - great satire and humour.

Carol Borrington

Like the location of Johnson’s actual gravesite, though, the unequivocal truth is illusive. Whatever the real answer, as Graves observes, Johnson unwittingly became founder member of the “27 Club” – subsequently Joplin, Morrison, Hendrix and Cobain joined him. There are some interesting elements to please the technicians, including the description of Johnson’s preference for “corner loading” – performing facing a corner to enhance the acoustic effect. The existence of various photographs and a snippet of footage, and the discovery of a long lost son are all documented thoroughly, and Graves inevitably considers the great myth from which the book’s title is derived – the legend that Johnson sold his soul to the devil at a crossroads in exchange for fingerpicking guitar expertise. Proving this never happened is like announcing there is no Santa Claus, and perhaps sometimes myths are all the more romantic if they are just allowed to breathe.

Richard Thomas

Key Frances brought to mind the music of Jimi Hendrix.

photos: Tony Winfield (bluespics.co.uk)

LINTON MUSIC FESTIVAL Ross On Wye

Friday, 19th June – Sunday, 21st June 2009

Friday night's theme was high energy R&B. and the Smokin' Hogs got proceedings off to a rocking start. A fourpiece punchy outfit from East Anglia, with a leaning towards the sound of the ‘60s Blues boom, they performed some particularly good self-penned songs from bassist Steve Soer and frontman Paul Sutton, with some excellent guitar work from Mark Kennedy. They set the mood perfectly for the following double header.

Dr Feelgood needed no introduction to the Linton faithful, and the dance floor was jumping from the onset, as they powered through their familiar and much loved songs.

The mood continued as Nine Below Zero rocked the evening to a close with the mastery we have come to expect from this band. Their set featured numbers as diverse as the Blues classic 'Stormy Monday' and Motown anthem 'I Can't Help Myself'. A fabulous and exhausting start to the festival.

Saturday, and proceedings opened with The Dirty Robbers - a smart, tight band with a classy pedigree, led by Oliver Darling on guitar/vocals. A faultless performance of originals and covers enjoyed by all.

The Linton committee travel far and wide to discover new and exciting artists (or they pick up our magazine!), and The Vulnerable Things are just such an example. Frontman G.P Bennett cites Howlin' Wolf and Tom Waits as influences, but, from his vocals and mannerisms, Ian Siegal is his obvious inspiration. Not merely an imitator, his self-penned songs exude a refreshing originality whilst retaining a timeless feel.

Next saw the return to Linton of Connie Lush And Blues Shouter. Always a favourite, they played a mix of old and new material, and were well received by the crowd. Connie's warm humour and boundless energy never fail to please.

On the back of his success at The Peer Festival in Belgium, Key Frances and his band introduced us to their brand of psychedelic Blues. Key was raised in Seattle, and his music resembled the style of prominent Seattle Strat slinger Jimi Hendrix, with many influences he's picked up along the way - from Motown session work, as well as Texas and Louisiana flavours. The high spots included audience participation during his song 'Howling At The Moon' and the a capella 'Hambone'.

The Juke Joints were proudly introduced next, following the tradition of the festival in bringing us the best of the Dutch Blues scene. Old masters of the genre, with twenty-five years experience of the festival circuit, this four-piece band gave us a rocking stomping set. Their instruments ranged from guitars to mandolin, accordion and harmonica.

By the close of the evening, the front of stage area was packed, and the eagerly awaited Mike Sanchez Band boogie-woogied the rest of the night away.

Sunday's proceedings saw a change to the billed line-up, and a surprise addition took to the stage first. Local band Akayzia were given a well deserved warm up spot, and the excellent vocals and material from the young female R&B singer were well received by the building audience..

The Vulnerable Things made a second appearance of the weekend, this time treating us to a set of excellent covers, including 'Going Down Slow', 'Folsom Prison Blues' and 'Tramp'. A much appreciated bonus.

The late arrival of The Matthew Lee Band was worth the wait. This band is Italy's answer to Jerry Lee Lewis. They performed a terrific set of high-energy boogiewoogie and rock'n'roll. Bags of fun and enthusiasm defines this young singer, who has the stage presence and charisma that many similar bands can only dream of. Absolutely superb.

We have seen the Otis Grand Band several times before but this was the best yet. They pulled out all the stops and gave an excellent performance, which included plenty of interaction with the audience, as they embarked on several crowd walks and ended the set with dozens of dancers on stage. Guitar led Blues classics with terrific vocals.

Linton always surprises us with something memorable, and this time they hit the jackpot. We didn't know what to expect when Gandalf Murphy And The Slambovian Circus Of Dreams took to the stage. Hailing from the Sleepy Hollow district of New York, this modern day ensemble of minstrels were really something else. Their music is impossible to pigeon-hole, and Slambovian Blues draws influences from everything between Hank Williams and Pink Floyd. Based around the Longo family, father Joziah is a genius songwriter, and their entire catalogue comprised of catchy numbers which are impossible to forget, delivered with warm clear vocals, which had hints of Bob Dylan, Neil Diamond, David Bowie and John Lennon. Not so much of a fan base as a cult fol-

lowing, they are winning huge popularity in the UK.

The finale of the weekend was The Magic Of Motown Show. This nostalgic sing-along trip took us back on a journey through the fifty years of Motown, complete with wigs and costume changes. Wonderful performances and a typically explosive end to the festival as only Linton know how. This is one of our favoured festivals and we are already looking forward to 2010.

Tony Winfield & Sue Hickling

CINCY BLUES FEST

Friday, 7th – Saturday, 8th August 2009

On Friday night, the main stage opened up with local piano man Ricky Nye weaving some boogie woogie magic on the keyboards - setting the tone for what was to be from that point on “Ladies Night”.

Memphis’ Reba Russell Band took flight after Nye, and set the stage on fire. With her sweet southern smooth and Blues soaked vocals leading the way, Reba tore through one of the best sets I have seen in 2009. With her husband and songwriting partner Wayne on bass, Josh Roberts on guitar, Robert “Nighthawk” Tooms on keys and harmonica and Doug McMinn on percussion, they worked their way through over a decade of original tunes, featuring ‘It Takes A Mighty Good Man’ from their “Broke Down But Not Out” CD to their current CD “Bleeding Heart”, which gave us ‘12 Bar Blues’, ‘Love Is The Cure’ and ‘Red Mississippi Clay’. By the time the last note fell silent, the crowd was up and ready for more.

There was music galore throughout the park, as all three stages were going at once. On the Arches stage, near the venue entrance, a Friday night tribute to the historic Ludlow Garage featured a reunion of local bands and sound and stage crews that pulled duty at what has been called the “Filmore of the Midwest”. Ludlow Garage, during the late-60s and ‘70s was the place for music in the Cincinnati area, and all the bands came through, including The Allman Brothers Band (who released a live album from there).

In the middle of the park was the main stage, and up river near the banks, nestled in a nice grove of trees was the Local stage, which featured local bands from the Cincinnati and Kentuckiana area. All three stages overlapped in start times, so you could catch music solidly from start to end each day by strolling through the spacious park.

Following Reba on the main stage was 2009 Blues Music Award B.B. King Entertainer Of The Year winner Janiva Magness. Backed by a rock solid band, Janiva put on a performance that showcased her piping hot vocals. Working her way through her vast catalogue, highlights were ‘What Love Will Make You Do’ and ‘I Want Love’ from her latest “What Love Will Do” CD, and her set paid tribute to Koko Taylor, featuring a heartfelt rendition of ‘Wang Dang Doodle’. Her performance and crowd interaction were indicative of why she won her BMA award.

Closing out Friday night, on the main stage, all the way from Austin, Texas, was Carolyn Wonderland. A newcomer on the Blues scene, Carolyn was the 2009 Austin Music Awards Best Female Vocalist and Best Performing Band winner. A solid guitarist with a sweet southern voice, she got the crowd up and dancing to her original songs ‘Annie’s Scarlet Letter’, ‘Judgment Day Blues’, and ‘Bloodless Revolution’ from her “Bloodless Revolution” and “Alcohol And Salvation” CDs.

As we headed out, we were treated to the grand finale of the Ludlow tribute stage, with local band No Saints’ No Saviors paying homage to The Allman Brothers Band and Lynyrd Skynyrd as the night spun down.

Saturday’s session opened up with Michael Locke And The Repeat Offenders on the Local stage. Having closed the Slippery Noodle in Indianapolis earlier in the morning, and making the two hour drive south east from Indy, they got the day kicked off in fine fashion. A very talented guitarist, Locke had the fans gathering to the stage to see who was there.

Cincinnati area favorite Cheryl Renee And Them Bones took the main stage shortly thereafter and performed a solid set as the crowd was beginning to trickle in. Temperatures in the low 90s (F), surprisingly, didn’t keep the early crowd away as the lawn began to fill in.

The Cincy Blues Society has worked hard over the past seventeen years to not only start and keep the festival going, but to also keep Blues music alive in the region. One of the programmes that the society supports is the Blues In The Schools

photos: Alan White

programme, which annually brings the participants to the main stage for a half hour set. Taking in this year’s performance, it is safe to say that the Cincinnati Blues scene is in good shape for years to come.

As the afternoon sun was beating down, a gritty boogie Blues with a tinge of southern mountain influence began resonating across the grounds. On stage, WSNB from North Carolina was creeping into a steamy set of back hills swamp Blues, led by some stinging harmonica and the gritty vocals of Willie Shane Johnston. They took the crowd up the road to “Okibbeha County”, the title of their latest CD, and lived up to their name (WSNB stands for We Sing Nasty Blues).

Saturday found the front stage transformed into the Arches Boogie Woogie Piano stage, featuring various piano laden acts and headlined by Bruce Katz and Michael Kaeshammer. A veritable boogie woogie connoisseur’s dream.

