Blues Matters 52

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EDITORIAL

Editor-in-Chief

Darren Howells darren@bluesmatters.com

Founder/Publisher 'D'

alan@bluesmatters.com

Contributing Writers

Liz Aiken, Roy Bainton, Andrew Baldwin, Adam Bates, A.M. Bates, Duncan Beattie, Carol Borrington, Norman Darwen, Jamie Hailstone, Stuart A Hamilton, Nat Harrap, Mark Harrison, Gareth Hayes, Warren Haynes, Steve Hoare, Darren Howells, Sue Hickling, Duncan Jamieson, Philippa le Marquand, Ben Macnair, Vicky Martin, Martin McKeown, Noggin, Merv Osborne, Samuel Pentony, Frankie Pfeiffer, Graeme Scott, Andy Snipper, Davide Styles, Richard Thomas, Kevin Wharton, Rhys Williams, Tony Winfield, Philip Woodford

PRODUCTION

Art Direction/Graphic Design

Darren Howells

Photography

As credited

ADVERTISING

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Jenny Hughes 01656 743406/745628

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Geraint David Morgan 01656 745628

webmaster@bluesmatters.com

PRINTERS

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 and can only later be withdrawn from publication at the expediency of Blues Matters!

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

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

o, the year ends in similar fashion to 2008, Borders following Zavvi into administration and another outlet for us to gain exposure and promote the Blues in an increasingly vacuous media and retail industry is in serious jeopardy.

When big businesses are feeling the pinch, it’s obviously not easy for us, the reliant little guys, and we’ve lost vital income in the last twelve months. Let alone allowing us to grow and improve, this money keeps us alive, and with various IT problems also contributing, we’ve had to take make some admissions to our current capabilities. Whilst we’ve pushed ourselves to produce a magazine in many cases bigger and better than magazines with larger budgets and teams than our own for a long time, it’s time we pulled the reins in – much like festivals including Burnley have had to make concessions for 2010.

From this issue, in our need to reduce production time and release the magazine earlier (you’ll notice this magazine has reached you quicker than issue 51 – well, postal strikes allowing), and eventually in advance of our cover period, we have streamlined the magazine and reduced the total number of pages.

Given the fact we pack more content and creativity into our pages than magazines of a similar ilk, and our content to ads ratio is still much higher than music magazines you’ll generally find in your, err, well, is there only Tesco left now?, we are confident that we still offer our loyal readers better value for money. Hopefully, we can still rely on your support as we showcase how the Blues continues to remain an important and relevant genre.

Remember, with more and more distributors and stores running into problems during the recession, the only guaranteed way of getting your magazine each issue is to subscribe.

Let’s hope 2010 won’t be as tough as the last couple of years, and we’ll have great releases to rival those by the likes of Ian Siegal and The Black Crowes that we’ve enjoyed this year.

DARREN HOWELLS Editor-in-Chief

08

FEEDBACK

B.B. King, The Black Crowes, Erja Lyytinen

13 HAPPENIN’

Duke Robillard, The White Stripes, Eric Bibb, T-Model Ford, Lynyrd Skynyrd, Bad Company, Steve Winwood, Paddy Milner, The Rolling Stones, Chuck Berry, Matt Schofield

37 SUBSCRIBE TO

WIN

Joe Bonamassa DVD, ZZ Top DVDs

104 DVD REVIEWS

ZZ Top, Joe Bonamassa, The New Lost City Ramblers

106 BOOK REVIEWS

“Ultimate Hendrix”, “Brian Jones”, “Rock Roadie”

110 GOT LIVE

Aynsley Lister, Gomez, The Animals, Rob Tognoni, Seasick Steve, Alberta Cross, ZZ Top, Davy Knowles & Back Door Slam, Chantle McGregor, Walter Trout

127

MEMBERS’ COMPETITIONS

Robben Ford CDs, Otis Taylor CDs...

Hijak Oscar, Seasick Steve, Tinsley Ellis, Mitch Ryder, Maria Muldaur, Moriarty, Gov’t Mule, Soulsavers, Hill

Country Revue, Kellie Rucker, Davy

Knowles & Back Door Slam, Mike

Zito, Gregg Wright, Ian Siegal, Nick Moss & The Flip Tops, Harry Manx, Beggar Joe, Jon Amor, The Allman

Brothers Band, Taj Mahal, Samuel James, Savoy Brown, Nine Below

Zero, Albert King, Living Colour, Stevie Ray Vaughan, Kill It Kid

20 INTERVIEWS

Ian Gillan, Kill It Kid, Tom Allalone & The 78s, Jessica Lea Mayfield, Rick Vito, Orb Mellon, Black Stone Cherry, King King, Patrick Droney, The Heavy...

35 SUBSCRIBE

Support our efforts!

63 EASE THOSE BLUES

With “Live At The Regal” by B.B. King.

64 GETTIN' THE BLUES

Gov’t Mule’s Warren Haynes gets the Blues!

108 BLUE

BLOOD

The Billy Bats, Eat A Peach and Heavy Mama.

128 NOW, BEFORE WE FORGET…

Blind Blake.

24 KILL IT KID

Taking inspiration from Blind Willie McTell, and with a lead vocalist that sounds uncannily like a Delta Blues great, you wouldn’t expected Kill It Kid to have made much of an impression on the mainstream, but 2009 saw them picking up accolades across the media, from renowned indie magazines to high-profile TV/radio personalities. “I’m not sure if it’s making a comeback. It’s hard to tell. I can’t hear too much of it in modern music, so I don’t know if Blues is coming back in a big way... I’m happy to reconstruct what those country Blues guys were playing.”

GET IT RIGHT!

I have received my copy of Blues Matters! that contains the piece on Aaron William And The Hoodoo, the band I manage. I note, however, that at the end of their piece, the magazine lists "myspace.com/jjvicars" as the band's URL, which is incorrect - their correct URL is actually myspace.com/aaronwilliamsandthehoodoo. I don't know whether you can correct that, but if you can, I would be most appreciative.

Thanks again for covering the band, and I look forward to the publication's review of "It Ain't Easy”.

Shirley Kennedy Stone Mountain, Atlanta, GA, USA

Can I take exception to a piece in the Les Paul obituary in issue 51? In it, you state that the Les Paul guitar has gone on to be the best selling electric guitar of all time. I am afraid that this simply isn't true, by a very, very long way. The Fender Stratocaster

(in continuous production since 1954) has sold to date well in excess of five million pieces. The Les Paul, fine guitar that it is, was discontinued in 1961 due to poor sales, and was not reintroduced until 1968, following the success of Clapton’s use of it. Gibson are very secretive about their total unit sales, but you can be certain that they are a long way short of five million!

Dave Stone New Romney, Kent

I read with great interest the review by Graeme Scott of Gwyn Ashton’s “Two Man Blues Army” CD, and I wish to bring to your attention that Kev Hickman is not the drummer on the recording of this duo album, as stated in the review. That accolade indeed belongs to 18-yearold drummer Dave Small from Worcester - this fact is clearly borne out on the listings/credits in the inside album cover: “Drums/Percussion - Dave Small.”

Dave is also credited (quite rightly!) on the album for the arrangement of the track ‘Cross Road Blues’ and also appears in the CD sleeve photos.

I have been a professional musician for thirty-two years, and feel very strongly that credit should be given where credit is dueespecially to one so young (I know that I do not stand alone in feeling that an injustice has been done to one so talented).

I, for one, will be following Dave’s career very closely with extreme interest (I believe that he is also an accomplished singer/songwriter phew!). Perhaps he too should be considered for an interview in a future BM!

I sincerely hope that an amendment/apology will be published in BM!

Graham Johns Midlands BM! Says: With the correct URL now in print, and a great review of the album later this issue, hopefully many of our readers will be heading over to Aaron’s site. Regarding Les Paul’s obituary, the sentence should have read: “Gibson’s best selling electric guitar of all time.” Finally, here’s Gwyn’s own explanation regarding the miscredit information in the “Two Man Army” review: “He's correct that Dave Small is the drummer on the album. Kev Hickman replaced Dave in December and has been my permanent drummer since then. The press release for the album doesn't mention any other musician's information, and the biog PDF is talking about the live band.”

B.B. King moved his Blues forward.

EASY TO HANDLE

Just wanted to say, The Black Crowes are THE band of my generation.

I got my first electric guitar for my thirteenth birthday in 1990 and I was off, going through all my dad’s LPsHendrix, FREE, Led Zepplin etc. My mate, Joe, then played me ‘Hard To Handle’ by this new band called The Black Crowes, and it felt like they were MY band - not my dad's.

Fell in love with that “Shake Your Moneymaker” album, and when I first got my ears on "The Southern Harmony And Musical Companion", I knew this would be for keeps. So many other bands have come and gone with me in the last twenty years, but the Crowes have been with me the longest.

As for their most recent release, I love the concept of recording it live over a few nights in front of your most loyal fans. I especially love the fact that if you play all eight of their studio albums in chronological order (I’ve missed out “Tall” and “Band” to make my point), you can hear how the band has ‘grown’ over the last twenty years, both musically and personally. “Before The Frost...Untill The Freeze” finds my favourite band still at the top of their game with a mellower vibe, wiser perspective and renewed enthusiasm.

I’ve never written in to a magazine in my life, but it's nice to see a UK music publication writing about real bands for a change. I've asked the missus for a Blues Matters! subscription for Christmas.

BM! Says: Fans of The Black Crowes will be able to gain insight into how the band recorded their latest acclaimed album with the release of the “Cabin Fever” DVD – a copy will be winging its way to you, Darren. ,

STOP BICKERING!

I’ve had enough of Blues fans asking, “Where has all the good stuff gone?”, ‘cos, let me tell your readers, it’s still there – it’s alive and kicking! It might not be in twelve bars, it might not be from the Mississippi Delta, but it’s there - I’m just scared we’ll all miss it because we were arguing over nothing.

Blues is raw, it’s from the soul and its heart beats inside every person who threw on a record when they split up with a lover, or needed to let their hair down and throw a party. Blues tells stories - it’s funny, sad, sympathetic, and often painfully honest. B.B. King recognises this probably more than any other Blues artist, and this is why he’s not stuck in the past. B.B. recognises it, he uses it, but he also embraces popular culture, including hip hop and rap.

Maybe your readers find this idea threatening? But Blues like all music should be an ever evolving art form. Why so many artists insist on copying the past (badly, I might add) is beyond me. It’s been done, move on.

Blues is stuck in a rut, even if The likes of The Black Keys, Black Rebel Motorcycle Club and The White Stripes go some of the way to solving the problem.

I just don’t understand why squabbling is so prevalent over the nuances and details of what Blues ‘is’? And why we insist on looking down on ‘everyone else’.

I fear we will get so tied up arguing amongst ourselves, we’ll miss all the good music that’s going on around us.

Samuel Pentony London

BM! Says: We’d love more thoughts on this topic, which we’ll publish in our magazine/on our website.

This issue Darren will receive a copy of The Black Crowes’ “Cabin Fever” DVD, which includes footage of the recording sessions that ultimately became their critically acclaimed CD, “Before the Frost Until the Freeze.”

A band to believe in: The Black Crowes.

stone of 100 purchases this year to date, based on what I have read (issue 51 led me to purchase Duke Garwood's “The Sand That Falls” - and what a superb album it is!).

Have I ever been disappointed with any purchase made on the back of your reviews? No, never!

So many thanks (somewhat begrudgingly!)!

Phil Broadhurst Tamworth

BM! Says: Hopefully our magazine makes a significant dent in all our readers’ wallets – the great artists we showcase deserve the support.

NEW AGE BLUES

I would like to say thank you for a fantastic magazine, and for introducing me to some amazing Blues artists. Having discovered The Blues at the tender age of 12 (I am now 51) through listening to British bands like The Rolling Stones, Cream etc, I became aware of the Blues greats of Muddy Waters, Howlin’ Wolf, Elmore James, Freddie King, Memphis Slim and the great B.B. King. But now, thanks to your great mag, I have found a new era of Blues, with your great reviews and interviews on some of the finest talents currently around, including Danny Bryant, Jason Ricci, Sue Foley, Erja Lyytinen, Ana Popovic and Oli Brown, to name but a few.

Thank you, Blues Matters!, for keeping the Blues alive. I look forward to receiving the next issue!

David Wixey Cirencester

BM! Says: There are plenty more great contemporary artists covered this issue, many unfortunately ignored by the music media in this country on agendas we certainly can’t understand.

BLUES BY THE TONLOAD

What a cruel master your CD reviews section is! Reviews that are incisive, informative, accurate, cover every facet of music rooted in the Blues, and introduce new artists to this reader.

The drawback? Oh, how my wallet groans each time the latest issue hits the doormat. I have just hit the mile-

MAKES SENSE

I think The Black Crowes are one of the best bands in the world. Every album has something great about it and, on the whole, they are quite different. Everything is presented with a Blues sensibility that makes them a perfect choice for your magazine.

Blues doesn't and shouldn't mean conservative. New songs and songwriting techniques should be integral to anything being produced now.

Gary Williams Birmingham

BM! Says: Given the enthusiastic response to the special anniversary Black Crowes cover feature last issue, our readers certainly recognise the importance and relevance of this act – phew!

BLUES IN NEED

I was one of only seven people who bothered to turn up for a fantastic concert at The Box in Crewe last night to see Miller Anderson and Kris Gray. It was only £5! And certainly better than watching JLS on “Children In Need”! The Limelight venue has gone; The M Club is going if people don't support these venues they will all go!

Mike Allen Macclesfield

BM! Says: We implore our readers to attend as many events/gigs as possible in the New Year, and to support live music. Remember, we welcome the submission of reports to the magazine/website. Support the Blues!

When you’ve finished reading this issue, why not let us know your views? For instance, we’d love to know which Blues albums you’ve rated from the last year, or even the last decade! Email your thoughts on anything (well, to do with Blues music), to: darren@bluesmatters.com. Alternatively, we still except mail the old-fashioned way: PO Box 18, Bridgend, CF33 6YW, UK. Remember you could win a prize(s)!

(from left) Joanne Shaw Taylor, Oli Brown and Erja Lyytinen: artists keeping the Blues alive.

THE OLD GUARD

Veterans pick up multiple nominations

The Blues Foundation has announced their nominees for the Blues Music Awards, which will take place at the Cook Convention Center in Memphis, TN on 6th May 2010. Among those who will be in the running at the 31st Blues Music Awards are Joe Louis Walker with five nominations (including Album of the Year, Contemporary Blues Album Of The Year and Song Of The Year); and Rick Estrin, Tommy Castro, Louisiana Red and Duke Robillard, who each received four nominations. "Many nominators noted that narrowing each category to five was an especially difficult task this year, but I think the nominees are very reflective of the past year's releases,” said Jay Sieleman, The Blues Foundation's Executive Director. Jay added that almost every nominee will be in attendance and perform at the event. The Blues Hall Of Fame induction ceremony will be held the night before the awards (5th May), with honourees announced in mid-February 2010. The organisation has also announced the recipients for the 2010

Keeping

The Blues

Alive Awards. Amongst the people/organisations being recognised (awards will be given out on the same weekend as the 26th International Blues Challenge, staged between 20th-23rd January 2010 in Memphis) are: Connecticut Blues Society (Blues Organisation); “Crossroads” (Literature); Heritage Music Blues Festival (Festival); David Fricke (Journalism); Block (Print Media); Richard Flohil (Publicist); and Crosscut Records (Record Label).