Local area favourite, II Juicey had things groovin’ to da Blues on the Local stage, which had enough shade to attract those who needed a break from the bright hot August sun. They put on a nice set of sweet R&B and soulful Blues to the appreciation of a good-sized crowd.

Meanwhile, back on the main stage, Boston area band The Radio Kings were opening up their set, featuring tunes from their first CD in ten years, titled “The Radio Kings”. Featuring Brian Templeton on harmonica, vocals and guitar, and led by the driving licks of guitarist Michael Dinallo, these guys played an outstanding

set that had the crowd wanting more. ‘Moanin’ Blues’, ‘Can’t Keep A Good Man Down’ and

‘As The Trains Roll By’ took us across the vast highway of their distinctive sound.

After such a strong set, about the only thing that Deanna Bogart could do was put her head down and let her fingers do the rest. In perhaps the best performance of the entire weekend, Deanna and band created seventy-five minutes of Bluesion boogie woogie that had all those in attendance on their feet and groovin’. With veterans Dan Leonard on guitar, Scott Ambush on bass, and Mike Aubin providing the beat and Deanna on keyboard and the occasional saxophone foray, they literally had the crowd in their hands. Featuring ‘Sweet Pea’ and John Hiatt’s ‘Have A Little Faith In Me’, from their latest CD “Eleventh Hour”, and her signature ‘Still The Girl In The Band’, they instantly became fan favourites. They were standing and screaming for more as Deanna and band took their farewell bows, a smile twenty miles wide across her face as they basked in the adoration. Cincinnati had been Bluesioned.

But there was still one more band to go - a Blues legend born and raised in Mississippi before migrating to Chicago in the ‘50s. Magic Slim has been around the world and around the block a time or two. Mentor Magic Sam told him to play the guitar with his own sound, not to duplicate any other, and that he does. He had that Les Paul screaming out through ‘Can’t Lose What You Aint Never Had’, ‘Let Me Love You’ and ‘Going Down The Road Feeling Bad’. He worked his way through all them decades of Blues, and as he wound it down to his last note, the crowd showed him every bit of their appreciation for a Blues legend. With the sounds still echoing back across the Ohio River from the Kentucky hills on the other side, the fans walked out knowing that they seen one helluva weekend of Blues.

Randy Jones

photo: Randy Jones

BLUES ON THE FARM

Thursday, 18th – Sunday, 21st June 2009

Oli Brown had the unenviable task of opening the festival on the Thursday evening. As organiser Julian Moore made his welcoming announcement, there were exactly four people in the marquee! However, the adjacent beer tent emptied (almost), and the sun worshippers left their chairs and/or picnic rugs to support the popular youngster. There’s no doubting Oli is a seriously talented guitarist, and his confidence on stage is growing with every gig, but, for me, the band arrangements, on nearly every number, lessened my enjoyment. Most songs start well, but just as they get into a groove there’s a clever, well-drilled pause/stop/break (call it what you will) which halts the flow. All very well to showcase the band, and demonstrate how tight they are as a unit, but every song?! That aside, they went down well.

The evening’s middle slot was filled by the hugely talented Matt Schofield with his new band, which basically consists of the old band, plus Jeff Walker on (mainly) upright bass. Having said that, anyone would think it was a whole new band as the dynamics have changed dramatically with the bass adding a new dimension. Matt is certainly turning more heads with the new line-up, as he picked his way stylishly through a collection of tracks drawn mainly from his new album “Heads, Tails And Aces” and the previous CD, “Ear To The Ground”. He also did a great Allman Brothers style job on Freddie King’s ‘Woman Across The River’.

Thursday’s last act, and topping the bill, was the inimitable Mike Sanchez, with his high octane rhythm & Blues/rock’n’roll show. You just know when Mike takes the stage that you are going to get a full on, high energy performance, and tonight was no exception. The man is such a charismatic frontman, it’s difficult not to watch him alone, but you didn’t have to look around the band to know he’d surrounded himself with some very good players. With him hammering out his boogie woogie piano, they went for it right from the start and never let up, covering a wide range of styles, which included tracks by Jim Reeves, Slim Harpo and Bobby Vee Meets The Crickets.

Friday, the second night, was kicked off by Storm Warning proudly showing off new frontman Andy Roberts. In him they might just have unearthed a gem. Andy is a real smooth operator - vocal similarities to Robert Cray are obvious. He has a great voice and a nice stage presence to go with it. The title track from “Something Real” was particularly tasty, but every song was strong in its own right. The set was highly enjoyable mix of Blues/Blues-rock with a little bit of a jazzy overtone thrown in for good measure. No need for long solos or posturing from these guys to show how good they are.

King King featuring Alan Nimmo were next up and turned in a performance that should, without doubt, put them firmly up there with the best on the British circuit, and probably the European circuit, too. The band, with its nucleus of the younger of The Nimmo Brothers and bass player Lindsay Coulson, were augmented on this occasion by the well respected Holland Bennett on keys and drummer Craig Blundell. With Craig in the engine room, the dynamics within the band were supercharged. It seemed they were out to prove a point and did so beyond all expectations.

From the off, Alan was on top form on guitar, and led the band through a couple of excellent self-penned numbers before slipping into a stunning version of John Hiatt’s ‘Feels Like Rain’ - played, on this occasion, with added passion for brother Stevie. After that, they shifted up a gear raising the tempo with a funky take on Stevie Wonder’s ‘I Wish’ before taking the bar even higher with some full blooded blues numbers, including a smoking version of ‘Gravy Train’. The crowd realised they had witnessed a very special performance, and the reception at the end of the blistering set demonstrated their appreciation.

Sharrie Williams took to the stage, announced: “I’m here to stay,” and with her faithful band, The Wiseguys, launched into a powerful performance of rocking gospel influenced Blues. Sharrie is no shrinking violet, what you see is what you get. She doesn’t shy away from her difficult past, happy to share experiences with the audience and even happier to show, through her music, that she is now enjoying life. Her passion shines through. The Wiseguys are a solid unit who provide the perfect platform for Sharrie’s marvellous voice. They know the score and slip effortlessly into whatever mode is required of them. The sizeable crowd were with them all the way, dancing from start to finish.

At the end of a fantastic night, having performed the much deserved encore, Ms Williams left the stage with a wave, whilst her band played out the final few bars. Great end to a rousing set.

Saturday afternoon started a little low key and chilled, as people arrived with their chairs, picnics and fancy hats. There was a lovely atmosphere about the place as Australian Rory Ellis starting the day’s proceedings.

photos: Christine Moore

Rory, normally a solo acoustic guitar performer, was accompanied by Alex Roberts, himself a very accomplished musician, playing slide on a rare Weisenbourn lap guitar. Together they captured the moment perfectly. Rory is a great storyteller and easily captivated the growing crowd with his tales and sardonic Aussie humour.

Derrin Nauendorf followed Rory on stage. Derrin is also an accomplished solo performer, but is currently working with a band consisting, on this occasion, of Mike Hellier on drums and Rick Foot on double bass, who at times managed to create a lovely atmospheric, almost aboriginal vibe by simple use of a bow. Derrin covered several tracks from his latest album, “Skin Of The Earth”, with a passion that wasn’t lost on the modest Saturday afternoon crowd. His mate, Rory Ellis joined him on stage for a version of Dylan’s ‘Serve Somebody’. Rory wasn’t too convincing when he told us they’d spent a lot of time rehearsing it, but it worked nicely. As is often the case, the best is left for last, and so it was on this occasion. The encore was a solo effort, and Derrin really came into his own.

Stephen Dale Petit came with an interesting and impressive build up. He came on earlier than billed, and, therefore, this reviewer missed the majority of the set. But, from what I did see, I don’t feel he quite lived up to the hype. Sure the guy can play, there’s no doubting the talent, but as the programme said “he’s a deadly serious man,” and that came across strongly. He pleased the guitar lovers in the crowd, but he’s not the complete package.

Sam Kelly’s Station House, led by the inimitable drum maestro, brought some fun and funk to the festival, and boy did it sound good on that late and hot Saturday afternoon. So funky were they that, at one point, the band stopped playing and still sounded funky, with hand claps alone. Station House versions of ‘Stormy Monday’, ‘Voodoo Child’ and Stevie Wonder’s ‘Higher Ground’ went down particularly well before The Meters’ ‘People Say’ had everyone in the funk groove. The guy next to me said it all: “Great vibe, I feel chilled as a newt now.”

Ian Siegal and his band of Andy Graham and Nicolaj Bjerre hit the stage running and looking like they were on a mission. Old favourites, like ‘Revelator’ and ‘Bloodshot’, were included in a set along with brand new songs. Ian has so much talent, not least in his songwriting, and the new songs sounded fantastic. Surprisingly, Ian delivered very little of the usual patter that is usually so entertaining.

As the evening cooled outdoor, chairs were packed away, the beer tent emptied and the marquee bulged for the next act. The anticipation was palpable as a packed and excited crowd waited for Imelda May. Imelda is no stranger to the farm, having performed there in the past with Blue Harlem and Mike Shanchez. This time she was fronting her own band, which is enjoying a rapid rise into the big time. Imelda has a natural stagepresence and fronts the band comfortably, but every member is good to watch and appreciate. It’s difficult to pick standout tracks, as the set was full of very good numbers. ‘The Blues’, ‘Big Bad Handsome Man’ and ‘Mayhem’ worked well, but the most popular was the infectious ‘Johnnie’s Got A Boom Boom.’ As Imelda left the stage, she was afforded the best reception of the day. Her delight was obvious.

The final slot was left to young Mathew Lee from Italy, who had impressed at Blues On The Farm on a previous year. Despite a good number of the crowd leaving after Imelda May, Mathew and his rocking band did their best to keep the remainder of the audience up beat and rock them back into the party mood, with lively versions of old standards such as ‘Roll Over Beethoven’, ‘Proud Mary’ and even an unlikely ‘Green Green Grass Of Home’.

The Groanbox Boys eased the Sunday crowd into the day with their unique blend of old-time traditional Appalachian, mountain gypsy and world folk Blues. They may not be every Blues festival regular’s cup of tea, but there’s no doubting they are very good at what they do. The boys are mostly driven along by Michael Ward-Bergeman on accordion with Paul Clifford hitting and shaking everything from a tree stump to a boom handle covered in bottle tops. Cory Seznec provides string driven bits with various banjos played in a variety of styles. All in all, an excellent Sunday opener and very enjoyable.

The remainder of the day was filled with the diverse but equally impressive Sarah Savoy And The Francadians, who brought a taste of the French Cajun heritage; The Swing Commanders, with their take on Latin and ‘40s swing; and the ridiculously talented Rodney Brannigan. Brannigan is simply amazing. What he does with a guitar has to be seen to be believed.

The Electric Revalators were different on the Sunday in that they are a straight ahead, stripped back Blues band. Founder member Gordon Wride has gathered together a band of very talented players, not least young guitarist Luke Evans, who plays with a maturity of one much older and experienced. The nice thing about Luke is that he plays fantastic guitar without all the showboating and histrionics, just quality licks in all the right places. The band are a nice mix of young and old, youth and experience, and they certainly won over a number of the crowd.

The Ukulele Orchestra closed the festival with a brilliant and highly entertaining show. The orchestra are an internationally acclaimed off beat band of musicians who deliver their own interpretation of compositions by everyone from Tchaikovsky to Nirvana played on a just, as the name suggests, a variety of George Formby guitars. A very different closing act.

All in all, the 2009 Blues On The Farm was a fantastic weekend. My recommendation would be to put a mark in your diary for next year, take the plunge and make the journey.

Christine Moore

LAKESIDE BLUES WEEKEND

Friday, 29th May – Monday, 1st June 2009

Essex band The Swampcats led off the weekend in fine style. Largely composed of material from their long standing “Going With The Flow” CD, the set successfully enlivened an audience still suffering from the heat and traffic delays. ‘Drivin’ Wheel’ was followed by ‘How Sad’, from their as yet untitled and long awaited new release. The lovely bottleneck slide of Dale Barker and authentic Omar Dykes growl of Dave Richardson on lead vocals adorned the swampy feel. ‘The Chicken Song’, with clucking guitars, was well executed, and a differing take on Sonny Landreth’s ‘Congo Square’ was deservedly well received.

On a blisteringly hot night, with love and passion in the air, who better to top the bill than the sometime stentorian, sometime sweet, cajoling and wailing dervish vocal prowess of Nicky Moore (spiced by the searing and tasteful guitar licks of Timmy Moore, who is part of Nicky’s Blues Corporation). Welcome old classics, like ‘Resting In The Blues’, set the standard before a quiet interlude by a thankfully in top spirits maestro, though sadly and obviously still troubled by his long standing back problem. Seated throughout, Nicky explained that his dealings with the girls now needed “a little blue pill, a spirit level and an AA map,” and his advice to his contemporaries seeking a successful dalliance was to meet them in “another life.” ‘Hog On A Log’, title track of his latest release, was followed by ‘Sea Of Blues’. The fluid shimmering runs of Timmy Moore floating effortlessly above the purring engine of the rhythm section, topped with the power and range of ‘The Voice’ - educated and controlled, but ever masterful and compelling.

Saturday afternoon acoustic sets from the bandstand, in the central square of the chalet resort on a gorgeous afternoon, saw a reprise by the man himself - understandably understated after his exertions of the night before, with some nice acoustic guitar and a splendid ‘Built For Comfort Not For Speed’.

The Swampcats were up next with a lovely change of pace, and a wonderful rendering of Steve Earles’ ‘Copperhead Road’, featuring Dave Richardson’s trademark raspy vocal, heightening their burgeoning reputation.

Sarurday night saw Italian band Family Style, led by Franco Limido on vocal and harp, his brother Marco on lead guitar, bassist

Davide Bianche and new female drummer, Stefania Avenali, get off to a slowish start. ‘I Ain’t Breaking Down’, from new release “Paddy’s Blues” (the brothers being of Irish Italian provenance) upped the ante, and by mid set, with harp and guitar solos flowing, the dance floor finally filled – an act only made possible by the strategic placing of an industrial sized fan. ‘Looking For A Woman’, with the strong female contingent insisting on “looking for a man,” saw band leader Franco brave a vocal excursion through the heaving masses. ‘I Ain’t Drunk I’m Just Drinking’, a song after my own heart, completed a crowd pleasing set by this likeable band.

Tonight’s incarnation of Primo Blue, with the ubiquitous Sam Kelly on drums, the wonderful Paul Jobson on keys and vocals, Spy on bass and vocals and Tony Hunter on lead guitar and vocals, began with largely instrumental showcases for the musical virtuosity, with vocal duties shared between the latter two. ‘Crosscut Saw’ and ‘Killing Floor’ saw Paul Jobson in fine voice. The expectantly awaited vocal addition of Val Cowell to the mix on ‘Take Me To The River’ and ‘I’m On Your Side’, before a duet with Paul on ‘You Use Me Up’, took the set up a level. With Family Style’s Franco prominent on the dance floor, a superlative ‘Standing On Shaky Ground’ saw Spy’s vocal underpin Val’s powerful lungs – wonderful stuff.

These big Blues weekends often throw up a surprise bonus offering, and this was no exception. A healthy crowd, sacrificing another bask in the hot sun, was amply rewarded by The Sarah Warren Band. A charismatic and photogenic leading lady, supported in fine style by drums, fretless bass and a Martin Barre lookalike lead guitarist, enchanted an already warm audience. Sarah has an expressive voice, reminiscent of a young Val Cowell, with good range and depth of delivery of some excellent material, largely drawn from “Fool For A Pretty Face”, the latest release from the band. Very tasteful soloing by the lead guitarist, drawing specific applause, added to the enjoyment of a fine set.

Northsyde led off Sunday night. Who?! Well, singer Lorna Fothergill explained to me afterwards that as Funkydory they

photo: Wendy Auld

were constantly perceived as a David Bowie tribute band, hence the name change. Her spouse Jules, who was prominent with his fluid guitar soloing throughout, led off with ‘Standing On Shaky Ground’ and ‘Don’t Change Horses’, with Lorna sounding like Dale Krantz (now Rossington), rather than her trademark high-pitched impassioned vocal style. Bass levels seemed to be set rather high for comfort, and even ‘There’s No Sunshine When She’s Gone’ failed to inspire any dancing on the hottest night of the weekend. ‘She Never Could’, from the band’s brand new release “Mercy’s Medicine”, was followed by a fine version of The Allman Brothers Band’s ‘Whipping Post’, which also features on the album. A lovely ‘Knocking On Heavens’ Door’, with soft and tasteful treatment of this sometimes hackneyed standard, drew warmer applause. ‘Let It Shine’ completed the set with both band and audience in tacit agreement on the lack of an encore.

So, to headliners: The Nimmo Brothers. ‘Feel So Cold All Because Of You’ and ‘The Thrill Has Gone’ did the impossible and raised the temperature, with powerful, passionate and lucid vocal delivery and scintillating, tasteful and controlled soloing from both brothers. A full dance floor and change of atmosphere that spoke of great things to come. ‘In My Mind’ was reflective and emotive, before the Nimmo classic ‘Long Way From Everything’ seemed to release the floodgates for the crowdsongs were punctuated by wild shouts of approval. Drummer Dave Raeburn, his peroxide locks proclaiming his commitment to a Queen tribute band, was prominent on a Buddy Guy Blues, before a beautiful change of pace on ‘If I Could See Through Your Eyes’, with the evocative and emotive lyric drawing an obvious empathetic reaction from the couples on the dance floor. A final mention of the customary fine work done by Tim Aves and his late night jam sessions.

Bob Chaffey

SMOKIE BLUES FESTIVAL

Friday 14th August – Sunday 16th August 2009

The Friday evening started with local act Wolftrain. Their performance, notable with two saxophone players, was entertaining but slightly disjointed, commencing with a Junior Wells tribute, ‘Born With The Blues’, followed by standards ‘Shake For Me’ and ‘Key To The Highway’ and the Cajun funk of ‘Bourbon Street’

Ian Siegal enchanted the crowd.

photos: Paul Webster

John O’Leary’s Sugarkane commenced with a rollicking version of ‘Born In Chicago’. With John on Blues harp, Dave Day on guitar and stand-in keyboard player Jay Tamkin present, songs such as John Lee Williamson’s ‘Early In The Morning’ and the pulsating ‘Black Cat Bone’ provided the opportunity for some virtuoso performances.

Perth based Wang Dang Delta then provided an eclectic selection of original songs, which effortlessly blended Blues, rock and country with some great tunes like ‘Shutting On The World’ and the laid-back ‘Honey Man’. In the meantime, the acoustic stage showcased the individual picking style of Australian Gypsy Dave Smith on his 1933 dobro.

French singer, Nina Van Horn headlined the evening. Nina’s vocals are reminiscent of Janis Joplin, and the Midnight Wolf Blues Band provided effective backing as their songs ranged from the upbeat Blues stompers to some traditional tunes from her album “Hommage Aux Femmes Du Blues”. Saturday’s main stage featured a selection of guitar-based acts. Paul Rose displayed an accomplished fret board prowess on a selection of songs, the pick being a menacing version of Rory Gallagher’s ‘Off The Handle’. The Flamingstatman from Germany followed, with highlights being the Yardbirds’ ‘Rack My Mind’, Fleetwood Mac’s ‘Rattlesnake Shake’ and a brace of Hendrix covers.