Duke

Tonight”,

“Stomp!

are amongst the nominees for Best Contemporary Blues Album, with the winner announced at the 52nd Annual GRAMMY Awards, staged on 31st January 2010. The GRAMMY Hall Of Hall Of Fame® will also induct songs by Muddy Waters (‘I Feel Like Going Home’) and The Doors (‘Riders On The Storm’). grammy.com In the summer of 2007, The White Stripes embarked on a cross-country Canadian tour to accomplish their goal of performing in every province and territory across the nation. The band have now announced the release of a limited edition box set to commemorate that journey, “capturing the striking live moments and poignant off-stage interactions.” The collection contains a DVD of the Emmett Malloy directed “Under Great White Northern Lights”, a live DVD of the band’s 10th Anniversary show, as well as a double LP/CD of sixteen live tracks, a seven inch on colour vinyl, hardcover photography book and a silk-screened print. You can order the box set from: whitestripes.com/ ugwnl_boxset

Robbillard (pictured below) is amongst the GRAMMY nominations for his most recent release

The Blues

alongside Ramblin' Jack Elliott, The Mick Fleetwood Blues Band and John Hammond in the Best Traditional Blues Album category. The Robert Cray Band, Mavis Staples and The Derek Trucks Band

Duke Robillard is recognised by the industry.

AN EARLY INFLUENCE

Renowned singer-songwriter takes inspiration from past master

Eric Bibb (pictured above) channels Delta guitar master Booker White on his latest album, set for release on 1st March 2010 via Telarc International. Following a London gig several years ago, a fan brought Bibb a ‘30s vintage Resophonic National steel-body guitar that had once belonged to White, and this encounter inspired Bibb to record an album “that captures the spirit of the original Delta Blues of the early 20th century and reinterprets it for a new era.” Born in rural Mississippi in 1909, Booker White – an older cousin to B.B. King – made the bulk of his recordings between 1930 and 1940. He was imprisoned in Memphis in 1937 for allegedly shooting a man, but he jumped bail and made it all the way to Chicago before being captured and sent to Parchman Farm prison, where he spent several years of his life. Following decades in obscurity he was rediscovered during the folk-Blues revival of the early-60s. “Holding the guitar that Booker White had played for so many years,” recalled Bibb, “seeing his actual handwriting on a set list that had been taped to the side of the guitar – it all made me feel like the time was finally upon me to make a statement about my relationship with the Delta Blues tradition. It was like arite of passage, an initiation. I felt like this guitar finding its way to me was a signal that I had journeyed far enough to be able to make an honest tribute to the music of my heroes.” The encounter inspired the album’s half-spoken, half-sung title track, which Bibb recorded in England using White’s guitar, and although the remaining tracks were recorded in rural Ohio, on Bibb’s own guitars, he insists those songs came from the same well of inspiration. “Once I had written that song, I really wanted to make a complete statement,” said Bibb. “I wanted to put myself in the position of my heroes, and create songs that I feel could have been part of their repertoire. ericbibb.com

A FAMILY LEGACY

Singer inherits musical talent from acclaimed parents

Jenni Muldaur has stepped out of the shadows as a backing singer (for the likes of Eric Clapton and Steely Dan), and will release new album “Dearest Darlin’” on Continental Blue Heaven on 8th February 2010. Recorded and mastered in NY, the album makes it clear “why her voice is in such demand. She has a wonderfully strong, confident, yet soulful style reminiscent of ‘50s swingers Brenda Lee and Connie Francis, with a little Aretha thrown in. As you would expect from a daughter of Geoff and Maria Muldaur, this is soul music imbued with the passion and heart of the Blues.” jennimuldaur.com

Eric Bibb is going back to the start of his journey.

photo: Joe Jannsen

NOT GETTING EASIER

Londoner is still feeling blue

Marcus Bonfanti (pictured above)will release the follow-up to his acclaimed debut album, “Hard Times”, on 25th January 2010, again on The Guitar Label. “What Good Am I To You?” is described as “the sound of the North London Blues,” with highs and lows “we all know,” referencing a range of influences from Tony Joe White to Led Zeppelin. 27-year-old Marcus, who has years of top level session work under his belt, highlighted the bold British Blues growl of ‘Will Not Play Your Game’; ‘Give Me Your Cash’; the swampland shuffle of ‘Goin’ Down’; the more acousticallyflavoured ‘Devil Girl’; and the breakneck instrumental ‘Tweed Blazer’, “which would give Link Wray a run for his money,” asstandouts. In support of the new album, Marcus will be touring the UK in February 2010. marcusbonfanti.com

FATHER OF THE BLUES

Guitarist continues to show his respect

The Bernard Allison Group will release “The Otherside” on 12th December 2009 on Jazzhaus Records. The album contains thirteen songs, “which demonstrate once again the bandwidth of Bernard Allison - this album has it all!” Amongst the highlights on an album which has a “touch more Blues and less funk” than its predecessor, 2007’s “Chills & Thrills”, are instrumental opener ‘Send It’; the groovy and soulful ‘Tired Of Trying’ (written in conjunction with tour guitarist Michael Goldsmith); the title song, with its “brilliant guitar solo”; the dirty Blues of ‘Allison Way’ (which discusses the historical reasons for Alison’s musical path); and ‘Leavin The Bayou’, which goes “back to the roots of the Blues.” There is also a Jimi Hendrix cover (‘Fire’) and one from his father, Luther Allison. “With ‘Let's Try It Again’, Bernard is doing a deep bow before his father.” Talking about this cover, Bernard opened up: "Although my father passed away, he has gone nowhere for me. He looks down at me every minute. He knew what my heart was and what I wanted to do.”

bernardallison.com

Southern rock icons, Lynyrd Skynyrd (pictured below) have announced they will tour the UK in March 2010. Dates are: Birmingham LG Arena (4th), Cardiff International Arena (5th), London HMV Hammersmith Apollo (6th), Manchester Apollo (8th) and Glasgow Clyde Auditorium (9th). lynyrdskynyrd.com Steve Winwood will be on tour in the UK during May 2010. Dates: Birmingham The NEC (18th) and London Wembley Arena (20th & 21st). stevewinwood.com Critically acclaimed Eric Clapton tribute band, endorsemed by Slowhand himself, After Midnight, who perform under the banner “Classic Clapton”, will be undertaking a 25th Anniversary Tour throughout the UK during 2010. The tour kicks off in Mansfield at The Palace Theatre (26th February) and finishes up at Artix Arts Centre in Bromsgrove (8th May). Full gig listing at: classic-clapton.com Bad Company will play eight exclusive 2010 tour dates (the first time the original members will perform together in the UK in over three decades), as they promote a new live CD/DVD which is slated for release on 9th February. “These dates are to thank the fans for keeping the music alive,” said Paul Rodgers. Dates are: Birmingham LG Arena (1st April), Manchester Evening News Arena (2nd), Sheffield City Hall (4th), Cardiff CIA (5th), Newcastle Metro Arena (7th), Glasgow Clyde (8th), Brighton Centre (10th) and Wembley Arena (11th). badcompany.com

Marcus Bonfanti knows how you’re feeling.

Lynyrd Skynyrd: get ready to rock!

ONE FOR THE LADIES?

Legend promises gentler affair

Alive Naturalsound Records will release the new T-Model Ford album, "The Ladies Man", on 12th January 2010. Including live recordings, this is the 80-something-year-old’s seventh album and, for the first time, it's an entirely acoustic affair. Recorded at Planet Sound Studios in Wichita, Kansas, the album is the product of a live, one-take afternoon session with no overdubs and minimal mixing. A press release read: “T wanted to play acoustic guitar and have 100% control over the record, and everyone involved in the project agreed he should do it the way he wanted. The result is pure T Model, with some newer, young musician-friends playing along with him.”

BORROWING HIS BLUES

Pianist reinterprets classic songs

Paddy Milner (pictured below) has been in touch with Blues Matters! to let us know he has just finished recording his fourth solo album, “Old, New, Borrowed, Blue”, with the fifteen track album set for release in early 2010. It sees a return to a more roots based approach, “based around the soundworld of piano and percussion with some other layers thrown in - tuba, cello, horns...” As the name suggest, there are some old songs from Paddy’s back catalogue that he’s rearranged, new songs, cover songs, including original arrangements of Robert Johnson, Muddy Waters, Nick Drake, Nirvana and Rhianna numbers, and original Blues based material. “It seemed to sum up the sets that I've recently been playing,” said Paddy, “and I enjoyed digging back to my earliest musical influences and recording versions of Robert Johnson's 'Come On In My Kitchen' and Muddy Waters 'Louisiana Blues', and I think I've brought things to those tunes that I haven't heard done before.” Talking about the new songs, Milner added: “I enjoyed recording a few fun, up-tempo tunes, such as 'Going To See My Baby', which I wrote quickly and spontaneously about seeing my girlfriend after a while apart.” The album was recorded in Paris and mixed in London by long term Rolling Stones producer Chris Kimsey. “I really can't wait to release the record next year,” he stated enthusiastically. “I will be working hard to increase the level of exposure in the UK.”

The Chuck Berry tour postponed from November will now start in March 2010. The promoter cited a lack of lead-in time to prepare the marketing and advertising. Ticket holders have been advised to keep hold of their tickets as they will be valid for the March dates. chuckberry.com

Cold War Kids will release five-song EP “Behave Yourself” on 19th January on Downtown/Cooperative Music. “These songs were recorded sometime between the ‘Loyalty To Loyalty’ sessions and now. They didn’t belong there, but they kept hanging around, starting trouble; made friends, and insisted that their story be heard,” said Nathan Willett (frontman). The band begin recording their third album early in 2010 for a summer release. coldwarkids.com

The Rolling Stones have released a 40th Anniversary deluxe box set of “Get Yer Ya-Ya’s Out” on ABKCO Records. The 3CD +bonus DVD set was released on 30th November 2009, and included alongside a remastered disc of the original Ya-Ya’s repertoire (recorded over two nights at Madison Square Garden) is a disc of five previously unreleased Stones tracks recorded at the same shows; a disc encompassing unreleased performances by openers B.B. King and Ike & Tina Turner; whilst a DVD by filmmakers Albert and David Maysles includes full-length performances of the five previously unreleased Stones songs. The set also includes a 56page Collector’s Edition book featuring photos and an essay by Ethan Russell, the acclaimed photographer who accompanied the Stones on the ’69 tour, as well as the original Rolling Stone Magazine review by Lester Bangs and a series of recollections from a crosssection of fans who attended the concerts and a replica of the original Stones ’69 tour poster by David Byrd. rollingstones.com

paddymilner.com

Paddy Milner is offering something different.

A BRITISH BLUES BOOM

Popular American guitarist plans to party again in the UK

Festival favourite Hamilton Loomis has announced the release of a new live album - and one recorded in this country. “Live In England”, released via his own Ham-Bone Records (“I still have a good relationship with Blind Pig Records,” insisted Loomis, “but I chose to release this CD independently in the hope of broadening the scope and age of my audience”) captures Loomis “masterfully blending his myriad of influences into his live performance.” Hamilton made contact with Blues Matters! to explain the reasons behind a live release at this stage in his career – and why it was recorded in Britain. “Much of the idea came from audience feedback,” he revealed. “We put out a lot of energy on stage, and many people ask for a live CD to capture that essence I didn't originally plan on recording it in England specifically, but it fell into my lap. My good friend Tony Jezzard from Oxford offered to let me use his portable multi-track recorder and I just winged it – recording five of our shows and using the best two.” UK fans will get to enjoy the Loomis live experience, when he goes on “one big month-long CD release party” in March 2010. Dates include: Kirkbyin-Ashfield Millers Snooker Club (4th), Swansea Milkwood Jam (9th), Guisborough R&B Club (13th), Oxford

The Bullingdon (15th), London Charlotte Street Blues (18th), Bournemouth Blues Club (22nd), Birmingham

The Jam House (24th), and Keighley Laycock Village Hall (26th). hamiltonloomis.com

A FRESH TAKE

Vocal trio bring something new to familiar favourites

The Sojourners will release their new self-titled album on Black Hen Music on 19th January 2010. This is the second album from the classic gospel-based trio of Will Sanders, Ron Small and Marcus Mosely, whose music includes elements of soul, doo-wop, R&B, Blues and country. The Vancouver-based group only formed four years ago, but have now recorded an album that “breathes new life into classic gospel songs such as Doris Akers’ ‘Lead Me Guide Me’ and The Violinaires ‘Another Soldier Gone’; add a chilling reading of Rev. Gary Davis’ gospel/Blues, ‘Death Don’t Have No Mercy’; and even include an uplifting cover of Los Lobos’ ‘Peace In The Neighborhood’.” thesojourners.ca

Hamilton Loomis in his element.

photo: Rich Singer

THE DEVIL’S MUSIC

Line-up change doesn’t alter ethos

Black

Rebel Motorcycle Club will release new album

“Beat The Devil’s Tattoo” on 8th March 2010. The band’s fifth studio album, and first full-length release on their own Abstract Dragon label, was mainly recorded at The Basement Studio in Philadelphia, PA – the same room where they recorded “Howl” - with the band taking familiar inspiration. “The same shit as always,” said Peter Hayes, “the loves, the losses, and everyone that else that got in the way.” This is the first album with

A HARD SELL

Hype builds for young hopefuls

We are told, 2010 will see the beginning of a Blues movement every bit as exciting and talented as the one that took place over forty years ago, when the Blues scene gave the world Eric Clapton, Jeff Beck and John Mayall. A “New Generation Of Young Blues Tour”, will see young talents Oli Brown, Joanne Shaw Taylor and Virgil And The Accelerators hit the road across the UK in May. Dates include:

Bournemouth Champions (3rd), Edinburgh The Caves (6th), Glasgow The Ferry (7th), Wolverhampton Robin 2 (13th), Scarborough Rugby Club (16th), Sutton Boom Boom Club (21st) and Cardiff The Globe (23rd). oliselectricblues.co.uk

NuBlues founder, Ramon Goose has informed Blues Matters! of an African Blues album recorded with “an excellent Griot called Diabel.” The as yet untitled album will be released on DixieFrog Records in February 2010, and with Senegalese kora player Diabel Cissokho (pictured below with Ramon), he has produced an album that combines “the beauty of West African music with the soul of the Blues.” diabelandramon.com Matt Schofield is to be represented outside of Europe by the New York based booking agency, Entourage Talent Associates (whose clients include Derek Trucks and Joe Satriani). The appointment paves the way for Schofield to tour North America and Asia, and his profile in those territories will be raised further after Schofield inked a deal with Hal Leonard to release an instructional guitar DVD. “I was listening to Sirius radio and a track of Matt’s came on,” recalled Jeff Schroedl VP of Pop & Standard Publications. “I literally had to pull my car over and devote my full attention to listening to him play. He’s far and away the most exciting guitarist to come around in the last ten to fifteen years.” This is quite a surreal deal for Schofield, who revealed: “When I started to teach myself the guitar, the first book I had was the ‘Hal Leonard Guitar Method’. It’s amazing how life has come full circle. I never conceived of being in a position where other guitarists would want to learn from me!” mattschofield.net

Steve Darrington, organiser of the annual free Swanage Blues Festival, has told Blues Matters! he is looking at something special for 2010, being the event’s tenth year. “I’m in talks to have Charlie Watts (Rolling Stones) play,” he revealed, “as part of the ABCD Of Boogie, with Axel Zwingenburger, Ben Waters and Dave Green.”