The young Gary Johnstone Trio were a late addition and energised the crowd with some Blues and rock’n’roll, including ‘I Don’t Need No Doctor’, the superb ‘Five Long Years’ and a finale with Brian Sexter’s ‘Jump Jive And Wail’. Closing the afternoon session were The Nimmo Brothers, who ploughed through many of their regular crowd pleasers. While Alan was handling all vocals for the day, Stevie’s presence was still felt with his fine guitar work, particularly on ‘In My Mind’ and a jam of ‘Black Cat Bone’.

The rolling drum intro to ‘Apologise’ signalled Hokie Joint’s appearance. ‘Chocolate Cake’ featured a moody bass intro and Giles King’s atmospheric harp solo, whilst ‘Aeroplane’ was a driving boogie. Led by impressive guitarist Joel Frisk and charismatic vocalist JoJo Burgess, Hokie Joint are a band worth catching, with fistfuls of refreshingly original songs.

Over on the acoustic stage, Papa Mojo were entertaining with a selection of songs from Mississippi, with fine subtle playing by guitarist Stefan Kocemba. Then Dave Arcari came on to play fine self-compositions ‘Nobody’s Fool’ and ‘Red Letter Blues’, and a raw version of Blind Willie Johnson’s ‘Soul Of A Man’. Dave’s Sunday appearance featured a different set-list, including the Radiotones tune ‘Gravel Road’, with its distinctive guitar line and the slightly deranged ‘Hot Muscle Jazz’.

Meanwhile, The Stumble had commenced a rousing ‘Sugar Don’t Taste So Sweet’, then slowed to the Blues rumba ‘Who’s Been Talking’. Their centrepiece was ‘All Over Now’, with haunting guitar and sax solos, before ‘Down At The Bottom’ and ‘Gimme Back My Wig’ got a large crowd on the dance floor. The band keeps the Blues sounding fresh and could have played all night.

Headliners were the British Blues Allstars. Bob Hall led the piano shuffle ‘Riding With The Blues’ before Tom McGuinness fronted ‘Sitting On Top Of The World’ with guest John O’Leary. The pick was Bobby Trench’s interpretation of Peter Green’s ‘I Loved Another Woman’, yet while the band were polished, they did appear a little flat.

The Revolutionaries certainly got the crowd ready on the Sunday afternoon. They played a rocking set, including ‘Baby Please Don’t Go’, a vibrant instrumental skiffle, with tenor sax and double bass, and Slim Harpo’s ‘Shake Your Hips’.

Ian Siegal had been keenly awaited and opened with ‘The Silver Spurs’ from “The Dust” album, before some slide Blues with ‘Long Distance Call’ and Johnny Winter’s ‘Dallas’. Ian dug deep into his bottomless repertoire, with passionate interpretations of Guy Clark’s ‘The Cap’ and Steve Earle’s ‘My Old Friend The Blues’ - his superb method of delivery led the audience to follow his every word.

The final acoustic act was Kent DuChaine, his laid-back narrative before the songs was as engaging as the tunes he played on his lead guitar Bessie. He led us through imagery of the southern states with references to crossroads, juke joints and moonshine.

The Smokie Blues Festival was a success, and great credit must go to Alfie Dickson and the committee. The likelihood is that future years will see nearby bars hosting local acts, resulting in less use of the second stage and a greater emphasis on ensuring the main stage has a consistently high standard of performer. With this slight adjustment, I would envisage the Smokie Blues Festival becoming bigger and better.

Duncan Beattie

BOB LOG III

@The Luminaire, London. 15/09/09

The Luminaire was packed to the walls for Bob Log III’s visit under the auspices of Not The Same Old Blues Crap, and the buzz was hot, sweaty and, as they say, well up for it. Support from Russell & The Wolves was loud and aggressive with more than a hint of The Jesus & Mary Chain meets The White Stripes, and they left the stage with a single guitar howling its feedback through the mic stand –not exactly original, but well enough done. Not too many performers enter the room on the shoulders of their minder, clad in a skintight body suit and full-face helmet – very useful as the ceiling is only around eight feet and the CCTV camera that he hit hangs down six inches – and strumming an ancient Silvertone guitar, but not many performers are Bob Log III, and the audience went mental as the minder took him down to the stage. Bob Log’s act was more cabaret than Blues, with very little discernable that one might call a ‘song’, but he did rip some good slide out of his ancient guitar, and as he called out for the audience to supply him with “delicious bev’rages” in order to fuel his “Bob Log guitar stylings”, he kicked off the drum machine and turned away from the audience to have a “band meeting” – i.e to drink beer. He did play up a storm, but became less and less coherent as the set wound on. Every number finished with a raised fist and a “whoop” from behind the helmet, echoed by the audience and the arguments with himself – “Bob Log says they can’t handle it! Oh, yes they can, Bob Log says so.” It was positively surreal, but generated more enthusiastic cries from the crowd. Bob Log III is a genuinely original character and everyone can benefit from seeing him once, but like most novelties, he does pall over time.

Andy Snipper

SUSAN TEDESCHI

@100 Club, London. 30/07/09

Susan Tedeschi has got one hell of a voice. It seems to be traditional to compare any female singer who doesn’t whisper with Janis Joplin, but that’s often a lazy comparison. If you want to go back to that era, I’d say that in Susan Tedeschi’s case, a far better comparison would be with golden-era Joe Cocker, especially when it comes to covers of really good songs. For me, the highlights of this very good set, in front of a large and vociferous audience at the 100 Club, were the covers. These included the opener, Junior Wells’ ‘Little By Little’, which gave a workout to every member of Tedeschi’s fine six-piece band (two guitars, sax, keys, rhythm section) and got everyone nice and loose. Among subsequent high spots were her renditions of the Clapton/Blind Faith favourite ‘Presence Of The Lord’ and the mid-period Beatles’ piece of genius ‘For No One’ - the knock ‘em dead encore. The latter, in particular, showed Susan Tedeschi at her very best, giving a full-tilt but fully controlled reading of a really excellent song, filling it with soul and Blues and a touch of gospel. Tedeschi isn’t a shouter, she’s a singer, and she doesn’t mess with a song, fiddling about, adding a thousand notes or showing off. She’s far too good a singer for any of that. The majority of the nearly two-hour set consisted of material from her latest

album, “Back To The River”, and a particular highlight from that was the funky title track.

Other numbers, which included ‘700 Houses’ , Butterfly’, and a guest appearance by rising UK guitar maestro Matt Schofield, showed her evolving mix of funk, soul, Blues and gospel tied to songs co-written with various people. The album’s a very good one, and Tedeschi is branching out into songs with strong messages beyond the personal, but for this reviewer these numbers didn’t quite reach the heights of the covers - fine songs as they are, they don’t quite have the killer touch that hits you right where it’s sweet. Nevertheless, it was an excellent set, with plenty of variety of styles, the whole thing knitted together by a voice that does always hit the spot. Susan Tedeschi’s star is on the rise, and, as a singer, she’s up there with the very best.

Mark Harrison

KELLY JO PHELPS

@Union Chapel, London. 30/09/09

Watching Kelly Jo Phelps live and on his own is not usually easy or comfortable, and this proved to be the case as he contorted himself and his facial expressions around the notes that were wrung from his acoustic guitar on Wednesday night. On the other hand, the music that he played to a completely hushed crowd at Islington’s Union Chapel was bordering on the magnificent. His playing was complex, with jazzy and folk arrangements, as well as Blues phrasing, and some moments sounded as though he was emulating all three Grateful Dead guitarists simultaneously, but the inventiveness and the quality of the playing left us all open-mouthed – it was a near capacity crowd for his first gig in the UK for three

years. His desperately shy demeanour and quiet voice meant that it was not easy to pick up on song titles, but ‘Blowing Dust 40 Miles’ from the new album and ‘Murdo’ were beautifully played and passionately received. Skip James’ ‘Hard Times Killing Floor Blues’ was painfully intense, but still played with sublime qualitry and pace. He reminded me of John Martyn, occasionally, as he seemed to find new phrases that he hadn’t realised were there, and played around and through them until he fully understood what he had made. It was that quality of improvisation and his complete absorption in the music that made the evening something very, very special. I had expected to see him playing the lap slide as well as his acoustic but, frankly, what we got was plenty to absorb, and when the standing ovation was past and the lights came up and the audience filed out into the Islington night, I cannot remember a more subdued or thoughtful crowd for a while – this really was that special.

Andy Snipper

T-MODEL FORD

@Tollbooth,

Stirling. 23/09/09

Ford was in good spirits and he personally greeting audience members from his chair as they entered the theatre. His drummer, Marty Reinsel, helped him to the stage, and after some tuning, Ford started the set with ‘Jack Daniel’s Time’. This was minimalist Blues, in all senses, but also fully engaging. Ford remained seated as he played, with his fingers gently picking, almost gliding over the strings on the guitar. ‘Nobody Get Me’ was a memorable early tune, with its stop start rhythm and funky drum arrangement, before ‘44’. The rapport between Ford and Reinsel was apparent, both smiling as

photos: Joel Faurote

they grooved to an extended ‘Mistreating Woman’. Ford took the occasional sip of his favourite bourbon, between songs such as ‘I Love You Baby’ and ‘Asked Her For Water’. The songs were chosen on impulse, occasionally by suggestion from Reinsel. The second set seemed to see Ford gain further strength, as he launched into a passionate performance of ‘Sallie Mae’, his voice became clearer as he pleaded to find his woman. It was a memorable moment, and a deep interpretation of rural Blues. ‘Chicken Head Man’ was more upbeat and Ford’s performance showed he’d lost none of his charisma. It was time for the evening to come to an end and Ford agreed to play ‘Feel So Bad’ as a final song to a very appreciative audience.