Ain’t no sunshine for Black Rebel Motorcycle Club.

(from left) Ramon Goose and Diabel Cissokho.

s a rock vocalist, Ian Gillan needs little introduction – leading singer (on and off, and back on again) with Deep Purple since 1969, Gillan enjoyed (or didn’t, as it turns out) a brief stint with Black Sabbath, and produced a number of successful hard-rock albums as a solo artist.

Gillan’s name hasn’t been associated with the Blues too often, but as an artist whose never been afraid to mine new territory (from singing the part of Jesus on the “Jesus Christ Superstar” album to his brief deviation into jazz with the band Gillan), his first solo album in twelve years, “One Eye To Morocco”, has seen the noted vocalist incorporate more extensive and varied instrumentation, and return to his deep-rooted love of the genre…

BM: What were your first experiences of the Blues?

Ian: (Pauses) Not quite sure really - it kinda crept up on me. There was a lot of music in my family growing up. My uncle was a jazz pianist and played a lot of boogie woogieoccasionally it would lapse into a slow rolling Blues. I guess, really, it was going backwards through Chuck Berry and all that sort of thing - back into the Howlin’ Wolf type of stuff. Then we got really passionate about it, and traced it right back to the field laments and slave songs. We traced it from Delta Blues up through Mississippi and Kansas to Chicago, where the whole thing changed character and became big and more commercial.

The simplicity of it all was the great thing to us. You didn’t need to be a great musician; you just needed to hold down three chords. You needed a biscuit tin and a pair of knitting needles and you could form a band! That was the joy of it all! I guess skiffle had its part to play as well. You could pick-up anything that made a percussive noise, a comb and paper, and you had a cheap harmonica. All of that, and until this day, I still sing, when I’ve had a drink too many, Lazy Lester’s ‘You’re Gonna Ruin Me Baby’.

Who were the influences on your musical career?

Well, it’s diverse - it’s not specific. From the actual Blues point of view, strangely enough, Elvis covered a lot of Blues through that connection, so we inadvertently got a subliminal influence. Not until later did we realise where ‘Hound Dog’ came from, and all of those other songs.

I guess it was whatever we could grab hold of on Pye International. We didn’t really have record labels in those days because of the interaction between Blues and jazz, R&B and whatever it might be. It’s hard to pin it down to be honest.

Can you explain to readers what ‘vocal belting’ is?

Vocal belting is a loud version of talking Blues or Blues shouting. It’s basically yelling! You get caught up with the environment, as the instruments become louder and more highly amplified. The drum kit becomes bigger and then amplifiers in themselves. You are left with really having to force your way through, and I loved this because I’m fairly shy by nature, so this was great for me - just to belt it, until I got my confidence, and then approach the microphone. It was a strange technique, but it worked for me!

I had been used to singing all my life, I was a boy soprano in the church choir when I was a kid and granddad was an opera singer, but it was completely new to me working with amplified musicians. I guess we all sort of approached it in a different way. It wasn’t really singing, it was more shouting, but you had to be in tune, you had to have percussive value, and had to have all the melodic rules and regulations. It was just done different - and a hell of a lot louder!

How did you go about the songwriting process on your latest CD, “One Eye To Morocco”, and your songwriting in general? It’s different. I do a lot of songwriting just for fun, and it’s an excuse to have some beer! I write with Steve Morris (former Heartland guitarist - CB) a lot, and he comes down from Liverpool. We do a couple of days; go down to the pub and put five songs in the library. So, there’s no particular project in mind when we write. Whereas with Deep Purple, we start with a blank sheet. There’s a lot of improvisation and talk. We go

"It ain’t a badge, you know?! The Blues is very intimate. It really is for me. All you need is a tapping foot, a couple of chords and you get drawn in!"

photos: Tommaso Mei

in the studio for a couple of days, and every now and again you’ll see the horse eyes and a nod to somebody and say, “That’s cool.” If it’s a nice little sequence, we’ll make a note of that and come back to it the next day with more of a constructive attitude. All unplanned really. About 25% of my writing time is on music, the rest of it is nothing to do with music at all. It’s all different stuff; books, pieces, articles and research - nothing to do with music.

The track called ‘Deal With It’ uses a combo of rap styled vocal and very traditional Blues guitar riffs - an interesting combination. What inspired you to bring these two styles together? Most of these things are almost unconscious efforts really. A lot of these things came from my formative years. I was very influenced by lots of different styles of music. Then you bring all these influences into a group like Deep Purple, which I joined in 1969, and you meet up with other people who have orchestral backgrounds. Our drummer, for example, was a big fan of Buddy Rich big band swing. It’s only when you step back from that band - when you’re almost naked again - that your roots are showing with regards to your influences, and I think the whole idea of not having to rely upon inspirational and improvised guitar solos or a rock rhythm section focuses the mind much more back into the way you would deliver something. I like that style of working. It’s the narrativeyou can pick-up on the subtleties. It’s not as poetical as the lyrical or melodic sort of poetic type of writing.

The CD is very Blues rooted but also eclectic in nature. Why a move to more Blues orientated music rather than rock?

If Deep Purple were in the studio with me, instead of the session musicians in Brooklyn New York, the songs would sound completely different - it would sound like a rock album. You’ve got the basis of many Deep Purple sounding songs there, it just that the voicing of the instruments is different. I think it was a conscious decision. Blues, yeah, plus a little bit of soul, tamala, reggae... These things become noticeable when they are stripped bare of a rock band.

What is the Blues to Ian Gillan?

It ain’t a badge, you know?! The Blues is very intimate. It really is for me. All you need is a tapping foot, a couple of chords and you get drawn in! You’re taken in by somebody who wants to tell you their story. It doesn’t necessarily have to be full of despair. It has to contain elements of maybe even triumphalism.

I’ve got a friend, his name is Rodney, and he’s a wonderful musician. For the sake of this conversation, I have to tell you he’s very black. He’s also a music teacher and an inspiring musician - he’s on this record, too. So, we’ve talked a few times, and with regards to the Blues, he came up with this thing that white boys can’t sing the Blues, and he also told me we should apologise for slavery. I said that was a few hundred years ago, and I have no intention of apologising until I get a letter from Julius Caesar apologising for enslaving the Britons.

"It’s only when you step back - when you’re almost naked again - that your roots are showing with regards to your influences."

As well as his highly successful solo and songwriting career, one cannot say the name Ian Gillan without automatically thinking Deep Purple (labelled the loudest band in the world, the band have been on the road forty years).

Classed with Led Zeppelin and Black Sabbath, Deep Purple are considered pioneers of heavy metal and modern day hard rock, yet Deep Purple have never boxed themselves into one genre and, like Led Zeppelin, took the Blues onto a new musical dimension, showing that while the roots of the Blues run deep, its fruits can be bountiful and diverse.

Like music itself, the very essence of the Blues is a growing and evolving organism, going right back to humanities tribal roots and forward into the present.

As singer/co-songwriter with the iconic rock band Deep Purple, Ian Gillan’s roots in the Blues, along with Deep Purple’s, are clearly identifiable. Deep Purple are responsible for one of the most popular songs of the last four decades, and it is built on a four-note Blues scale melody harmonised in parallel fourths. Virtually every budding guitarist has attempted this song. It’s had more covers than tea in china, including, believe it or not, a version by Pat Boone with Ritchie Blackmore on guitar! It’s been used in commercial ads, and the lyrics used in an episode of “The Simpsons”. The song has even joined the world of modern technical innovation by its use on a series of PlayStation games. It has a statue dedicated to it, as a mark of its legendary character… It is, of course, ‘Smoke On The Water’.

The story of ‘Smoke On The Water’s’ inception reads like a script for a melodrama and, of course, tells a real story – one that has become as legendary as its creators!

The plot is set as Deep Purple go to record a new CD in Montreux Switzerland in 1971. The screen set is a mobile recording studio hired from The Rolling Stones, located at the Montreux Casino Entertainment Complex. Add a large sprinkle of ‘fate’ into action, with Frank Zappa And The Mother Of Invention playing a gig next door while Deep Purple are recording, and then bring on the disaster scene. A fire that destroys the casino, recording studio, et al! Move the setting to a desperate Deep Purple standing on their hotel balcony watching the scene unfold, and pan the camera over to nearby Lake Geneva, as the smoke from the fire rolls over its watery expense.

A legend is born from tragedy and a Blues riff yet again! CB

I can tell you my friend, my woman done me wrong just as often as yours did! It’s an intimate thing the Blues, a very personal thing, which draws you in. Blues, it doesn’t need all the stage thrills and production adage. The Blues: you just need a pulse.

How important to you are the elements of creativity and innovation in the musical process?

We all change - we evolve as life goes on. Day by day, you’re affected by things. You can hear people talking in the pub about different issues that they’ve read in the papers or seen on TV. You watch your kids growing up. You evolve yourself from a difficult type of existence to a more spiritual type of existence as you get older. Naturally enough, you are more aware of fragility, and so if you are going to call yourself an artist at all, of any kind, it is encumberant upon you to be expressive. You may change your views of things in general, you file things away in your mind, or you have the same old argument over and over again.

I don’t know much about technical innovation at all - it’s one step ahead of me. For my innovation, all I need is a pencil and piece paper – actually, a school exercise book is actually what I carry round.

I believe you are in the process of writing a book. What’s it about, and when can we expect it?

I took a hiatus from that because I lost direction. I was thrilled for the first couple of chapters, but then I had to re-think - I was going into far too much detail. I’d never written a book before - not a novelso I’m kinda learning the process, as well as getting it all out. Anyway, I’m back on course. It will probably take another year or so, but I’m not in any rush.

The book is a political thriller about the declaration of independence of the four counties of the South West of England, stepping aside from Whitehall and Brussels, and they happen to discover little things that can help them out. It’s all sort of a platform for some radical political idea that I’ve got.

What’s next in your musical career?

I’m trying to find a way of writing one or two pages, the thoughts of a lifetime concerning infinity and God!

I’ve been studying this. Science and theology have become silhouetted quite a lot over the last few years. I don’t have go to the library as much as I used to because I can do a lot of research online now. I’m getting there; it’s become a fascination for me. One day, I hope to be able to tell my daughter exactly what my thoughts are on this - over just one or two pints. CB

Deep Purple: the stuff of legend.

photo: ©EMI/Purple Records

t’s not every day you hear a Blues singer like Blind Willie McTell being name-checked on Radio 1, but Kill It Kid are a band breaking new ground in more ways than one. The band, all in their early-twenties, and who met while at university, recorded their debut EP under the auspices of none other than John Parish (best known for his work with PJ Harvey), and went on garner rave reviews and comparisons to the great and the good from Tom Waits to The White Stripes.

The group were quickly signed up by One Little Indian and recorded their debut album in Seattle, at the same studio where Fleet Foxes laid down their first record. With two stunningly affecting singers – Chris Turpin and Stephanie Ward – Kill It Kid (including Richard Jones on violins/backing vocals, Adam Timmins on bass guitar/guitars, and Marc Jones on drums/percussion) can boast a musical double whammy, mixing Delta Blues, folk and rock to dizzying effect. We regained enough composure to interview Chris Turpin…

BM: What are you up to today?

Chris: We actually had a rehearsal this morning. We’re on the road from tomorrow, so it’s about to get quite hectic.

Are you feeling good about going on the road?

Yes! There’s a stagnation period after you put out a recordyou don’t gig and you sit around and talk about the record, but you can’t go out and play it to everyone straight away.

Have you thought of any contingency plans?

Paracetamol! A pair of sunglasses, so when I have bags under my eyes I can hide behind them, and a big book“Giovanni’s Room”. I’ve only just started it. It’s a bit racy!

The band is named after a Blind Willie McTell song… Indeed! The reason why I started playing music, and why this band came to be, was because my first gig was ragtime music. I started playing Rev. Gary Davis, Blind Blake and Stefan Grossman. I was into Son House and Mississippi Fred McDowell - I was just absolutely blown away by the songs, clarity of his voice and his honesty. It was one of the reasons I started writing and singing songs.

What’s your favourite Blind Willie McTell song?

Probably 'Cold Winter Day'. The simplistic imagery in the writing makes for a heartbreakingly tender story.

How long have you been singing for?

For a few years now! My voice has changed a whole lot, from when I started singing to what is on this record.

You have a distinctive voice. How did you find that sound?

I don’t know really. It was never intentional. I guess it

Kill It Kid: (from left) Adam Timmins, Richard Jones, Chris Turpin, Steph Ward and Marc Jones.

was inspired by people like Bukka White and Howlin’ Wolf.

How did the band come together?

We were at university together. We were all studying different forms of music, apart from our drummer. Our drummer, Marc Jones, saw me play in town and afterwards approached me and said if I ever needed a drummer he would be willing to drum for me, so a week later he was doing a show with me. Stephanie Ward, who duets with me, I had played behind her on of her jazz recitals. Our violin player, Richard Jones, and I had played together. About a year ago, we put it all together in a room.

You have quite a unique sound, which sounds like Gomez…

Yeah, I’m happy with that (laughs). I’m happy to reconstruct what those country Blues guys were playing, acoustically, but there was definitely a need to change the Blues around. We didn’t want to move it forward, but turn into something we wanted to do. I guess it was taking that sound, writing some new songs and entertaining

What’s been the reaction live?

People love it…so far! If you tell people you are playing Blues music, they almost turn up their noses. If you don’t tell people what they are listening to, they love it.

It’s nice having two singers in the band. Who decides who sings what?

We purposely based that idea on Blind Willie McTell and his wife Ruth Williams. I write the songs and I normally have Steph in mind if I want her to sing a song.

You could end up like the Beautiful South! Yeah, we could (laughs).

Your first songs were recorded by John Parish. How did you hook up with him?

there was definitely a need to change the Blues around."

We had been together for three months and he was coming to our university to teach a course on sound engineering. He got to pick a band to go into the studio, and he picked us.

Did he name-drop much?

He didn’t. He was very laid-back and sweet.

Did he help develop your sound at all?

We weren’t with him for a huge amount of time. He was very keen to get it all live, which we were happy to do. We wanted to do everything as live as we possible could.

What are your favourite Blues albums?

“Live At the Regal” by B.B. King, “Harlem Street Singer” by Rev. Gary Davis and “London Calling” by Mississippi Fred McDowell.

Do you think the Blues is making a comeback?

Well, you have bands like The White Stripes and The Black Keys, who have been around for a long time. That whole Detroit scene was started five or eight years ago.

Does it help being in a band and knowing a lot about music? It does help, but you can think about things far too much. The songs we like the most are the simplest.

How did it feel releasing your single ‘Send Me An Angel Down’? It felt really good. It was one of those moments when you are given the seven-inch vinyl of your song and it brings it all back. It was really exciting - like our first play on Radio 1.

Did you enjoy shooting the video?

It’s a live video, and we thrive on playing live. It was shot on Oxford Street at the 100 Club with a slightly surreal Spanish speaking film crew. It was our first time at the 100 Club, which has housed shows from The Rolling Stones, Howlin’ Wolf, Muddy Waters and The White Stripes, so to be playing on that wooden stage felt pretty momentous.

Where do you stand on Captain Beefheart?

A nutter at first glance, although I haven’t dedicated much

"I’m happy to reconstruct what those country Blues guys were playing, acoustically, but

It was none other than Bob Dylan who once sung the immortal words “no-one can sing the Blues like Blind Willie McTell.” Dylan’s ode to the Bluesman was recorded back in 1983, and eventually saw the light of the day in 1991, when “The Bootleg Series Volumes 1-3” was released.

Like many other early Blues singers, we know comparatively little about McTell. His records were not a commercial success at the time, but his influence has been huge, with artists like Taj Mahal and Jack White covering his songs.

William Samuel McTell was born in 1901, in the town of Thomson, Georgia. He lost his sight in late childhood, but he soon mastered Braille. His recording career began in 1927, when he cut his first songs for Victor Records in Atlanta.

McTell travelled widely and recorded songs for a variety of labels, but all under different names. Legend has it that McTell recorded for every talent scout who visited Atlanta. He released records as “Blind Willie”, “Hot Shot Willie” and “Blind Sammie” – among others.

Blind Will McTell married Ruth Kate Williams in 1934, and she toured with him and made several recordings, before becoming a nurse in 1939.

Between 1937 and 1948, he played for tips in various cities and did not record anything, but he returned to the studio in 1949, after being tempted back by Atlantic Records founder Ahmet Ertegun. Atlantic just released one single, under the alias “Barrelhouse Sammy”, which contained the tracks ‘Kill It Kid’ and ‘Broke Down Engine Blues’. He continued to perform around Atlanta, but his health was starting to fail.

His last recordings were in 1956. Atlanta record shop owner Ed Rhodes discovered McTell performing in a street, after a customer told him he had heard someone playing like Leadbelly nearby. After much persuasion, McTell went into the shop, which had some recording equipment and sang a few songs. The tapes were eventually released as “Blind Willie McTell’s Last Session”.

McTell died in 1959, but a few years later his records were “discovered” as the folk- Blues revival took hold during the ‘60s. Many musicians, including Taj Mahal, the Allman Brothers and John Mayall covered ‘Statesboro Blues’ - one of his most famous songs.

An annual music festival is now held in his hometown of Thomson. The 16th Annual Blind Willie McTell Blues Festival was held in May 2009, and the line-up included Chuck Leavell, Mike Farris and Hubert Sumlin. One of the organisers, Don Powers, said: “The setting is a hayfield out north of Thomson, Willie McTell's birthplace and the place where he is buried as well. We typically feature one country Blues or acoustic artist per year in the spirit of McTell.

“Usually, we have about 1,500 to 2,000 folks attending. We have great food, cold beer, children aged 12 and under get in free, and it’s a great event.”

Blind Willie McTell would have been proud. JH

time to listening to him. I have played slide with the guitarist on 'Ice Cream For Crow'. He was a nice man.

Do you think Robert Johnson was the greatest Delta Blues singer, or just one of a number of great singers from that time?

Out of the recorded artists that I've heard from that period, I think he is the greatest. He has such a varied and educated guitar style and plays with such flair, and also the venom in his voice, offset with the sensibility of his delivery, makes for some seriously arresting recordings. If I listened to 'Up Jumped The Devil', and didn't get goose bumps, then I'd think there was something very wrong! It’s not difficult to see why in his lifetime they believed him to be in league with the devil.

Does singing the Blues come from experience?

Ralph Ellison (writer – JH) put it right by describing the Blues “as an impulse to keep the painful details and episodes of a brutal experience alive in one aching consciousness.” I

believe the earliest proponents of the Blues, as a musical form, were on many levels, singing out of necessity. It is important to appreciate and recognise the separation between the early country Blues players, the earliest innovators of electric Blues, and the new breed of guitar slingers we heard in the ‘60s in the UK and players today.

Would you ever take a musical pilgrimage to the Deep South, and where would you visit?

I would...I would like to be touring when I was there.

Do you prefer listening to old Blues on the original vinyl?

I can't afford a good quality record player, or the records!

Do you read much Robert Crumb? (legendary cartoonist and pre-war Blues expert - JH)

I haven't, but I've always cited “Cheap Thrills” (by Big Brother And The Holding Company – JH) as being one of my favourite album covers. JH

on’t be fooled by the retro suits and the rockabilly vibe, Tom Allalone & The 78s know how to rock! Like Nick Lowe, Squeeze and Elvis Costello in their prime, they have grabbed all those early rock’n’roll influences and mixed them up to create a powerhouse of a live act and their stunning debut “Major Sins Pt. 1”, which includes the single ‘Crashland’. Sweaty pub rock and Blues doesn’t get any better than this!

The group, whose members all hail from Gravesend in Kent, have already proved their live mettle this year by touring with, and upstaging the likes of Imelda May and Hey Negrita, so Blues Matters! thought it time for a catchup with frontman and songwriter Tom Allalone…

BM: How are you?

Tom: You're going to have to excuse me if I cough at various points. I've been on the road, and I've got touring cough. Has it been the rock’n’roll lifestyle?

Yeah. I've been burning my candle at both ends, but I'm a young man, so I can afford to do that for a few more years.

You win the award for the best Pink Floyd pun with your song 'Sign On You Lazy Diamond'

Thank you. It has been lost on a lot of people. I thought it was glaringly obvious, but there you are.

Are you a big Pink Floyd fan?

I do like Pink Floyd. I tend to prefer their earlier stuff, which is always the cliché. I like the Barrett as well as the postBarrett era. I always prefer David Gilmour as a vocalist and as a crafter of songs. Roger Waters irks me a little bit.

If the voice holds up, you'll be playing with Hey Negrita soon…

Tom Allalone & The 78s: (from left) Matt Evans, Richard Clarke, Tom Allalone and Si Fawcett.

We've played with them before. In fact, we had the honour of inviting them to play at our album launch party. They warmed up for us, so this time we are returning the favour. They're such a great band. I just think those guys are one of a kind. I've not witnessed anything like their show before. Your debut album is now out. How do you feel? Are you feeling the buzz and excitement?

Of course! It's a huge achievement, and I've got so many friends and contemporaries, who are either better than me or working harder than me, who haven't got to that step. I feel extremely privileged to have made it this far.

We are basically now on the first rung of a different ladder. We've got a record deal, cut a record that the label are happy with, and now we have to see how many people we can persuade to part with their hard-earned money. It's a whole new challenge, but it's all good stuff.

It's a great record with a ‘50s rockabilly vibe… We are not trying to be out-and-out rockabilly. We know rockabilly and we've been out on tour with Imelda May, and she gets a lot of out-and-out rockabilly people at her shows. Those guys and girls eat, sleep and drink it! It's a real way of life, and we're not part of that. What we have done is shown our appreciation for it. We love the music and the clothes. It just turns us on and we take little bits from it, and hopefully nobody minds too much.

You grew up in Gravesend in Kent. What first turned you onto music as you grew up?

As with most people, it all came from my father. Gravesend is a very old town, but its main boom time was with the Gravesend and Tilbury ports. You hear about the guys up in Albert Dock (in Liverpool - JH) bringing American records off the boat, but the same thing was happening in Gravesend. As a result, my grandfather, who led a very hard working life, stood at the sink singing Leadbelly. It's one of those things which spilled over and caught on. It spilled over to my father, who grew up listening to all sorts of stuff, but I guess in the ‘70s, it was Led Zeppelin. He was listening to them do all the Robert Johnson 'Squeeze My Lemon' stuff, and then I picked up on it from him.

I listened to so much Tom Waits as a kid. My friends all thought I was peculiar, because I would be singing 'Shore Leave', but it just got passed down from me, from generation to generation.

I think Bo Diddley wrote the book on pop, because it was all really catchy, feel good stuff.

A lot of Tom Waits stuff is quite vaudeville. Has that influenced you as a performer?

Yeah, it has. Any time I watch Tom Waits, and the things he comes up with to entertain people, whether it's physical or whatever, I'm always so frustrated because he has thought of all the good ideas. Although Tom Waits might be putting on a show, it is that vaudeville idea that people can throw tomatoes if they want to and become a part of it. He wants to create a relationship where people can gasp or heckle. It's all part of that attitude. We embrace that as well.

We've had reviews where I've been labeled as Buster Keaton, who is a real hero of mine. I don't think I'd be very good as a performer. Tom Waits can spin a real yarn. I'm not there yet.

Tell me about the band and how you got together?

To cut a long story short, I made some demos with Neil Luckett, who produced half of the album and had previously been a lecturer of mine at university. Then, once I had a handful of tracks, I took them to my mates. They were all doing stuff which was more contemporary, but it turned them on. I knew how I wanted to play and sound, and we needed to teach ourselves to do that.

We are by no means the masters. We took a little while and learned how to play the things we were getting into. I pinched a couple of people from other bands, for which I apologise! They came of their own free will!

Although it started out as a one-man idea, it very quickly became reliant on the band. They are the perfect accompaniment to my ideas. They are great facilitators. I wouldn't be here without them.

What was the first gig you guys played?

The first gig was with a slightly different line-up. It was in the New Cross Inn in South East London. It was a vocal

"My grandfather, who led a very hard working life, stood at the sink singing Leadbelly. It's one of those things which spilled over and caught on."

The last time rockabilly and traditional rock’n’roll was big in this country, the economy was collapsing, unemployment was rising and things were not looking good. Oh, hang on…

Cheap jokes aside, the retro scene for ‘50s R&B, rock’n’roll and rockabilly is enjoying a serious renaissance at the moment. Over the past twelve months, there have been some truly fantastic records by the likes of Imelda May, Big Boy Bloater and Dynamo’s Rhythm Aces. Whether it’s the music, the glamour or the dancing, it seems that people can’t get enough of that ‘50s sound.

“We see people come into the scene for a million different reasons,” said Robin Weathersbee, who organises the annual Rhythm Riot Festival. “Some people get into vintage clothing, and then they start to put that into context. Some get into the cars and they want to play the music in the cars. Others get into the dancing… The music is the glue that holds it all together.

“Some people think that anything which is 1950s is rockabilly,” continued Robin. “It’s an umbrella term, I suppose. We do regard ourselves as part of the rockabilly scene, but our focus is now ‘50s R&B.

“We get 2,500 to 3,000 people at the Rhythm Riot Festival. I’m in my mid-forties and my wife is slightly younger, and for us, and most of the people who come to the festival, it’s not the soundtrack to our youth.”

There are several big music names on the scene, including some who will be familiar to Blues Matters! readers. “Big Boy Bloater is a god!” exclaimed Robin. “He leads our house band at the festival. He’s the guitarist and they back all the ‘50s artists and any overseas acts.

“Mike Sanchez is a big name on the scene,” continued Robin. “There’s also the Revolutionaires, who are an amazing band. They are an amazing crossover of R&B, rock‘n’roll and a touch of ska. They have an amazing show.”

“My wife and I teach jive,” added Robin. “We’ve taught about 30,000 people how to jive over the last eighteen years. A lot of those people come though our classes because they want to learn for a wedding or a party, but they find it exciting and stick with it.

“They start buying vintage clothes and they become lifestyle converts, to a lesser or greater degree.” JH

only PA and we turned up, bashed out half an hour of whatever we had at the time. They were humble beginnings. It took a while for us to build up a following. It was late summer in 2006.

I like the video for the single 'Crashland'...

I don't remember much of it! We filmed it at the Barfly in Camden. We could only film there out of business hours. So, we went in at midnight and the director wanted me to degrade during the video, so I wasn't allowed to sleep the night before. We started shooting at 3am and we went round to four o'clock the following afternoon.

People keep getting the idea behind the song wrong. They think it's an ode to drinking with wild abandon - it's not! There's a fine line between drinking being the romantic Ernest Hemingway type of existence and a person becoming a wreck and tragic. Whether you are talking about Judy Garland, Amy Winehouse or Janis Joplin, you get these people who are living this fantastically decadent lifestyle and then you get the hangerson. They are the ones who facilitate and perpetuate it, because they are enjoying it so much. The song is about when your drinking buddies become your drinking enemies.

Do you have a favourite Sunday-morning chill-out record?

I'm a big fan of Chet Baker, particularly his vocal stuff, which I know jazz aficionados will turn their nose up at. Regardless of whether it's jazz or not, I think Chet Baker has the most amazing delivery and vulnerability in his voice, which really brings a song to life.

I also like Etta James... “The Heart Of Saturday Night” by Tom Waits is a great record… Billie Holiday is a great singer for me. Not only does she have a great voice, but also she's extremely musical with her delivery and unique.... I really like Jeff Buckley and Rufus Wainwright, too. Just anything and everything! The Beatles are worth a listen.

Have you seen any other gigs recently? Well, I've been on tour for the last few weeks. We were out with Imelda May, and that is a really good show to see. She's got a fantastic band.

I don't go to a huge show of gigs, because I play so many and you can get a little bit jaded being in clubs. There's a band on the same label as us and it's always a pleasure watching them. They're from Norway and called The Alexandria Quartet. They can take my daydreaming brain to places most guitar music doesn't!

What makes a good gig for you as a performer? There are a number of different things which can infuse me about a show. The main thing is audience reaction. We did the bowling alley in Bloomsbury and people were just instantly up for it. We have nights we have good gigs and also bad gigs as band. It's about playing to people who get some sort of enjoyment from what you are doing. JH

Mike Sanchez is big in the ‘50s.

photo: Tony Winfield

he patronising phrase “triumphed over adversity” has often been used in relation to New Jersey’s Patrick Droney. This despite that fact he insists he is not a victim of his illness, and does not ‘suffer’ from his von Willebrand’s disease.

In reality, Patrick is a teenage sensation with everything going for him; a guitar virtuoso with an incredible natural talent and feel for the Blues, recognised by everybody from Joe Satriani to B.B. King, who have been amongst many notable supporters in his burgeoning career – Patrick also picked up the Robert Johnson Star Award in 2006, and is one of PRS Guitars’ youngest endorsees.

Outside of music, Patrick is also a recognised humanitarian, working tirelessly for charitable causes – leading to several appearances on “The Montel Williams Show”! All this whilst still in his teens…

BM: Who inspired you to pick up the guitar?

Patrick: As far back as I can remember, I was always fascinated by my father's guitar collection. I would always watch my dad play the Blues, and listen to the Blues.

Which Blues artists have influenced you?

Robert Johnson, B.B. King, Joe Bonamassa, Jimi Hendrix, Ray Charles... In particular, B.B. King is one of my biggest influences. After seeing his show when I was 11, he brought me back to his tour bus. After a long talk with him, I got a picture of us shaking hands. Looking back at that picture, I always think about the many Bluesmen and women that have touched that hand - the history behind that hand!

Whose playing style do you think yours most resembles?

Joe Bonamassa.

What is it about yours styles that is similar?