Duncan Beattie

BEX MARSHALL

@Whistlebinkies, Edinburgh. 26/08/09

This was Bex Marshall's final warm up show before her appearance at the Shetland Blues Festival. As she took to the stage, she announced that “it’s Bex as in the beer and Marshall as in the amp,” as she opened with a new uptempo track by the name of ‘Love’. Featuring some impressive side guitar, the song was followed by two tracks from her album “Kitchen Table” - the slow ‘Red Light’, and its anti drink drive theme, before ‘Stand Up’, which relates to overcoming her own nerves to play solo in front of a live audience. The quick paced ‘Guilty’ followed before the haunting song of loneliness, ‘Black Guitar’. Bex caressed her instrument of the same colour, as she used the slide on her little finger with great effect. ‘Hot Headed Man’ followed, and was a guitar driven boogie. The setup was simple - just the voice and the guitar with no flashy effects or the use of pedals. Her musicianship throughout was first class, with a very distinctive sound - at times fiery, but only when the emotion of the song called for it. Much the same can be said of her vocals, which are strong and passionate - together they provided a winning combination. ‘Too Much Rock N Roll’ was a case in point, before the more melodic ‘Little Bird’.

‘Kitchen Table’ had a western tinge to it, and the rendition demonstrated why Bex has received such success on the Americana charts in the USA, before she playfully tackled the upbeat ‘Where's My Man’, which had a boogie like Elmore James' ‘Shake Your Moneymaker’ with Janis Joplin on vocals. The set closed before an appreciative crowd with a medley of Hendrix songs - an original interpretation of ‘Little Wing’ weaved into ‘Purple Haze’. Big things are likely to happen for Bex Marshall in the coming months, and, in this one short set, it was apparent she has the vocals, guitar skills and more importantly the songs and the grounding in place.

Duncan Beattie

SIMON McBRIDE

@Charlotte St Blues, London. 07/08/09

Charlotte St Blues, the recently opened club near Oxford Street, is earning a reputation as the place to see up-and-coming Blues-rock artists in London, and the occasional Blues veteran. Simon McBride’s first appearance at this venue, in front of an enthusiastic audience of around one-hundred-and-fifty, included a pleasing number of twenty somethings of both sexes. With the accolade of Young Guitarist Of The Year from Guitarist Magazine aged only 15, some thirteen years ago, high expectations were amply fulfilled by McBride’s stunning guitar breaks and strong voice in his blend of Blues-rock. Bouncing onto the small stage around 9.15pm, with his current sidesmen of Paul Hamilton on drums and Trevor Dyer on bass, McBride kicked off with Jeff Beck’s ‘The Pump’, an instrumental widely recognised as being a particularly complex and demanding piece. Three numbers from McBride’s 2008 debut album, “Rich Man Falling”, followed - ‘Down To The River’, ‘You Got A Problem’ and the beautiful ‘So Much Love to Give’ (the latter taken at a slightly faster pace than the studio version and with a ferocious solo, despite his “let’s slow things down a bit” introduction). Joking about an unfortunate cut to the tip of a finger on his fretting hand, McBride was far more relaxed than during a slightly nervous solo appearance at Shepherds Bush earlier in the year supporting Derek Trucks. The remainder of the first set comprised Jeff Beck’s ‘Brush With The Blues’, the title track from “Rich Man Falling”, and closed with a rendition of Buddy Guy’s ‘Mary Had A Little Lamb’. Following a thirty minute refreshment break, McBride was back to sing two new songs - ‘Back Where I Started’ and ‘Be My Baby’, both of which were well received and likely to be included on his next album, scheduled for 2010. Hendrix’s ‘Little Wing’ and a driving ‘Power Of Soul’ preceded ‘We’ve Gotta Live Together’ to end with a scorching encore of ‘Fire’, that had everyone dancing, and ‘Led Boots’ to close. McBride is definitely one for your “must see” list.

Philip Woodford

ELECTRIC REVELATORS

@Milkwoodjam, Swansea. 27/09/09

A full house at the Milkwoodjam provided a lively atmosphere, while the crowd waited for the gig to start, the background tracks were both contemporary and relevant (not always the case at some venues), they set the scene perfectly for an evening of the Blues. Electric Revelators were tonight comprised of the acoustic duo Gordon Wride (guitar/vocals) and Simon Gregory. The nerves were on show, as they started the set, opening for one of Gordon’s heroes, David ‘Honeyboy’ Edwards. They played a solid Blues set from the Delta up to Chicago and back again - a tour through the classic Blues numbers. They kicked off with ‘Me And The Devil’ (Robert Johnson), producing a solid sound that reassured the Milkwoodjam crowd that the night was about the Blues - as Gordon commented, his 1957 Silvertone was forty-two years younger than the main act of the evening. Simon’s accompaniment on the lap steel, harp or guitar provided a third dimension to the overall sound. Gordon Wride’s confident slide guitar playing demonstrated his commitment to understanding and portraying pre-war Blues, and this was reflected throughout an accomplished set that included ‘The Thrill Is Gone’ (B.B. King); ‘Help Me’ (Sonny Boy Williams II); a ‘La Grange/Baby Please Don’t Go’ (Gibbons/Muddy) medley and ‘Red Rooster’ (Willie Dixon). Simon Gregory’s slide guitar was played to the highest standard, never competing with Gordon’s guitar work or vocals, but complementing them. This was brought to the fore in his solo on the ‘John The Revelator/Soul Of A Man’ medley - the rearrangement to create this medley was fresh but faithful to the original track by Blind Willie Johnson. The Electric Revelators again demonstrated that the duo proficiently and consistently take standard Delta/Chicago Blues songs that we all know so well, and add that little twist of Tawe Delta Welsh Blues. The sell-out crowd at the Milkwoodjam were not disappointed by this warm up act; in fact, they increased the anticipation regarding the music to come next from David ‘Honeyboy’ Edwards.

Liz Aiken

AGNOSTIC MOUNTAIN GOSPEL CHOIR

@The Luminaire, London. 29/09/09

Not The Same Old Blues Crap were the promoters for Agnostic Mountain Gospel Choir at the Luminaire, and this really was nothing like their usual Blues stuff. The venue was completely packed and the crowd was offered up a four-piece band that looked peculiar, sounded even odder and whose music was totally individual to the point of indifference. The drum beats were plodding, and from the start of a song until its end wouldn’t veer from the same beat, but the chanting that accompanied the drumbeats almost seemed to hammer the song into your consciousness - somehow the combination was absolutely mesmerising. At one point, the whole audience were nodding their heads in time to the hypnotic and repetitious drum beat, as though they were zombies. Each number had a life and a tempo all of its own - the handclaps and banjo of ‘Go Back Home’, from new album “Ten Thousand”, offsetting the drum thumping of Peter Balkwill or the chain-gang rhythm and chant of ‘Oh Sorrow’, where Judd Palmer’s slide simply pushed the melody along without interfering with the chant. ‘Buried Them In Water’ was the most excited number in the set, but pace and melody isn’t what the Agnostic Mountain Gospel Choir are about, and the intensity of the music and the power and harshness of the vocal performances, aligned to the incessant drumbeat, really did make a Kilburn crowd come together in an almost religious fellowship. Agnostic Mountain Gospel Choir are a remarkable band, and their performance was something remarkable even for this grizzled old timer. The fine folks at

NTSOBC are on a mission to give us roots Blues and Americana of a unique nature, and this was one of their better ideas.

Andy Snipper

JESSE DAVEY & FRIENDS

@Riga Music Bar, Southend. 03/10/09

This small venue in the backwaters of Essex was privileged to host this happy band of players comprising three fifths of The Hoax, with Jesse on guitar and keys, Jon Amor on guitar and Mark Barrett on drums, ably supported by Dave Doherty on bass and joined by Wanbdi, who plays drums in the American band Indigenous, on vocals. Appearing on stage just before 10pm, they played a ninety minute set filled with Blues-rock numbers of the type familiar to Hoax fans in the audience but, without the power and soul of Hugh Coltman’s voice and thunderous harp playing. They sensibly included only two songs that have appeared on Hoax albums: ‘Twenty Ton Weight’ and ‘Fistful Of Dirt’ - the latter sung by Wanbdi with as much grit as she could muster. After opening with an untitled instrumental to warm up, the set included some slow Blues standards with ‘Things (That) I Used To Do’, ‘The Thrill Is Gone’, the generic ‘Slow Blues In A’ and ‘Crossroads’, sung by Wanbdi and offering a chance for Davey to shine on his pink Strat. Other numbers on which Wanbdi featured were the Red Devils’ ‘I’ve Been Wronged’, during which Doherty “came alive” and danced around the stage, after swapping bass for lead guitar with Amor. The Black Keys’ ‘I’ve Got Mine’ and a beautiful rendition of The Davey Brothers’ Blues number ‘Glow’ followed. With little pressure, the “friends” were clearly having a lot of fun onstage, with a frantic shuffle interspersed with cries of “monkey time,” and a game of statues during ‘She’s Tough’, on which Davey used his pedals to great effect. Returning for an encore, the small but highly appreciative audience were treated to a rendition of ‘I Got My Eyes On You’, sung with gusto by Amor. As a warm-up gig for The Hoax’s forthcoming tour, it provided a perfect taster of what’s to come. If The Hoax split for economic reasons in 1999, the current popularity of the Blues amongst the young could see them staying together this time.