Joe Bonamassa incorporates many styles of play in his music, and no matter what he plays, the fretboard is on fire. Each note is played with his body and soul. He pulls new sounds out of any familiar riff, always making them his own, and then he blazes over the strings to create a totally new world of tone. Joe plays power Blues with a rock edge, as I do. I also incorporate many styles in my writing and play, but always with a heart of Blues. I believe that to play the Blues you have to play it with your soul. My playing can go from subtle to blazing Blues, always with tone in mind, like Joe. I like to tell a story with my guitar.

Which do you prefer, performing or studio recording?

For me, live performances are immediate and exciting. You get an opportunity to watch the audience respond to the music. Recording is great, but it always feels final. Once you lay down that solo that is the one you are remembered for.

You suffer from von Willebrand’s disease. Tell us a little about you and your sister’s work to raise awareness towards this disease, and the Community Service Birthday Parties Project… I don't really feel that I ‘suffer’ from von Willebrand’s disease; I have just learned to live with it. I consider myself very lucky when I have seen others in much worse shape. When you have your health, you have it all.

In 1999, my sister Josephine and I co-founded Community Service Birthday Parties. We give up our birthdays to partner with and raise money for children's charities. We have grown the foundation through the years and now do fairly large collaborative projects. That is what it is

"I do look at myself as a new generation of Blues. I am using the old and adding the new. As I do that, we will create a whole new generation of Blues lovers and players."

photos: John Dimaio Photography

With the considerable success enjoyed in recent years, it’s going to become more common for new Blues guitarists to cite Joe Bonamassa as an influence – after all, he’s enjoying success with the genre few acts can match, and newcomers should rightly now aspire to his standing. Patrick Droney is one of the first.

“Joe Bonamassa possesses such a fire in his playing - every note he plays, the listener can feel,” enthused Patrick. “Joe can take you to a happy place and then rip everything from under you with a burning run.

“Joe's playing has taught me to not be afraid to let loose – and to immerse myself into different types of playing.”

Joe’s music made an impression at just the right stage of Patrick’s development, when he was ready to move on from his early heroes. “The first time I heard of Joe was when I saw him open for B.B. King,” he revealed. “I was 12 years old, and wasn't sure what to expect when he came on stage. All I know is the guitar player I walked in as walked out a different person.

“Joe's live show was so inspiring and so alive that I instantly fell in love with his playing.”

Patrick is savvy enough, even at a still young age, to realise why Joe has been able to fill venues like the Royal Albert Hall when many of his Blues-rock peers would struggle to reach half-capacity at a small indie club. “He mixes pop, rock and Blues in a way that appeals to everyone,” began the guitarist, “but I think that Joe's brand of Blues-rock appeals to a younger audience because his songwriting is so good.”

Whereas the last ten years saw up-and-coming Blues-rock artists over-reliant on guitar histrionics, the new generation have begun to realise that merely mastering your favourite artists’ licks will only have limited appeal. Patrick realises that the damage has been done and it will take time to overcome negative preconceptions, and gain as much focus on his songwriting and singing as his fretwork.

“I think that when you are billed as a guitarist who sings, it can be tough to have people focus on both with the same intensity,” he explained. “I think that the bigger picture isn't always realised, but all we can do as musicians is play our music and hope people will eventually see it.” DH

about; working together for a positive result. We have raised over $26,000 and many wish list items for various charities. Our concept has been modelled by other charities, and others have followed our lead. We work a lot with the National Haemophilia Foundation, and now will be working with World Federation Haemophilia to raise awareness about bleeding disorders. There is a lot of work to be done!

You spearheaded a very successful relief effort for Hurricane Katrina victims, and the New Orleans Musicians Assistance Programme. How did that come about?

I was honoured to be chosen by the Nestlé Corporation as a Nestlé Very Best In Youth 2003. I was one of twenty-three chosen in the United States. I had a friend in Mississippi, and he was getting ready for the hurricane to hit. We talked on the phone, and my sister and I got together to reach out to the other Nestlé winners. That resulted in many fundraisers, held by the other Nestlé winners over several days. Nestlé was generous enough to match the funds. The end result was over $500,000 donated to the American Red Cross. That money was used in Mississippi, New Orleans and Texas to aid those directly affected by Katrina.

I was asked to play at a fundraiser to aid those musicians in New Orleans that lost work as a result of Katrina. A bunch of musicians held fundraisers and that money was sent to New Orleans. It’s all about giving back.

To win the 2006 Robert Johnson Star Award was an incredible feat for one as young as yourself…

It came as a complete surprise. I feel extremely honoured and humbled to be chosen as the Robert Johnson New Generation winner. It was a dream to go to Mississippi and meet the family of Robert Johnson. They are like family to me. I also had the honour of opening up for the late Robert Lockwood, Jr.

Do you think that winning the award gave you added authenticity as a Bluesman?

No single award can define you as a true Bluesman. It has to come from the heart, but winning this prestigious award gave me opportunities as a Bluesman. I am grateful.

Are there any other Blues musicians you’d like to play with?

Eric Clapton, Joe Bonamassa and Gary Moore are the three guitarists I would most like to play with. I have a lot of family in Belfast, so I grew up listening to Gary Moore.

Do you have a favourite Blues album…

“From The Cradle”. The tracks sound live and unedited, leaving a raw Blues edge that I love. Many of the cover versions on this album were songs from people who influenced Clapton, and by putting his own touch to songs like Freddie King’s ‘I'm Torn Down’, and Leroy Carr's ‘Blues Before Sunrise’, he created a new approach to these great songs. Joe Bonamassa took Lowell Fulson's ‘Reconsider

It isn’t all about fretwork fireworks with Joe Bonamassa.

photo: Christine Goodwin

Baby’ from this album to a new Blues direction in the same way, making it even better. Finally, I think this CD gives you a complete Blues lesson from the master.

Do you ever grow frustrated with the Blues’ twelve-bar format, and desire to branch out into different genres of music?

I am always looking for new ways to excite the twelve-bar Blues structure. I also try to incorporate other genres.

Do you think the Blues needs to evolve to stay relevant?

I see many of the youth of today do not have proper knowledge of the Blues. I am afraid that if it continues, in forty years the Blues will not get the attention or respect it deserves.

I do look at myself as a new generation of Blues. I am using the old and adding the new. As I do that, we will create a whole new generation of Blues lovers and players.

How did the recording process go on your album (“The Other Side”)? Was it a big learning curve for you, and how happy were you with the end result?

During the recording process, I was really able to get in touch with myself as a guitar playerI had to really be precise with

every note I played. The same goes for vocally - I learned so much during the process of recording the album. It was also the best time I have had in my life - to spend every day for months just immersing myself in music.

I tried to create a CD that is dynamic and diverse, and has a Blues heart. I experimented with tones that are full of soul, and have Blues power. I tried to write songs and create tones with my guitar that will please the average listener and the seasoned musician.

You worked with Chris Henderson from 3 Doors Down and Ben Burnley of Breaking Benjamin. What can you tell us about this collaboration and what they brought out of you? Working with Ben and Chris was an amazing experience. I was lucky enough to spend time with them both and write a song. Both Ben and Chris brought so much to the table - it was really inspiring. I feel that they brought a very cool element to the debut, and we were able to mix our individual sounds.

How would you describe the album?

I would describe the album as an energetic and powerful mix of rock and Blues. I was really able to capture the raw energy of the music.

Which songs in particular standout for you?

If I were to choose a standout song, it would have to be ‘Need Me Now’. I think in this song, I was able to show many aspects of my songwriting and my guitar playing. The melodies flow really nicely, and the solo hits you hard.

What would be seen as success, and what do you hope the release will lead to?

I really believe in this album and I am very proud of it. A success to me is my music reaching people. I believe music today needs a revival of substantial music, and I hope to be a part of that.

I hope the release leads to being able to play to more and more people.

Aims for the future, and what do you hope to achieve within and for the Blues?

I plan to continue my academic education as well as my music. You have to be educated to make it in life as well as the music industry. I also would like to continue to study Blues and Blues history, and write and record whenever I get a chance. I want to continue my community service projects. I would like to work with some of the great Blues players I admire. I hope to create music in a style all my own, so that when you hear it you will say: "That's Patrick Droney!" AB/DH

Patrick Droney plans to create a new Blues climate.

GET YOUR THRILLS

Courtesy Provogue, one lucky subscriber will win a copy of Joe Bonamassa’s 2DVD release, “Live From The Royal Albert Hall”. The DVD features over two hours of footage, shot by twelve cameras in high definition and surround sound, recorded at Joe’s sold-out performance at Royal Albert Hall on 4th May 2009. The show featured a guest appearance by Eric Clapton.

“The sight of two of the world’s best guitarists trading solos was more than a little thrilling.” (Planet Rock)

THE CLASSICS

Courtesy Rhythm & Blues Records, three new subscribers will win a copy of the 4CD box set “The History Of Rhythm And Blues 1942-1952 - The Pre-Rock’n’roll Years 1942-1952”. This release investigates the transition from the race music of the ‘40s through to the classic R&B of the ‘50s, featuring songs by the likes of Dinah Washington, Roy Milton and T-Bone Walker.

GET ON DOUBLE DOWN

Courtesy Eagle, two new subscribers will receive a copy of the new ZZ Top live DVD “Double Down Live”. The double-disc set is packed with early ZZ Top classics, including: ‘La Grange’, ‘Tush’, ‘Jesus Just Left Chicago’, ‘I’m Bad, I’m Nationwide’, ‘Heard It On The X’, ‘Cheap Sunglasses’, and many more.

To be in with a chance of winning one of these prizes, subscribe/subscribe a friend by 5th February 2010.

t just 19 years old, Jessica Lea Mayfield released one of the most emotionally profound albums of 2009. The Kent, Ohio born singersongwriter’s minimalist sound and introspective lyrics captured the darkest and more solemn moments in life – relationships!

Cutting her first CD at home at just 15, the singer soon came to the attention of Dan Auerbach, who took her into the studio and helmed her professional debut release, displaying a deftness of touch as a producer few would have expected from the heavy riffing Black Keys guitarist.

Given it’s gentle delivery and aching lyrics, it’s little sur-

prise that “With Blasphemy So Heartfelt” has been the ‘go to’ release for many US teen dramas looking to pull on their viewers’ heartstrings, and with Starbucks also showing their support, it seems only a matter of time before she attains the level of success her mentor always threatened…

BM: How did you first take an interest in music?

Jessica: I started singing when I was 8 years old. My family had a bluegrass band and I toured with them and we sang gospel quintets and things like that. Then, when I was 11 years old, I started playing with them, playing guitar and writing my own songs and singing. Since then, I’ve grown-up with what I got!

Who were your first influences in music?

Bands like The Foo Fighters, Hank Williams, Aerosmith… It’s all different spectrums.

Jessica Lea Mayfield writing her songs as a means of catharsis has a long tradition in music and especially the Blues, which is a state of mind, as well as a musical format, and lends itself more openly to this than others genres - it has potential to bequeath the method to the genres born out of it.

As early as the work of the philosopher Aristotle, the cathartic effect of music has been recognised in our in society as a mind-altering force - something that gives a spiritual value along with the power entertainment. Many musicians have used this method to cleanse their emotions and negative thoughts. The music produced by this cleansing effect is very personal, inwardly driven from the darker recess of the mind and lyrically centred. In producing this very self-orientated music, the musicians are actually focusing on not just their own emotional condition but the condition of everyone.

The Blues, by its very nature, lends itself wonderfully to inner healing. The Blues may, at times, feel depressing as a genre, but in the release of the music’s expression, humanity finds a deep and spiritual way of venting its emotion and, by venting them, a means of taking control and overcoming them.

Repressed by slavery, the original Blues musicians found a form of liberation in their music, a sense of control - if only in their freedom to control their inner lives, and not their external ones. This concept of healing finds itself openly expressed even in the names Blues musicians give themselves. We have bands liberally sprinkled through the Blues using the prefix ‘Doctor’, i.e. Dr Feelgood, Dr John, The Blues Doctors - it’s regular health service of music, especially when you add in album and single titles such as ‘Down To The Doctor’, and even ‘Mad Man Blues’ to the equation. If you go back and listen to the lyrics of the likes of Charley Patton, Robert Johnson and co. that catharsis is focused in their talk of depression, segregation, lost love, poverty and death. Memphis Minnie’s cathartic lyrics about her battle with meningitis are well-known. There have been many studies - socially and medicallydiscussing the cathartic role of Blues music. Maybe in a time of depression and deep emotional stress, where there is now a pill or therapy that seems to cure our trouble, as an alternative, doctor’s may write on their prescriptions, "Go listen to the Blues." Something that a Blues rooted musician, even as young as Jessica, intuitively knows! CB

So those influences changed as you have grown... Definitely! I look for a lot more substance than I did when I was younger, and there is a lot more things I look for in songwriting and things like that. I look back on the things that I liked, and a lot of things I liked and still like, but there are a lot things where I’ll say, “What is he singing about? It doesn’t, make any sense!” I guess you grow up to be able to relate to the lyrics, and you look back and think nobody could ever relate to that!

How did you get to meet Dan Auerbach of The Black Keys?

I met him through his dad, actually! We live within the same town, I was driving on the 76 East, the highway right by my house, and my car had broken down. I got a flat tyre and I’m stuck on the side of the road. His dad pulls over to help me and he calls triple A and they come and fix my tyre, because it is going “chunk, chunk,” and noises like that. I said I was going to call my dad, but he pulled over! He saw my music in the back and he said, “What kind of music do you play?” I gave him one of my CDs and he was saying, “My boy, Danny plays music, too - I should hook you guys up.” His dad gave him my CD and MySpace. Dan and I started hanging out and recording when I was 16!

Auerbach produced your 2008 debut CD, “With Blasphemy

So Heartfelt”. How important do you think it is for a young person starting out in the business to have the help of a more experienced musician to guide them?

I think it’s very important! It’s something that really helped me grow when I was working with him. A lot of times, people mature as control freaks with their music and won’t let other people touch it and things like that. Working with Dan helped me with that - kinda like having to learn to work with people, especially with someone so talented. Plus, I think it’s helped in a number of different ways, with my getting fans, and things like that.

Working with Dan has had so many benefits for me!

Tell us a little about your debut CD…

It’s really dark, and Dan captured the feeling really well. It’s more a collaboration – it is really. I wrote the songs and I came in and played acoustic guitar and sung. I would come back two days later, and he would add organs, guitar and crazy sound effects. It was this amazing thing.

I don’t like to listen to my own music, but when I listen to someone else who has listened to the album, I am so impressed with what Dan has done.

You are singer-songwriter. What drives your songwriting? There is a lot. I only write songs when I’m sad. A lot of my

We prescribe listening to Dr John.

photo: Tony Pijar

songs are depressing - they will have depressive tones or dark overtones. I’ll be depressed and I’ll sit down and I’ll write three or four or five songs, or something. Even something crazy will happen and I’ll kinda look into it. I’ll have a crazy night, and I’ll write a bunch of songs about it. It’s really kinda of like a diary sort of thing. Things I normally wouldn’t tell anyone at all, I’ll write songs about those things - it’s things people can relate to.

Do you think your music is reflective of your generation?

I think a lot of younger people do like my music because they can relate to it - especially people going through things like on that album, which was a lot of relationship things, like teenager relationship issues. They could probably relate to that! Then everyone has relationship problems.