Philip Woodford

MISSING CAT

@Bannermans, Edinburgh. 24/09/09

Missing Cat are one of Scotland’s most interesting Blues bands, as they take their influences from the more alternative section of the Blues. They opened their set with a harmonica driven version of Robert Pete Williams’s ‘Grown So Ugly, as popularised by Captain Beefheart, slowing the song down before ripping up on the final verse of the song. This was followed by a ragged version of ‘I Ain’t Got You’ and then Screamin’ Jay Hawkins’ ‘I’ll Put A Spell On You’. The band’s frontman, former busker Paul Montague, is engaging and also an excellent harmonica player. Indeed, his method of playing is a distinctive element of the band’s sound. Beside him is Keith Scott, who rocked his head and pounded at his bass guitar on the band’s impressive self-compositions, such as ‘Words From The Birds’. A new track was aired in ‘Evolution’, before a slide guitar solo from Gav Jack led the band into ‘We’re Walking’, which is one of their more conventional songs with its repetitive chorus played over a slide guitar riff. The band finished their set with a rowdy and playful version of the John Lee Hooker boogie, ‘Boom Boom’. Keep an eye out for this band, they certainly provide a fresh interpretation of the Blues.

Duncan Beattie

photos: Emma Greenstreet

MARSHALL AMPS PRODUCT LAUNCH

@Ronnie Scott’s, London. 28/07/09

The great Jim Marshall, now well into his eighties, is, of course, forever to be associated with the golden era of the late-60s/early-70s, when rock music was being invented, and a lot of it was being played through the iconic amps he created. Fast forward several decades to a lunchtime at Ronnie Scott’s, and Jim’s there, but this isn’t some exercise in nostalgia. The firm’s very much a vibrant enterprise that looks forward, and we were present for what was, astonishingly, the launch of its fourth new product of 2009. This one was the Class 5 valve amp, a 5-watt all-valve combo for home recording and small gig use. And - information rightly greeted with heartfelt applauseit’s designed, engineered, and built in this country. The company is still very much a family enterprise, and some of its employees were down for the day to join in with what was a really feel good event. There weren’t a lot of lengthy speeches, nor was there anything in the way of techy info. Instead the event was quite rightly about music, and specifically about electric guitars being played through Marshall amps. First up was the very young Krissy Matthews, nodding respectfully at Jimi Hendrix and the famous connection between him and his near namesake Jim Marshall, which had begun one night at the very venue we were assembled in. And then we were treated to a marvellous set from Joe Bonamassa and band, reminding us, if we needed it, why he’s becoming such a big name. Playing through a bank of eight of the new Class 5 amps, his set, which included favourites such as ‘Bridge To Better Days’, ‘So Many Roads’ and ‘Just Got Paid’, made this a very special private gig indeed. Marshall employee Chris George got up to join Joe on one number. “Take no prisoners,” Joe told him, and he didn’t! This was no jaded music bizz liggers thing, it was, as the firm were keen to point out, a family occasion in the widest sense of ‘family’, and there was a nice balance between past, present and future. And the amp we were all there for? Sounded pretty damn good to me, and the firm deserve every success with it. If you’re a player, check it out immediately.

Mark Harrison

HIJAK OSCAR

@Bannermans, Edinburgh. 24/09/09

If the name Hijak Oscar is familiar then perhaps you might recall their appearance on Channel 4’s “MobileAct Unsigned”. The last year-and–a-half has seen the band establish a settled line-up, and release their second album. The six-piece band appeared slightly cramped as they took to the small stage, yet opened with a powerful upbeat number, which served notice of their intent, before following this up with the excellent ‘Greed’, featuring some honky tonk piano from Carl Hetherington. Band leader Tim Fox has a strong soulful voice, and his vocals are complemented well by second vocalist Gaby Milner, whose softer tones indicate a slight jazz influence. ‘BlackSheepMoneyBox’ is the title track of their second album and was a very effective duet. There’s a sense of danger and foreboding to their music and some surprising chord changes combined to keep the crowd’s attention. Musically the band incorporates a range of influences, including soul, jazz and progressive and alternative rock. Yet when Fox adds his harmonica to the mix, however, the Blues influence comes firmly to the forefront of their sound. This was the case on several of the tracks, including ‘Down In The Valley’. The haunting sound of Fox’s harp contrast with almost a Latin style rhythm section, and the gospel tinged vocals provided a sublime moment. ‘Disciple Of Time’ was another standout, and provided an epic feel in what was an engaging set.

Duncan Beattie

THE CHANTEL McGREGOR BAND

@Millers Snooker Club, Kirby-in-Ashfield. 17/09/09

Millers Snooker Club audiences can be a tough crowd, they like value for their brass and demand new acts of talent on a regular basis, along with old favourites. Therefore, it was going to be interesting to see what they thought of Millers’ latest offering, Chantel McGregor. Chantel is a bit of a dichotomy, the perfect young lady in a dress, with a vocal to die for, and who wields an axe like the best of the guys. Having just finished university in July, with a first class honours degree in Music, much of Chantel’s set consisted of covers - but she’s recording her own material later in November! Her choice of covers, though, gave an extensive picture of what she’s capable of, both vocally and instrumentally. She tackled Hendrix’s

‘Voodoo Chile’ masterfully - no antics with the guitar, just pure technique and an immense amount of feeling. Moving on to Robin Trower’s ‘Daydream’, she showed off her excellent vocal ability, Chantel can move from the polished to the gritty vocal with consummate ease - her intonation was impressive, her mic technique spot-on, but, most of all, it is the feeling she imparted to her music. If Millers needed any more persuasion of this new talent in front them, Chantel next offered two Bonnie Raitt numbers, and here she excelled. ‘I Can’t Make You Love Me’ was a personalised rendition, performed acoustically and beautiful in its simplicity. ‘Angel From Montgomery’ was given the same acoustic treatment, and again innovative in its rendition. Her version of ‘Red House’ was excellent, and by now it was clear for all to see that technically Chantel has mastered the A to Z of the guitar, as her petite fingers strutted and fretted across the strings with a skill that a lot of guitarists twice her age would sell their soul for. Chantel’s stage persona and the magic in her eyes were compelling.

Carol Borrington

JOHN MAYALL

@Charlotte St Blues, London. 26/07/09

Halfway through his excellent and rousing set, John Mayall did his song ‘Blues For The Lost Days’, about the very beginning of Blues in Britain, back in the early 60s, when anyone who was anyone in that brand new scene congregated at the legendary Flamingo Club in Soho for the all-night sessions. I imagine that as he sang this song about looking back, he must have felt rather pleased to be singing it in a brand-new and terrific Blues venue in central London, within staggering distance of where the Flamingo used to be. And he’ll have been pleased to see a full house of all ages lapping up his tight and energetic set in such an atmospheric, small-club setting – just the sort of place where this music has always thrived.

photos: Steve Thorne (rocklens.com)

Though he’s now 75, Mayall isn’t someone for whom allowances have to be made on grounds of age, because age hasn’t diminished him. Together with his current road band, he delivered a high-octane set that never let up. On vocals, harp and piano, he was just as much the coaxing band leader as he’s been all these many years, running a tight ship and enjoying what each band member brought to the party. Current holder of the lead guitar slot that has such a history is Rocky Athas, and he showed that he could do speed and volume when required, and subtlety and touch, too. The set was by no means a guitarfest, though (Mayall’s always been about much more than guitar solos), and Tom Canning on organ shone throughout the setsolos and fills just right, and knowing just when playing nothing is playing the right thing. The rhythm section of Greg Rzab on bass and Jay Davenport on drums drove things on nicely, and the audience got treated to a bunch of excellent musicians doing anything but going through the motions. Mayall chose numbers from all over his vast career, including the Bo Diddleybeat ‘Chicago Line’ from his first Decca album in 1963 (he joked about its sales figures), and ‘Hideaway’, ‘Parchman Farm’ and ‘All Your Love’ from the seminal “Beano” album with Clapton in 1966 (still selling rather well). Along the way, he also did a couple by his heroes JB Lenoir and Sonny Boy Williamson, as well as a brand new song, with the crowd-pleaser ‘Room To Move’ rounding things off. An enthusiastic audience then filed out, knowing they’d been to something rather special.

Mark Harrison

THE DEBORAH BONHAM BAND

@The Flowerpot, Derby. 12/09/09

Just when you think that The Deborah Bonham Band has reached its musical zenith, they turn out an even better performance! One wonders just how far this band can go, if given the recognition they truly deserve. They hit the stage at Derby on a mission - out to prove that this band can sit as equally happily in the Blues arena, as that of rock. It’s fair to say that this is also a band that believes in the saying, “All things are subject to change!” and certainly their songs do - virtually every time you hear them! It’s like a constant quest to build on a song’s base foundation, and then put it through as much innovation and creation as they can squeeze out of it. ‘Black Coffee’ from the “Old Hyde” CD, which the band has just rereleased due to popular demand, proved to be the perfect example of the band's quest to continually improve. Deborah, robed in a dress straight from Camelot, weaved a spell around the lyrics, using her impressive vocal range, intonation and superb microphone technique. She enchanted the rest of band into a cascade of power drumming, allied to chest pounding bass, with keyboard and guitar locked riffs. ‘Jack Past 8’, with Deborah’s velvety vocal and superb band harmonies, was topped off with drums, bass and keys - providing the perfect backdrop for Peter’s fluid and deep felt Blues rock guitar riffs. Moving into the Blues-rock ballad ‘If You Have A Little Love’, again there was an almost medieval lilt to it, as Deborah’s vocal and the instrumental rose and fell in waves of musical passion. ‘The Old Hyde’ was a show stopper with its beauty and ability to reach to the core of the human psyche. The audience shrouded in silence then launched into shouts for an encore at the end.