You are also pulling an older audience then?

Yes, definitely! I know a lot of young people that are into it, but I’m appreciated a lot by an older audience.

Are you finding a difference between UK and US audiences?

I think it’s the same differences in the people in general, depending on the towns you go to. I notice this in America,

though - I can go to a different town or a different state and the audience will be completely different. They won’t clap; they will stay so far from the stage. They’ll act really ‘hip’ and ‘cool’. In LA or in London, it’s like big city people. so I really don’t see that much of a difference.

This suggests then that you like to have your audience close... I want it to be more imitate. It’s a thing that I want to play to them; I want them to be interested. I definitely feed-off an audience being close. If the place is empty or packed, or whatever, if there’s at least one person singing along that will make the rest of my show ten times much better. If I look over and I see one girl or guy that’s even singing under their breath, it doesn’t matter, it will be like, “Wow, this person really likes it! They know the words!” It’s good. When those people are standing back, hooking up with their phones, it’s like, “Watch the show!”

You blend a number of genres into your songwriting. What does the Blues contribute to it?

The Blues is in every genre of music - it’s influenced every genre. It’s definitely like a folksy kinda of thing, and that mixed with Dan has given it that kind of mysterious Blues thing.

So you’re saying that Blues is at the root of the majority of modern music?

Yes, it is!

Why do you feel young people are not as attracted to the Blues as other genres?

I think a lot of young people who aren’t born into music are really into what is fed to them or shoved to them - what is on the radio. So, right now, if the biggest radio station was playing tons and tons of Blues songs, all the young kids would love Blues! There are a lot of kids who don’t know or play music or know where to look for music, and they need those outlets giving them everything!

What is on the agenda for the future?

Lots of touring - I’m planning on touring non-stop. I have a week off at a time. Actually, I have week off before I start touring with Ray LaMontagne, then I’m going to start on my next album. Then I have a US tour... Everything has just come fast, so that’s about it, just basically working, touring, writing and recording!

Where would you like to go with your music, given total freewill?

I get to see a lot cool places already, but I’d like to play bigger venues and theatres and have a lot of people come. Just make enough money so things are completley supported and I can just do what I love, and nothave to worry about covering expenses. I like to do what I like to do without the stress! I worry about every town I haven’t played in before. “What if no-one comes, no-one knows I’m here. What if I’m unable to pay for gas?” So if you could wave a wand and I wouldn’t have to worry about expenses, then I could play anywhere! CB

"I think a lot of young people who aren’t born into music are really into what is fed to them or shoved to them - what is on the radio."

photo: Rob Walbers

ick Vito has enjoyed a long and varied career in music – a journey that has seen him take the stage or record with many of the industry’s biggest names on both sides of the Atlantic.

A member of Fleetwood Mac for a number of years, he took up and met the daunting challenge of playing the riffs of Peter Green, and this role only drove on his thirst to perfect his craft – becoming one of his generations most respected Blues guitarists.

In 2008, Rick once again joined forces with Mick Fleetwood, and the huge success of this band’s world tour, which saw Rick’s contribution singled out for particular praise, resulted in the retrospective “Lucky In Love - The Best Of Rick Vito” – a chance to show that, more than a excellent sideman, Rick is a singer and songwriter of equal clout…

BM: How did you get started in music?

Rick: My mother had played the acoustic Hawaiian steel guitar back in the ‘30s, as a child, and we had her Oahu guitar lying around the house in the ‘50s. After Elvis and Jerry Lee Lewis hit the airwaves, I’d get out that guitar and bop around the living room with it to amuse the family. At Christmas, they got me a rented Stella acoustic and lessons as my present. I’ve just never put the guitar down since then.

Professionally speaking, I started in high school playing clubs, parties…and, in college, had a band that got to open for Muddy Waters! By then, I was totally into Blues, roots rock and R&B, so decided I wanted to do that as my career. So, I moved to Los Angeles in 1971 and things began to happen.

What were your musical influences?

The aforementioned Elvis; Jerry Lee Lewis; James Burton - he appeared weekly with Ricky Nelson on the “Adventures Of Ozzie & Harriet” TV show; Chuck Berry; Duane Eddy; Little Richard; and anybody who came on

TV or radio that featured the guitar.

In the ‘60s, I got into The Beatles, The Rolling Stones and saw Freddie and B.B. King on a 1966 TV show called, “The Beat”. At that point, I also got into the The Paul Butterfield Blues Band and ALL the Blues guysblack and white - I could find.

One of the central moments of your career must have been joining Fleetwood Mac. How did this come about?

I first met Mick Fleetwood in ’72 through Bobby Whitlock from Derek & the Dominoes, and a few times later. We did a Billy Burnette session once, and soon after he came to a club I was playing in Los Angeles. He sat in and had a great time. Also, I think he appreciated my fondness for the early Mac.

When Lindsey Buckingham departed abruptly on the eve of their “Tango In The Night” tour, he called me and asked if I was interested in learning a dozen Mac tunes and coming to rehearsal to jam. At the end of the day, he offered me the job as a member of Fleetwood Mac! It was an amazing time for me that I’ll never forget.

You’re a multi-talented musician. You’ve also spent time teaching others to play guitar, especially slide. How important is it to you to encourage future generations to continue forwarding music?

Well, thanks for the kind words, but I feel that what goes around comes around. I’m not a teacher by nature, but I have tried to be a little bit generous with my knowledge to young players who are coming up. I know that I did not receive a great deal of instruction passed on to me when I was younger, but the stuff I was shown benefited me greatly. The magic that occurs when someone opens a door for you musically is something I enjoy seeing happen.

When I was offered an opportunity to do the “Rick Vito Complete Slide Guitar” DVD, I jumped at the chance! I think it’s been successful because it speaks to players at all levels.

What’s your advice to a young person just starting out?

"I said a long time ago that I’m in this thing for the long haul... I feel fortunate that I’ve been blessed with opportunities that have enabled me to keep going."

I’d say to listen objectively to great players, learn how to play good effective rhythm, train your ear to what good tone is about, and cultivate a sense of tastemeaning to learn to play what is appropriate for the song and also knowing what NOT to play.

Being in the right place at the right time is really important, if you’re serious about a career in music. There are no set rules and everyone has to figure out individually how to make a way for yourself, wherever that may take you. I know for sure that you must know inside yourself that you can and will reach whatever goal you set for yourself. The tough part is sticking it out when things don’t go the way you hoped for. It can be very discouraging at times.

One of your inspirations is Peter Green. When playing his songs, your sound is very similar. Do you play with an out of phase humbucker like the one he did?

If not, how do you achieve the similarity of sound?

It used to drive me crazy trying to figure out how he got that tone! In the old days, this tone came about purely by accident when a guitar was wired incorrectly at the factory or when a pickup was repaired and put back - as in Peter’s case. You can hear it on old recordings by T-Bone Walker, Earl Hooker, James Burton, on his “Traveling Man” solo, B.B. King, Albert King, and others. Now you can use certain wiring so that in one position you have a normal combination of neck and bridge pickups, and, in the other, the phased sound. That’s how most of my double pickup guitars are wired by my repairman. It adds a certain dimension to my sound that I find useful.

Why do you think that the Blues is envisaged as being less commercially desirable to that of other genres?

Well, the masses seem to like it in small doses, if at all, preferring rock’n’roll by far - even though rock, in its purist early form, basically was Blues.

It’s a funny thing. It seems that a lot of it has to do with the personality and image of the person performing it. Also, how you “dress it up” for the public. The form of Blues music is very basic, and so can be played very simply, even primitively. If you’re not an aficionado of Blues then maybe your ears are not capable of appreciating that simplicity alongside Madonna or Justin Timberlake. Record companies are often at least partially run by younger people, who maybe did not even grow up listening to The Stones, let alone Blues, and have a different set of ears that are used to hearing a different world than the one that Blues has to offer. It’s a challenge, and always has been a challenge, but some have done it.

Are there ways that the Blues could make itself a more popular genre without selling out to commercialism completely?

That’s an important question. Take a look at some of the artists who have had the most success playing Blues, such as Elvis, The Rolling Stones, Eric Clapton, Fleetwood Mac, B.B. King, Buddy Guy, Stevie Ray Vaughan and Bonnie Raitt. Virtually all of these people also incorporated rock’n’roll into their repertoire, or have associated themselves with rock artists, as in the case of B.B. King and U2.

Sometimes producers have figured out ways to expand Blues into various areas of rock, but this is not always successful, as with Muddy Waters’ “Electric Mud” record.

I think, personally, that Blues goes over best with the

public when it is subsidised with rock’n’roll, as the success of the aforementioned artists will support. Is that selling out? Maybe, to a certain extent, but without the association with, and exposure from artists like The Rolling Stones, the idiom might have not seen the recognition it did receive, and might have died out long ago. You can’t be too much of a critic. I see that all the time with people who have what I refer to as the “Bluesier than thou” attitude. I think you should just make the best quality music you can and not worry too much about it.

What is the value of the Blues to modern music for you? It will always have inestimable value to me because it’s a music I care about. I care about the emotional content of what Howlin’ Wolf had to say, Louis Jordan’s solos, and Muddy Water’s voice. There’s not a whole lot going on in modern music that affects me nearly as much, with some exceptions, of course. There are many contemporary artists I admire. I still like Keith Richards - is he considered modern?

2008 saw you and Mick Fleetwood on the road again in The Mick Fleetwood Band. Are there future plans for any more tours or recordings?

Rick Vito onstage with drumming legend Mick Fleetwood.

Rick Vito has become renowned for his ability to play a multitudinous array of guitar styles, and has the ability to blend Blues with rock in innovative ways without losing the Blues root.

In 2006, Rick put out a DVD called “Complete Guide To Slide Guitar”. This offered an hour long tutorial on slide tuning, phrasing, slides and amps, using Blues as a creative foundation to innovate with other genres.

Rick is also a vintage guitar collector and BM! asked him to take our readers through a few of his favourites.

“My Flying V is probably the best sounding Gibson electric guitar I ever played or heard,” declared the musician. “It has amazing humbucker tone and sustain, and has the ‘out of phase’ sound in the middle position of the selector switch, very much like Albert King’s sound, which was the best on the planet!

“My ’burst’ is everything a sunburst Les Paul is supposed to be. I had owned three or four before this one, although it’s not as clean as some of my older ones, it sounds the best. You have to play one to know what the subtle characteristics are, but again, these were some of the finest guitars ever produced, and the price that collectors pay for them these days reflects that.

“I’m not really a Strat player, but my ’54 has a very unique soulful sound. It may have something to do with the fact that this was the first year they were produced, and so the original idea that went into a Stratocaster is what you hear before any subsequent changes were made to them.

“I have a 1956 Les Paul TV Junior that used to be my main slide guitar. I used this on Bob Seger’s ‘Like A Rock’ track that went on to be used on Chevrolet truck TV commercial that ran for ten years here in the States. Awesome tone out of what was originally produced as a ‘student’ model.

“My late-40s French DiMauro is a very exotic guitar that is far from clean but that has an incredible Gypsy sound. Nowadays you can buy a ‘gypsy’ guitar fairly cheaply, but this one has aged and defined itself over sixty years and has a developed ‘sweetness’ to it that few American or modern guitars can produce.

“I love my old Valco-made Supro and Airline electrics for slide because they have a hint of a steel guitar tone to them, as well as being guitars that overdrive in a unique way through a good old amp.”

Rick’s passion for his guitars and their individual tone is found in many guitarists, but the former Fleetwood Mac axeman has the chops to fully illustrate that enthusiasm. CB

Mick will be promoting “Blue Again!” during his tour with Fleetwood Mac. We’ll be doing dates when he has breaks in the tour.

I really enjoy playing with Mick, as he’s a great guy and one of the best Blues drummers I ever heard. So, I like to think that we’ll be together for a long time pursuing our musical endeavours, which will certainly include more recordings and tours.

You also play with Mick Fleetwood in a band called Island Rumours. What can you tell us?

Mick and I both live in Hawaii at present, and together we came up with the idea of forming a band that could work steadily in the islands here on an ongoing basis - and having other local Hawaiianbased musicians with us. Tourism is very big here obviously, so you have a potential for your audiences, often corporate, to change every week and not have to go anywhere to reach people.

We do a mix of Fleetwood music from various eras - including a few Blues numbers, of courseand traditional and contemporary Hawaiian music. I love performing this stuff, and a typical Island Rumours gig has a very festive, party atmosphere to it that audiences seem to love also.

2009 saw the release of your latest CD “Lucky In Love - The Best Of Rick Vito”. With such a long history, how did you decide what to include on the CD? That was a hard thing to do, but my record label had some great suggestions, which I tempered with things that I personally like. We tried to come up with something that represented various sides of what I’ve recorded stylistically over seventeen years and eight solo CDs. My material has a lot of guitar Blues, slide guitar, instrumentals and covers a good bit of ground. We were not looking for a radio hit, or anything like that, just some exciting material that’s real, which is what I’ve always tried to do in choosing songs.

Is this CD the prelude to future solo touring and recording, and where would you like see your career heading from this point?

I said a long time ago that I’m in this thing for the long haul, and so will always look forward to recording and sensible touring. So many guys I came up with have had to drop out of music due to one reason or another, and I feel fortunate that I’ve been blessed with opportunities that have enabled me to keep going.

The never-ending quest is still there to come up with the perfect song, the coolest solo, and the greater level of success that would be good for my family. It would be a thrill me to achieve recognition for something I created that was definitively my best work. I hope that happens. CB

Rick with his ‘pride and joy’.

ike Malone, guitarist and founder member of ‘90s indie rock band Dirt Merchants, put down his electric guitar, adopted the pseudonym Orb Mellon and has released two brilliant solo projects in the last two years.

His music now plants a firm thank you in the direction of pre-war Blues pioneers such as Bukka White and Charlie Patton, and contains all the rawness and power of a juke joint Saturday night. However, without dwelling in, or simply recycling the past, Orb Mellon’s music provides freshness and modern age relevance to the Blues. Perhaps pushing aside more academic and preconceived ideas about what the Blues is all about, his music is thought provoking, challenging, and progressive, yet will satisfy even the most reverent Blues purist.

Orb Mellon is sufficient evidence that the Blues tradition is still evolving, alive and well. And with the lure of our “warm beer,” hopefully he will be a visitor to our shores before too long…

BM: Many Blues musicians have recorded under unusual names. Where did the pseudonym Orb Mellon come from? Mike: Orb Mellon harkens back to my old band Dirt Merchants. On one of our early singles, we decided to credit ourselves with “jazz” names. I was Orb Mellon. It kind of stuck - for better or worse.

Your list of influences reads like a who’s who of the Blues. Are there perhaps performers who mean more to you?

Ireally do listen to all sorts of stuff, but as for Blues, I mostly have the strongest affinity for jukers like Bukka White, Charlie Patton, Junior Kimbrough, Hound Dog Taylor and John Lee Hooker - they are more resonant with my tastes.

Robert Johnson is one name not mentioned in your list…

There is still a huge amount of interest in his life and music, helped no doubt by rock star endorsement. But do you think arguably more important Blues musicians are not given the credit they deserve?