Carol Borrington

UK AMERICANA @Bush Hall, London. 11/08/09

An excellent night was on offer with four very different bands, all linked by the edges of the Americana bandana. First up was The Henry Brothers – Mark playing resonator guitar and Graham a huge slap bass – who sang songs of love, death and Norwich in an Appalachian bluegrass style. They were a bright and very able way to start the evening, and their version of ‘Glory Land’ was only topped by their version of ‘I Bet You Look Good On The Dancefloor’. Lana was next up, and her sultry and sassy vocal style went down well with the Shepherd’s Bush crowd. She has been touring with Nell Bryden and Lizzyspit, and her presentation has improved leaps and bounds over the last few months. ‘Trippy Kind Of Love’ had a complicated cross-rhythm and a vaguely trip-hop groove to it, but the crowd pleaser was ‘Liar Liar’, which gave Lana the chance to show her rock‘n’roll roots. After Lana, we were treated to Green Rock River Band. They came over as a cross between Hey Negrita and Old Crow Medicine Show, but, unfortunately, the mix was such that the mandolin of Jim Dog was virtually inaudible, and Paul Freeman’s vocals were indistinct and toneless. That having been said, the obvious enjoyment of the band was clear to see, and I think I would be very keen to see them again. The Cedars were top of the bill, and it was easy to see the difference in professionalism and class of the band. Chantal has a pure and sweet voice, and their southern tinged Blues and rockabilly had touches of bluegrass in there, as well, to keep it all flowing. Unfortunately, Chantal also had a sore throat, which made her a little less clean than I was hoping for, but the audience were well pleased, and they carried the banner for London Americana well.

Andy Snipper

photo: Christine Moore

THE CUBICAL

@Bannermans, Edinburgh. 24/09/09

From their appearance, it is apparent that The Cubical are fully aware of the musical heritage of their native Liverpool, as their image consists of long hair, side burns and leather jackets. Likewise, their music recalls earlier British garage bands, such as The Pretty Things, the Yardbirds and The Troggs. However, their show reflected far more than homage to a bygone age, as the band put on a compelling live performance. The main focal point was vocalist Dan Wilson, a frontman with real presence who howled his lyrics like a modern day Captain Beefheart. Current single ‘Like Me (I’m a Peacock)’ is a vibrant slab of British R&B from the late-60s. ‘In the Night’ was perhaps the standout track, featuring a slower than normal build up, subtle Bluesy guitar from guitarist Alex Gavaghan and some reflective lyrics in a modern tale of lovers. The band’s set was pretty relentless with up-tempo tunes like ‘Walking Around Like Jesus’. Backing vocals and harmonies were a feature of the band’s live show, on songs such as ‘Railway Line’ and the Animals style ‘Baby Don’t Treat Me Bad’, while the occasional slide guitar or harmonica, provided by the mysterious Johnny Green on ‘Red Rag’, contributed to making The Cubical’s performance absorbing viewing.

Duncan Beattie

THE STUMBLE

@Little Walters Blues Club, St Albans. 03/10/09

The Stumble don’t get down to London very often, so for Little Walters Blues Club to tempt them down south for their inaugural gig was a bit of a coup. The Stumble gave a virtually sold-out venue a couple of hours of Chicago Blues magic, and managed to annoy the local council royally by playing well past the curfew, as they and the crowd were having too much fun to stop. The combination of great playing – Colin Black’s guitar and Simon Anthony’s sax playing standing out particularly – and the sheer stagecraft of Paul Melville (looking for all the world like Dr John’s disreputable half brother) left

photo: Julia Roberts

the audience in raptures as the set wound on. From the opening ‘The Stumble’, which somehow morphed into the “Peter Gunn” theme tune, the band were absolutely on top, and when Melville coaxed a couple of ‘ladies’ onto the stage to dance with him on ‘Flesh & Blood’ any reservations the crowd had – very few by that point – were completely blown away. I don’t think I have seen a better Chicago Blues revue in the UK for years, and they play with all the passion and balls you could ever wish for. With the end of Shades of Blues in St Albans, the area has been crying out for a new Blues club, and Little Walters seems to fit the bill. As for the Stumble, they will be welcome anytime! Good fun.

Andy Snipper

GANG

@Fête de L’Humanité, Paris. 12/10/09

After the release of their first album, “HoldUp”, Gang, those gangsters from Normandy, were not going to wait to prove to those despondent souls what they were capable of when playing live (featuring their own songs, as well as the covers featured in their album). This show was a series of blows, each more deadly and murderous than the other, and the large marquee was soon invaded by lovers of good music - it was indeed good, dispatched machine-gun style by our four gangsters. In spite of a sound system, which reminded more of a wedding party than a bank in full Blues-rock trip, the Gang musicians managed to take hostage a public who never stopped piling in, track after track. The final tracks were played at an infernal pace testing those guitars to the bitter end, showcasing ‘Born To Be Wild’, ‘La Grange’, ‘Rock’n’Roll’ and a medley, includ-

ing ‘Boogie All Day’, ‘Goin’ Home’ (with Alvin Lee’s mythical guitar intro) and ‘Blue Suede Shoes’. It was a truly, completely wild finish, which ended with a well deserved ovation and a rush from the public to buy the CDs which our gangsters willingly signed. And believe us, there were many who, after such a performance, only stayed for one or two Deep Purple (who were playing on another stage at the same time) songs.

Frankie Pfeiffer/Nat Harrap

KARAC

@Millers Snooker Club, Kirby-in-Ashfield. 03/09/09

Millers opened its autumn season with a new band; a foursome from North Wales called Karac, who have been making a bit of a name for themselves on this year’s festival circuit. They opened with a foot-tapping Blues-rocker to announce their presence, and right from the start, it was easy to see these guys were different. There was a distant feel of the Celtic to their music, especially with Steve ‘Pablo’ Jones mandolin crossing riffs with Glynn Porrino on lead guitar, driving bass line, and expressive gritty vocal by Colin Roberts - the whole thing held tight by the drumming of Chris ‘Monkeyboy’ Jones. Their opening number had a distinct hint of the Blues riffs blended with Celtic lilts, whilst also a lot of musical clout! Their performance of ‘Mother Earth’, a two hundred year old Welsh

photos: Liz Aiken

song, showed Karac’s improvisational skills, producing a sound that can only be described as Celtic Blues. With its deep mystic tribal sound and Blues riffs, it produced a great number, and a song as current to today’s scene as the past. Millers was also treated to a new song by the band, entitled ‘Heal My Soul’. A Blues-rock ballad demonstrating not only the band’s songwriting talents, but also what good instrumentalists they all are - and how good they are in blending instruments and genres into new and exciting sounds. There was also something different in the demeanour of the band - they not only looked happy performing, they felt it too in the music. There’s an obvious fellowship between the band members that permeated into their playing - it was almost blissfully instinctive. The band weren’t going to go without giving Millers a little bit of Wales, and performed their single ‘Paid A Mynd’ in Welsh. Well, we knew the Welsh could sing but they can also sing Welsh Blues. All of which drew from the Millers crowd one word: “Encore!”

Carol Borrington

DAVID ‘HONEYBOY’ EDWARDS

@Milkwoodjam, Swansea. 27/09/09

Sunday evening in Swansea saw queues forming outside the Millkwoodjam doors to be part Blues-history being demonstrated by 94-year-old David ‘Honeyboy’ Edwards. Tonight, in Swansea, his virtuoso demonstration of the Blues was performed with the support of Les Copeland (guitar) and Michael Franks (Blues harp). Prior to ‘Honeyboy’ coming onto the stage, Les entertained the crowd with originals, including his own ‘Ry Cooder’ composition. Les played slide guitar with consummate skill, using an array of exotic tunings. His entertaining asides about his travels and experiences with ’Honeyboy’ provided a firm foundation for the rest of the evening. “I am a simple Bluesman - I play the Blues nothing else!” exclaimed ‘Honeyboy’ before, with empathetic support from Les Copeland and Michael Franks, he set about entertaining the audience with his Blues, working through a medley of classics, seamlessly moving from one track to the next. As Michael Franks commented, “He never plays the same song the same way twicetonight he is in a slow and thoughtful mode.” His sensitivity and true understanding of the genre of the Blues were both demonstrated in ‘Catfish Blues’ and ‘Sweet Home Chicago’ – noone was left in any doubt the Blues ran through the veins of this living piece of Delta Blues history. Whatever mode ‘Honeyboy’ was in, the audience was well entertained - and it’s a real privilege to be able to say I saw and heard David ’Honeyboy’ Edwards at the Milkwoodjam, a great setting for this iconic evening of the Blues.

Liz Aiken

JON AMOR

@The Bull’s Head, Barnes, London. 21/09/09

Showcasing his new album, “Stories From The Crooked Room”, Jon Amor took advantage of the augury acoustic room to take the audience through liberating love songs and full band rock outs, This was a treat indeed. Jon Amor, a man with an iconic history, took to the stage with a humble stumble and bouncing repartee. For the first hour this was a camp fire experience - an intimate engagement, a touching learning curve. Taking us through seven of the songs on the new album, Amor began each in acoustic mode and then invited, guitarist brothers Dave and Chris Doherty to expand each tune with unfurling animation and vigour. Another treat came in the form of last minute stand-in. drummer Mike Barrett, who added fiduciary beat to the proceedings. Highlights of the first half were the terrific guitar duel on ‘The Rules’, with Dave Doherty taking electric guitar precedence over Amor’s acoustic chords, and the rewarding ‘Nightjars’ - full of poetic folk mystery as well as his usual complex and mazy musical framing. As expected guitar strings bit the dust and actually led to Amor cutting his finger. This allowed time for humorous philosophical banter, as he assessed his audience with a combination of chivalry and libidinous observation. Conveying the same messages in his new material, particularly the anthemic ‘Rain’ and tender ‘Oh Eloise’, Amor and pals strayed towards a newer submissive sound, yet there was always a paroxysmal seizure in the shadows. This energy erupted towards the end of the show, as he lulled everyone into a false sense of security with ‘Even After That’ before the back catalogue burst into labyrinthian guitar frenzy. ‘Changed’ fulfilled all the needs of an encore, and lay foundation to what is still to come - ever evolving, yet keeping the genius fingerprint of old.

Gareth Hayes

GEMMA RAY

@The Bodega Social Club, Nottingham. 09/09/09

Essex born singer-songwriter, Gemma Ray was just on the brink of a breakthrough in her career when she was struck down with Chronic Fatigue Syndrome. This saw her hospitalised and confined to her home for many months, yet she walked on the stage at The Bodega looking as fresh as a daisy, and ready to take-up her career with both hands. This was a solo set, just Gemma, her guitar, two microphones and some new effects she was testing out to allow her to create and build on her solo music. She opened with a ‘50s based folk Blues song - her vocal compellingly smoky. Her vocal interplay between the two mics gave the whole song an ethereal earthy feeling, and with her good guitar underpin, you could tell immediately that Gemma was back with vengeance! Gemma went on to feature a track from her latest CD, “Lights Out Zoltar”, called ‘If You Want To Rock And Roll’. This was an enigmatic and moody Blues country ballad, almost like a Grimm’s fairy tale in instrumental structure, but with an adult edge in the vocal. Gemma’s vocal weaving a soulful picture with her lyrics, and mirrored guitar riffs, which, like the stories of the brothers Grimm, in one sense was innocent in another foreboding. Next came the song ‘Dry River’, deeply Blues rooted but, like all of Gemma’s songs, embellished in new forms and other genres. Her vocal on this number was superb, in both expression and vocal clarity, all underscored by lilting Blues guitar riffs. ‘100mph In 2nd Gear’, again from the new CD, followed. A gorgeous up-tempo ballad, Gemma’s spellbinding vocal rising and falling to push home the essence of the lyric, again underpinned with some impressive slide guitar. Gemma’s individual rendition of the Etta James Blues classic ‘I’d Rather Go Blind’ was stunning in all aspects. This performance at The Bodega by Gemma only went to prove what a top class singer, songwriter and guitarist she is, and it was brilliant to see her back on the road and with a cracker of new CD.

Carol Borrington

If you love live music and want to read more reports from past shows and and keep up-to-date with latest gig and festival information, head to our website – bluesmatters.com. Our website has a dedicated gig guide, which fans/artists/venues and promoters can update themselves, letting you know who’s playing when and where, whilst our news pages are regularly updated with key tour information from your favourite artists.

photos: Emily Beaver

AT THE ROOT

Courtesy Snapper, we have nine titles from their Roots series, featuring the music that inspired The Byrds, Nick Cave, Paul McCartney, The Beatles, John Lennon, Janis Joplin, Gram Parsons, The White Stripes and The Black Crowes. Artists, whose songs feature across these compilations, include Chuck Berry, Fats Domino, Little Willie John, Mississippi John Hurt, Leadbelly, Bo Diddley, Son House, Skip James, Slim Harpo, Bukka White, and many more. To win all nine-titles from the series, tell us: Which legendary Bluesman did The White Stripes dedicate their debut album to?

TIME AGAIN

Courtesy Vanguard, we have 3 copies of Robert Cray’s new album, “This Time” to giveaway. The award-winning Robert’s first album in four years (and seventeenth overall), once again shows off his signature blend of R&B, pop, rock, soul and traditional Blues. For your chance to win a copy, tell us: What’s the title of Cray’s first album release?

THE ULTIMATE

Courtesy Decca, we have 3 copies of “Ultimate Blues” to giveaway. The 2CD set features forty tracks covering a variety of styles and generations, including Homesick James, Beth Rowley, FREE, Muddy Waters, Etta James and more. To win, tell us: Which stadium rockers did B.B. King record the song ‘When Love Comes To Town’ with?

TO ENTER...

For your chance to win any of these great prizes, send your answer(s) to: comps@bluesmatters.com* Closing date: 7th December 2009.

*Alternatively, post to the usual PO Box address.

he sentence “Blues guitar would not have developed in the manner it did without the prolific brilliance of Lonnie Johnson” can be found in most biographies of the great Lonnie Johnson.

Lonnie Johnson was one of the first generation of Blues artists whose music reflected jazz and stage traditions. He was the cream of the Blues talent of his day, and is still widely admired for his smooth and polished music, which sharply contrasted with the rougher country Blues singers of his era.

Lonnie Johnson defined his genre and the guitar’s part in the development of the Blues. His talent was so far advanced from his peers, he inhabited a plane all his own...

Alonzo (Lonnie) Johnson was born on 8th February 1899 in New Orleans. He was one of a large and talented family, playing fiddle, guitar, piano, and banjo from childhood. Johnson's extreme versatility stemmed in great part from growing up in a musical family in the musically diverse Crescent City. “There was music all around us,” he recalled. “In my family you'd better play something, even if you just banged on a tin can.”

Whilst the violin caught his ear initially, he eventually made the guitar his passion, developing a style so fluid and melodic that instrumental backing

seemed superfluous.

At the tender age of just 14 years, Johnson joined his father's band, and began playing guitar and violin at banquets and weddings, alongside his brother James "Steady Roll" Johnson. He also worked with jazz trumpeter Punch Miller in the city's Storyville district.

Unusually, at only 18 years old Johnson toured Europe, including the UK, playing in revues. However, tragically, in 1919, when he returned home to New Orleans, Johnson discovered that his entire family, except for one brother, had been killed by a flu epidemic. He and his surviving brother, James ‘Steady Roll’ Johnson, moved to St. Louis in 1920 where Lonnie played with Charlie Creath's Jazz-O-Maniacs and with Fate Marable in their Mississippi riverboat bands. He is recorded to have declared that he “played every excursion boat out there for five years!”

In 1925, Lonnie married Mary Smith. Also known as Mary Johnson, she was a Blues singer in her own right, who recorded from 1929 until 1936 – although curiously never with Lonnie. They had six children before their divorce in 1932.This year marked the start of Johnson’s recording career.

In 1925, Johnson won a Blues contest at the Booker T. Washington Theatre in St. Louis - the prize being a recording contract with Okeh Records. To his regret, he was then tagged as a Blues artist, and was never regarded as anything else. He later said, “I guess I would have done anything to get recorded - it just happened to be a Blues contest, so I sang the Blues.”

Between 1925 and 1932, Johnson recorded at an

Johnson”. This was followed by other Prestige albums, including one with former Ellington boss, Elmer Snowden, who had helped Albertson locate Johnson. There followed a Chicago engagement for

astonishing pace, and cut an estimated 130 recordings for Okeh. He was also invited to New York to record with the leading Blues singers of the day, including Victoria Spivey , country Blues singer Alger "Texas" Alexander and Bessie Smith's T.O.B.A.

In 1927, Johnson recorded in Chicago as a guest artist with Louis Armstrong And His Hot Five, and then, in 1928, he recorded with Duke Ellington, as well as with a group called The Chocolate Dandies.

Johnson pioneered the guitar solo on the 1927 track ‘6/88 Glide’ and many of his early recordings featured 12-string guitar solos in a style that influenced such future jazz guitarists as Django Reinhardt. It’s no exaggeration to say that he gave the instrument new meaning as a jazz voice. Johnson excelled in instrumental pieces, some of which he recorded with the white jazz guitarist Eddie Lang, whom he joined in 1929. These recordings were among the first in history to feature black and white musicians performing together. Sadly, Lang was credited as Blind Willie Dunn to disguise the fact.

In the Great Depression, Johnson was compelled to make a living outside music, working at one point in a steel mill in Peoria, Illinois. In 1932, he moved again to Cleveland, Ohio, where he lived for the rest of the decade. There, he played intermittently and performed on radio programs.

After moving to Chicago, Johnson came back to recording with Bluebird for a five-year stint starting in 1939. That year, during a session with pianist Joshua Altheimer, Johnson used an electric guitar for the first time. He recorded thirty-four tracks for Bluebird over the next five years, including the hits ‘He's A Jelly Roll Baker’ and ‘In Love Again’.

After the War, Johnson made a transition to R&B, recording for King Records in Cincinnati, and having a major hit with ‘Tomorrow Night’ in 1948. This had reported sales of three million copies. A Blues ballad with piano accompaniment and background vocals, the recording bore little resemblance to much of Johnson's earlier Blues and jazz material. The follow-ups ‘Pleasing You’ and ‘So Tired’ were also major R&B hits.

Johnson moved to Philadelphia in 1952 but gradually dropped out of music and took menial janitorial jobs. He was working at Philadelphia's Benjamin Franklin Hotel in 1959 when WHAT-FM disc jockey Chris Albertson saw him and produced a comeback album for the Prestige Bluesville Records label, “Blues By Lonnie

Johnson at the Playboy Club and this succession of events placed him back on the music scene at a time when young audiences were embracing folk music, and many veteran performers were again in demand. In short order, Johnson quickly found himself reunited with Duke Ellington and his orchestra.

In 1961, Johnson was reunited with his old Okeh recording partner Victoria Spivey for another Prestige album, “Idle Hours”, and the two singers performed at Gerdes Folk City. In 1963, he toured Europe as part of the American Folk Blues Festival show, with Muddy Waters and others, and recorded an album with Otis Spann in Copenhagen, Denmark for Storyville. In 1965, he performed a series of dates in Toronto, and decided to stay there, opening his own club, Home Of The Blues, in 1966.

In 1969, Johnson was hit by a car in Toronto and died in 1970 from the effects of the accident. For enthusiasts, there is a “Complete Recorded Works” set of seven records released by Document in 1991. Bite sized recordings I would recommend are the 1990 Columbia/Legacy recording “Steppin’ On The Blues”, featuring some groundbreaking complex guitar work recorded in the ‘20s, 1992’s “The Complete Folkways Recordings” and “Blues And Ballads” on Bluesville/Original Blues Classics, originally released in 1960 but since reissued. KW