Unfortunately, a lot of artists, great or not, are marginalised by the commercial machine, simply because identifying and marketing “heroes” sells units. In my experience, real connoisseurs know how to navigate past this mostly random hierarchy.

Robert Johnson is certainly not a bad place to start. However, one has to wonder how critical he would be to the Blues canon versus many of his “lesser” contemporaries if he survived to see the revival and had no mystic hell hound attached to his story. That said, ‘Come On In My Kitchen’ is one of my favourite songs ever and, of course, my new CD’s cover lifts elements from Johnson‘s “King Of The Delta Blues Singers” LP cover. In the end, I just don‘t see Robert Johnson being as innovatively critical as folks like Charlie Patton.

What other styles of music have you drawn inspiration from? Emotional power means more to me than any style or genre. Recently, I’ve been getting into Fado, the real Portuguese soap opera Blues - death and destruction everywhere! Love it! As far as pop music, my tastes are pretty broad, and my taste for artists changes fast, as I think it should. Odds are I’ve heard it, dug it or not, and moved on.

And what about your contemporaries?

Brownbird Rudy Relic – definitely! In the interest of fair disclosure, he is a friend of mine, but his work is seriously amazing, and his live performances are sublime.

I expect that many readers of Blues Matters! won’t be familiar with your previous work. Could you tell us a little about your own musical background?

I’m from a long line of musicians that somehow skipped both my parents. I started playing piano when I was 6, but hated it ‘cos I wanted to rock like Aerosmith and Led Zeppelin. I always listened to a broad variety of stuff. I also sang in a choir. I got

"I’m frankly amazed at how few commercial ‘Blues’ artists focus on their own material. It’s not like the form dictates the songs."

into free jazz in high school. I later fell hard for the likes of The Feelies, The Pixies and The Faith Healers.

Growing up, I was always in a band of some sort. In the ‘90s, my band Dirt Merchants put out few records on indie labels - and one album on Sony/Epic! We toured a bunch, eventually got tired of each other and broke upwe’re still very close friends actually. I then, eventually, decided it was time to stop playing so pointlessly loud, and I wanted to try working alone, so I consciously put down my electric guitar and, more importantly, the flat pick. I still like to make a lot of noise; I just travel really light now.

It’s an unusual progression from an indie rock band to the Blues. What made you change direction?

Frankly, I don’t see it as a change in musical direction so much, more a change in arrangements. I write songs the same way I always did. I really just adopted the stylistic idiom that suits me best as a solo performer. I’m definitely not a Blues purist, nor am I pursuing the Blues as an end in itself. I simply produce the music that feels right to me, with an eye towards music I‘ve always loved.

I understand that “Love Above” was recorded in a day, and nearly all the tracks were down in one take! Many of the great Blues recordings were made in this way. Was it a conscious decision to record the album that way to capture an authentic feel?

It was a very conscious decision. I wanted the record to feel live and spare. I wanted the rough edges intact. The best way to do that is to turn on the microphone and play.

Was “Moan” recorded in the same way?

With “Moan”, I made a conscious decision to do something more sonically varied than “Love Above”. I don’t like it when artists repeat themselves album to album. “Moan” took five times as long to record as “Love Above”. I’m happy that it still feels pretty live, though.

What struck me most about “Love Above” was that here was a contemporary Blues recording, with thirteen original songs, no cover versions or reworked Blues classics, and yet you retained the integrity of a very traditional form of music. Was this difficult to achieve?

I’m frankly amazed at how few commercial “Blues” artists focus on their own material. It’s not like the form dictates the songs. Sure, I play covers when the mood dictates, however, I think to continuously mine the past fails to give fair credit to the viability of the style in our modern age. What makes Blues so powerful, in my opinion, is derived more from a punk aesthetic than from an academic one.

“Moan” at first seems a departure from the simplicity of “Love Above”, but the more you listen to it, the distinction between them lessens..

I think it is a natural step. The album’s material and sonic contrasts are really just a reflection of where my head was at when I was working on it.

A few years ago, while on a Blues pilgrimage to the Mississippi Delta, I picked up a poster in the Delta Blues museum in Clarksdale. It was entitled “The Blues Is Dying”. I have to admit that I didn’t pay too much notice to the sentiment. It was just a cool black & white photo of an open freight carriage, and standing there was a shadowy Bluesman, guitar in hand. It wasn’t until recently that I began to wonder whether the dark message scrolled across it was right!

Disenchanted with new releases by musicians who should know better and new musicians who seem to somehow get away with describing their work as Blues, I retreated and found solace in my vintage Blues collection. I even went as far as to spout to a friend -after a couple of pints in my local - that “quite frankly, the golden age of Blues recordings died in the late-60s!” But then, just when I had reached the depths of despair, I uncovered not one but two musicians who I’m glad to say have proved me wrong.

Orb Mellon is a musician that I instantly gained respect for - the music he produces cannot help to have a positive influence on the progression of the Blues. Therefore, when Orb describes a contemporary as “amazing” and “sublime,” it was clear that Brownbird Rudy Relic was worth checking out.

Hailing from New York, and with a list of influences that ticked all of the right boxes, Brownbird’s debut album “AntiStereo Acoustic Holler Blues”, is a title to whet the appetite.

“My musical education really started with punk rock,” explained Rudy. “Proto-punk bands like the New York Dolls and The Stooges helped me find my way to ‘50s rock’n’roll and doo wop; from there Chess Records led me to the Blues. Eventually, I found Charley Patton.

“What I do, and the Blues music I purvey, is an amalgam of my personal musical trajectory. I try to create music that is deeply rooted in pre-war Blues but that exists outside of any rigid directive, so that the Blues influence is a part of the music but not the music itself. I think a lot of contemporary Blues gets caught up in logistics; I try to stay away from that and just try to make music that I wish was being made but isn’t.”

“Anti-Stereo Acoustic Holler Blues” is available on Reltone, and you can check out a nice little taster on MySpace or see Brownbird performing on YouTube. Now I’m off to take that poster down! DS

Making music he wants to hear: Brownbird Rudy Relic.

I read that the songs on “Moan” were written to be sequenced together as an exploration of some of the darker aspects of life. How did this idea come about?

I had been listening to a bunch of my old vinyl records with my kids. Late Beatles and early-70s classic rock, and stuff I had gotten when I was 8 and 9 years old. I was inspired by the natural flow of many of those albums. The music was truly album-oriented, and focused on longer and perhaps even chemically enhanced concentration spans. I wanted to do something like that with “Moan”. I also wanted to have an intellectual or emotional arc appropriate to an extended listen - not a rock opera, but ideas and feelings that could extend beyond a three minute song. I’m generally morose about human affairs, so the dark stuff comes to me pretty naturally.

Is there a track that you are particular pleased with?

I’m happy about where the songs came from, and everything really does occupy the right space on the disc. As far as production, I like the way ‘Burn’ turned out. I also think ‘The Reaper’ came together well.

Production was quite organic on this disc. Pete Weiss, an engineer I’ve worked with on and off for close to fifteen years, did a great job of pulling together what I was hearing in my head.

There are some lovely guitar tones on the album. To satisfy the guitar players amongst us, could you tell us a little about some of the instruments that you play?

On “Moan”, I use this little old mid ‘50s Harmony/ Stella ladder braced birch guitar with a magnetic pickup in it. I mic it, or plug it through a Space Echo into a Fender Champ or Musicmaster bass amp. I also use a ’34 Dobro Model 27 and a ’35 Cromwell G-2 - a depression era department store Gibson. “Love Above” was done with the Cromwell and a newer steel body

National. My main slide is a 5/8” Craftsman long socket, but I used glass for everything on “Moan”.

When did you start playing guitar?

I started playing when I was 13.

I noticed that on the cover of “Moan” there are the words “thesaurus of post-modern Blues.” If you had to define “post-modern Blues,” how would you describe it?

On one level, it’s a mindset that channels all of the genre’s historical nuances through a contemporary lens to achieve new artistic goals. Its treats Blues as revolutionary and progressive, not just as an artefact for studied execution. It’s Blues as punk. However, I use the term on the album cover to suggest an open question. I’m hoping folks will ultimately answer it for themselves.

Is the current Blues scene in the States healthy?

It depends. On the commercial level, it’s one dimensional at best. There is a thriving underground, though.

I have visited Memphis a couple of times, but the place had the feel of an amusement park. If I visited the States now, where could go to hear some real down-home Blues?

In my experience, although I‘ve seen some amazing performances at clubs, the best Blues is at house parties... I don’t think any region has a lock on the good stuff.

Have you any plans to perform live in the UK soon?

I’d love to get across the pond later this year. Just need to find a way to make it work so that it doesn‘t bankrupt me. I know I’d have a blast either way because I love warm beer.

Where do you think your musical journey will go now? Do you think that you will stay on the same path?

Well, recently I started fiddling with the ukulele, and I’ve been eyeballing my old cassette four track. Not so sure if that’s a good thing, but I guess we’ll find out. DS

"Unfortunately, a lot of artists, great or not, are marginalised by the commercial machine, simply because identifying and marketing ‘heroes’ sells units."

ried chicken, horse racing and bourbon are just some of the things that immediately spring to mind when the American state of Kentucky is mentioned. Nicknamed the ‘Bluegrass State’, Kentucky has a rich musical heritage, but not in the genres of hard rock and Blues. That could all be about to change, as Kentucky natives Black Stone Cherry prepare to take their ‘70s-steeped hard southern rock sound worldwide, and put their home state firmly on the rock’n’roll map.

The band has long been a mainstay of the ‘support band’ circuit, sharing the stage with such rock giants as Black Label Society, Whitesnake, Def Leppard and Nickelback. However, they have now successfully established themselves, moved out from under the shadow of their heroes, and have just completed their first large scale headline tour of the UK, in support of their second hit album “Folklore And Superstition”...

John Fred Young is clearly still on a high. “We’re getting a new bus for the US leg of this tour,” grins the drummer,

“and we’re going to burn the tyres off her!” The band’s wild-haired percussionist, whose equally intense drumming style often inspires comparisons to the Muppet’s character Animal, is clearly enthused by his band’s current situation.

“The last time we were over in the UK, before this tour, was a much smaller affair, and it was great taking Sevendust and the Stone Gods out with us on that tour,” states guitarist and lead singer Chris Robertson.

“Sevendust hadn’t been over the pond for many years, so helping them get to come back over was a big honour for us. The crowds were so great, and it was an awesome tour, so we couldn’t wait to get back to the UK on a larger scale.”

The band’s latest trip across the Atlantic was, if anything, an even bigger success than their previous appearances, predominantly sharing the bill with big name mainstream American rock acts. Albeit brief, this latest UK tour has confirmed with many a rock fan that Black Stone Cherry are steadily moving from strength to strength, and could very well be on the brink of breaking through relative obscurity, and reaching the heights of the very bands they’ve spent the past few years supporting.

Black Stone Cherry formed on 4th June 2001 when John and Chris came together to jam with Ben Wells, on second guitar, and bassist Jon Lawhon at John’s grandparents’

photos: John Scarpati

farm. “The Practice House on the farm was where my dad’s band, The Kentucky Headhunters, jammed back in the ‘70s,” recalls Ben. “They covered the walls with all these posters, from Howlin’ Wolf and Cream to Sonny Boy and Zeppelin. We were very fortunate to grow up in an environment with all these legendary acts staring back at us while we practiced. It certainly kept us focused!

“The house is basically a rock’n’roll and Blues museum. It’s out in the middle of the woods and is the only place in our county without an address.

“Chris and I have known each other since we were 5 years old. Jon moved up from Jacksonville, Florida in eighth grade, and Ben joined the band one night at a party.

This early exposure to big names such as Zeppelin and Howlin’ Wolf has left all members of the band with a thorough respect for and understanding of Blues and rock. “Everyone in the band grew up listening to what was on the walls of the Practice House,” explains Young. “We would go and research all the great music that was stuck up on the walls, and being around great roots music is what made our band sound the way it did.

“Personally, growing up with my dad and my uncle, I fell in love with the Blues at an early age. They used to play a festival in Arkansas called Blues Aid, which was a benefit to raise funds and awareness for older Blues musicians, and so, as a young kid, I used to go with them and see them play with a lot of the greats - Pinetop Perkins, Buddy Miles, Otis Rush, Albert Collins, just to name a few.”

The seriousness with which Black Stone Cherry address making music, and the heartfelt respect they pay to their roots, even whilst brewing up their own brand of southern rock for the 21st century, are just a few of the ways the band are atypical of their contemporaries. They are solely concerned with the music, and it’s a testament to how good that music really is that they’ve so far avoided the traps of image and ego.

The band’s integrity, humility and honesty to both themselves and their audience have doubtless played a significant role in winning them such a large fanbase. Music fans are now searching for an alternative to the manufactured pop charts and largely over-hyped modern rock acts more concerned with their image than whether they’re actually creating music that is worthwhile, and they have found it in Black Stone Cherry.

“We are one of the only young bands out there keeping the torch lit for Blues and roots music in the ‘mainstream’,” states Chris. “I also think a lot of people don’t understand what we are and that’s why they like it.”

Not afraid to rebuke some rockstar clichés, the band have a strict policy of no alcohol or drugs on tour. “We like to go onstage focused and ready to kick ass,” explains John Fred Young, “Besides,” he adds with a grin, “we’re nuts enough as it is!”

The band got its name whilst indulging in some underage smoking, “We were hanging out at the practice house one night trying to decide upon a name and Jon had some cigars that we all started smoking,” says Robertson, clearly reveling in his storytelling. “We looked down and saw the name of the cigars staring back at us, with the words ‘Black Stone’. They were Cherry flavoured. Now, people who’ve

heard the story still bring packs of them to our concerts and want us to sign them or give them to us.”

Not wanting to spend too long wading in nostalgia, the band would rather talk about their more recent accomplishments. “We’re so proud of the new record,” says Robertson. “We recorded it in Nashville, at Blackbird Studios. It was a great experience.

“The difference this time was getting to take our time a bit more, whereas on the first one we were just rushing to get it all down in the time we had. It gave us more freedom to try different things and play around a bit.”

Whilst “Black Stone Cherry” was almost immediately heralded as a modern Blues-rock classic, it was a predominantly upbeat record, with very little breathing room between brutal riff after brutal riff, not to mention Robertson’s powerful, guttural growls. By comparison, the new record is far more sophisticated. It sees them honing their sound through a more dynamic range of musical styles, from the obligatory overdriven Blues-rock, to plaintive and heartfelt country-tinged ballads, and even a brief reggae-tinged outing in ‘Sunrise’. They have also developed the ‘storytelling’ style that brought us tales such as the weather-manipulating shaman in ‘Rain Wizard’ from their debut, but have also added a more personal edge to many of their songs. Consequently, whilst there are still stories, such as the life and death of a ‘20s caver in Kentucky portrayed in ‘Ghost Of Floyd Collins’, the emphasis has perhaps shifted to more personal laments, such as ‘Please Come In’ and ‘Things My Father Said’.

“We like writing songs that have great meaning and some are, of course, from our area, and others are tales we have heard from people all over the world,” muses

Black Stone Cherry: (from left) Jon Lawhon, Chris Robertson, John Fred Young and Ben Wells.

Black Stone Cherry are now well and truly established in the modern Blues-rock scene, and are even beginning to make headway in the mainstream music scene, particularly in the US where they have charted five singles in the mainstream rock charts and produced mainstream music videos for the majority of those releases. The band may be leading the way in a Blues-rock revolution, but there are a great many new and talented bands each doing their bit to bring Blues influenced rock music back to the foreground.

The Answer have already featured in these pages, making waves with their debut record, “Rise”, which recalled the glory days of ‘70s icons including FREE, Led Zeppelin, and even openly referencing Blues masters such as Son House with reinvigorated covers of Blues standards, like ‘Preachin’ Blues’. Since this breakthrough, The Answer have gone on to support AC/DC on their latest world tour, and released a second record, “Everyday Demons”. This sophomore effort is perhaps less explosive than their debut, but their sound has lost none of its potency and the band still wear their Blues influences proudly on their paisley shirt sleeves.

Like The Answer, Australian rockers Airbourne have deep-rooted influences from the Blues and ‘70s rock. Having recently shared a stage with The Rolling Stones, they are finally beginning to reach a larger audience. Their sound is very much akin to the brothers Young and their aforementioned band, as well as fellow Aussies Rose Tattoo, and whilst their material perhaps lacks great diversity, it certainly makes up for it with sheer attitude. Their energy could be just the thing to inject new interest and enthusiasm for the genre.

Whilst too ‘heavy’ to strictly be called a Blues band, American rock band Shinedown certainly have a Blues element in their soulful, no-nonsense approach to making music. They are well established in the American rock mainstream, and are fast becoming a household name, acting as a bridge between the huge stadium rock of bands, such as Nickelback, and lesser known acts, such as Black Stone Cherry – with whom they share a record label. It’s been a long time since Blues, or Blues influenced music, played any sort of significant role within the mainstream. This underground status, it could be argued, has actually bred greater creativity, with band’s having to strive harder to get the same attention through their music that mainstream artists tend to get through their hairstyles. However, many agree that the Blues is due for a long-awaited ‘comeback’. In recent years, artists such as Seasick Steve and The White Stripes have pre-empted this fact by entering the charts, amongst the manufactured ‘pop stars’ and transient music fads, and achieved widespread acclaim. This new generation of rock bands, with the Blues firmly at their core, could be the crucial next wave that we’ve all been waiting for. RW

Robertson. “We are from such a rich historic area in Kentucky, so it’s senseless not to write about these great folklore characters”.

Despite gaining significant momentum in the past year or so, and finally beginning to receive the critical acclaim and mainstream attention they deserve, the band remains characteristically humble in the face of stardom.

Summing up the past eight years, Robertson is obviously grateful for what he has: “We’ve had a lot of great experiences and achieved a lot with this band. But getting to walk on stage in front of an audience every night and rock out with your best friends. That’s the best thing”.

John Fred Young is just as grounded: “Going back home for the first time in a long time was a special moment for me. Seeing my family and thanking God everything was still the same as I left it!”

Before their UK tour in October, the band stated their keen desire to spread their message as far as possible, and bring their music to an audience that’s perhaps less familiar with them than crowds in the States. They certainly seem to have achieved just this. “We’re just looking to take over the world, one small step at a time,” laughs Young. “But seriously, we plan to keep on making music for as long as there are people out there who wanna listen.”

This simple mission statement sums up what Black Stone Cherry are all about. This band are a family, and, much like The Allman Brothers Band or Grateful Dead before them, they consider each and every member of their fanbase to be an equally crucial part of that family. As Robertson states in his sincere farewell: “We just want to take this opportunity to thank the fans in the UK for the support they’ve shown us so far, and hopefully it won’t be too long before we can come back over to these shores and show you guys just how much you all mean to this band!” RW

The Answer to the Blues evolution question?

lan Nimmo has been at the forefront of British Blues-rock for many years, of course. With his brother, Stevie, The Nimmo Brothers have released critically acclaimed albums, and continue to fill venues up and down the country and across Europe, as their guitar antics leave devotees drooling. However, far from rest on his laurels, in one of the country’s most revered outfits, Alan has looked to put a fresh angle on the music he loves so much.

A thirst for creation and innovation, while staying firmly rooted in the true Blues tradition, has been a quest for many of the genre’s musicians since its US roots and the British Blues revival of the ‘60s. Alan Nimmo, the musician, has heard the call in his time, and with Lindsay Coulson on bass, King King have already made a significant impact in their short lifespan.

The 2009 Maryport Festival saw the newcomers rise to the arduous task of following the legendary Jethro Tull, whilst Blues On The Farm were so impressed they made room for the band despite already having a full bill. Guess we need to nudge a few acts over and squeeze them in also…

BM: How did you first get started in music?

Alan: Well, I suppose as the old adage goes, “The devil makes work for idle hands!” I was always an inquisitive kid with a bit more than my fair share of energy. So, there was an old guitar lying around the house and, out of curiosity, I picked it up and started to fumble around with it. I wanted to make it sound like the records my mother would playgladly she’s a massive Blues fan, so we grew up listening to bands like Peter Green’s Fleetwood Mac, B.B. King and Eric Clapton. I caught the bug and scrabbled about with this old guitar until it started to sound a bit like them. Some would argue that I’m still trying!

What are your musical influences, both past and present?

I think that people who genuinely love music tend to have very varied tastes, and I’m no exception. I listen to all manner of things across quite a few genres. That said, my roots are essentially deeply entrenched in Blues. I think that for the desert island stuff, we’d be looking at Peter Green’s Fleetwood Mac, Ronnie Earl, Dave Spector and Jimmie Hendrix. I do also tend to like a bit of ‘cock rock’, with the likes of AC/DC, Whitesnake and Thunder. All of that aside, I’ve got to say my greatest influence growing up was probably FREE. There’s something about the combination of that Kossoff guitar thing with Paul Rodgers’ vocals which is just devastating.

On the more modern front, bands such as Audioslave and Black Stone Cherry really interest me in terms of moving Blues-based guitar music on into a heavier rock field.

As far as singers go, guys like Bobby 'Blue' Bland and Otis Redding are just dynamite, and a real inspiration to me vocally on the more soulful side of things that I’ve been working on lately. In fact, King King recorded a version of Bobby’s classic ‘(If Loving You Is Wrong) I Don’t Want To Be Right’ for our EP. Whilst this was pretty ambitious, we’re really pleased with the results. Adding a more Bluesy guitar outro has taken the tune in a different direction, and it’s an absolute pleasure to play and sing at live shows... I hope I’ve done it justice!

What was the impetus behind King King?

I’m always trying to test my boundaries, challenging myself to raise the bar and reach higher standards as a performer and writer. With King King, I’m playing to my strengths and expanding as a softer, more soulful singer. We’ve found that this works really well with piano and Hammond in place of an additional guitar. That said, make no mistake - we are definitely not talking lounge music here! King King are a hard-hitting, heavy, in-your-face experience - and we make no apologies!

I’ve got to say that when it comes to Blues bass playing, there is no one I'd rather work with than my old pal and cohort Lindsay Coulson. Our history goes back over more years than either of us would own up to, and we have formed quite a songwriting partnership.

King King are all about keeping the best bits from the traditional Blues thing, but updating it to a more modern sound without going down the obvious rock avenue.

Tell us about the strengths of each member?

King King was essentially set-up last year as a partnership between myself and bassist Lindsay Coulson, with a view to casting a wide net and working with different musicians. However, we have since been fortunate enough to gain the immense talent of drummer Craig Blundell, who is wholly committed to the King King cause. Craig really does bring something special to the party, and is renowned for his skills and versatility. Having him on board has really raised the bar for us.

On piano/Hammond, we have one of the country’s best along for the ride: Bennett Holland is a favourite for the likes of Richard Hawley and Groove Armada. How difficult was it to get a new band up and running? It’s actually been surprisingly smooth, bearing in mind the current circumstances. We knew that because of the timing it wouldn’t be a walk in the park, so we were very hot initially on our promotional material in terms of bringing a strong image and brand to market. We’ve backed this up with the EP, which we worked really hard on and received a cracking

Alan Nimmo has been a familiar face on the UK Blues scene for many years now in a solo capacity and alongside his brother Stevie with The Nimmo Brothers. His latest venture with King King is something new and exciting.

King King have only been on-the-road for just over a year, but what a year! They have hit the major Blues festivals and gigs at high octane pace, exciting the crowds to electrifying and charismatic performances, leaving the punters shouting for more. They have also released a self-penned EP, “Broken Heal”, which has brought high praise from Blues critics and radio airplay across Europe and in Canada and the USA!

Alan and his fellow King King band member Lindsay Coulson have cemented into an impressive new songwriting team, and if the EP is anything to go by, the UK is once again sporting a notable British Blues songwriting duo.

Alan Nimmo has gained a reputation for the heavier side of Blues-rock performances in the past, with his ability to bend his axe round some impressive riffs, but with King King -although retaining the Blues-rock fire in his belly - he performs more deeply rooted and passionate Blues ballads, showcasing not only a more subtle side to his playing, but also, finally, displaying what a fine vocalist he is.

Bass player Lindsay, who formerly played with The Nimmo Brothers and Aynsley Lister, has not only added his songwriting talents to the band, but has provided them with a funky percussive bass line of merit. He’s also a bit of task master when it comes to the band’s PR – vital to every band in the 21st century who seeks success.

The duo are joined on keyboards by the excellent Bennett Holland, who the rest of the band joke, such is his talent, has “no arms beneath his sleeves – only more fingers!”; and the man who is to be found in King King’s engine house, powering his way through the beat and keeping the whole thing tight – drummer, Craig Blundell. Craig is also one of the most sought after session players on the circuit and runs drum clinics, writes books and has released a DVD.

One thing that is for sure, King King’s Blues-rock reign has just begun! CB

Alan Nimmo is looking at more success.

reception. As a result, most venues and promoters have been willing to take the gamble and it’s paid off, with us achieving several sell-out gigs on our first UK tour.

The success of our first venture out into the big wide world has secured us some great festival billings for next year and interest from various agents and management companies both here and in mainland Europe. Basically, we came into it without expecting any luck or favours to land in our laps, and the hard work and impetus that this created seems to be paying off.

What went in to the production and thinking behind the EP?

We needed to make a real impact with our first EP. In terms of the track listing, we had to use it wisely to demonstrate the versatility which King King is built on. Hence, we decided to kick off with a powerful rock type song at the beginning to get the listener’s attention, then show our ability to play straight up Blues to a high standard, and then use the ballad to introduce the more soulful and mature side of our performing. We put a lot of thought into the EP - it was really designed to be our calling card for our audience and for record companies alike.

Lindsay and I produced the CD, recording it at Chapel Studios in Lincolnshire. We’re very lucky in that Lindsay knows the guys out there. They have a fantastic reputation, particularly for the kind of recording we wanted to do, and the approach to laying the stuff down. They fully understood our desire to keep a warm live feel with a big sound, and I’ve got to say that working with vintage valve

mics and old valve compressors from Abbey Road certainly didn’t hurt! We also had the colossal good fortune to be able to draft in engineer Ewan Davies. This was probably more luck and timing than anything else. He had just finished the new Noisettes album and managed to fit us in.

What inspired the title track ‘Broken Heal’?

I grew up in Glasgow, and in common with any city that has its share of poverty, I got to witness all sorts of social tragedy. The story of ‘Broken Heal’ is not of one particular person but of many young people in the country who have had it hard in their lives, and of how quickly and easily things can go wrong before they wind up struggling on the streets. Unfortunately, in our society, a lot of young kids in these situations turn to drugs and alcohol, and it’s such a terrible shame to see. I guess, it’s a thought which stuck in my mind, so I ended up writing about it.

Have you considered putting acoustic songs into the set? King King is mainly a hard-hitting electric band, but there is always room to vary the set.

Where would you like King King to be in the future?

I don’t do this for money, never have done, and I think that shows when you see a performance. I am very passionate about music and playing, and it’s that which motivates me and steers my ambition. So, when I watch all the big names in Blues playing on a big stage and a large world platform, that’s where I want to be. CB

"I’m always trying to test my boundaries, challenging myself to raise the bar and reach higher standards as a performer and writer."

ou can call them voodoo funksters, you can hail them as the latest punk Blues smash – in fact, such is their self-confessed musical schizophrenia that most tags would hang comfortably on this genrehopping outfit.

The West Country (hailing from Noi, near Bath) band enjoyed rave reviews for their first album “Great Vengeance And Furious Fire”, which fused the Blues with funk and blaxploitation chic, and attracted significant interest from critics across the pond, but their second album, “The House That Dirt Built”, took their sound even further.

The core duo of guitarist Dan Taylor and singer Kelvin Swaby (Chris Ellul plays drums, whilst Spencer Page handles bass duties) have concocted a nightmarish set of funk, Blues and rock that is guaranteed to give you sleepless nights. They even managed to persuade fellow rockers the Noisettes to join in and grab some of the action. Thankfully, unlike that outfit, they haven’t sold-out to chart and ad friendly pop, hence Blues Matters! sat down with Dan Taylor…

BM: I’m dying to know where the movie sample used on the into track for the new album came from?

Dan: The horror thing? The film’s called “Don’t Go In The House”. I was just going through YouTube and it just popped up. It just seemed ridiculously appropriate to stick on at the beginning, and it works. Hopefully, we won’t get done for it!

Your new record definitely builds on the sound from your first album. Is this a “Godfather 2”-type sequel?

It’s definitely part two. The two are clearly related, but the new one has evolved so much more. We recorded the first one at home - we just pooled together our resources and recorded bits and bobs all over the place. We had a bit more money this time round.

I hope people do hear that they are related. We love bold and authentic-sounding recordings. I just didn’t want it to sound too polished. Too many bands just do that because they can! It’s just insane. It takes away all the spontaneity from everything. You meet so many people who spend all their time doing that. Often, it’s those little mistakes which give it character. They should be left in!

The first record had a lot of samples, but this one sounds like a real band album…

The first one was pretty much me and Swaby. We just put

it together as and when we could. With the second record, we got a band together - some beautifully like-minded people.

In the past, we were never able to meet people who could fit into what we wanted to. Now, we’re able to rehearse it live and not use samples, but we’re still trying to keep that essence of what we love about sampling.

How did you and Swaby meet?

We were working in Gap (the clothing store – JH). We got talking and then he heard I could play the guitar and I heard he could sing, and then it just went from there. We were down in the stock room, sharing ideas and riffs – as you do! And you bonded over your love of old R&B records and films… Yeah, R&B as it should be!

I think our parents were very influential. My dad has always been into Blues and old rock’n’roll. We had these similar things in our upbringings, which we could both relate to. Plus, we were really into Jim Jarmusch films at the time. Although we had completely different upbringings, these were similar reference points.

With the first album, there was quite a blaxploitation vibe. Were you into blaxploitation films and music at the time?

Not particularly, but I love old funk and Parliament, so it was something I could appreciate. It was the big horn samples we used, which transported it back into the ‘70s.

The ‘70s period was influential, but it wasn’t the be-all and end-all. We wanted to stick everything we loved about music into the same pot and, hopefully, get a good song out of it.

You were also on the “Johnny Cash Remixed” CD, remixing ‘Doin’ My Time’. How was that?

It was a bit weird. At the time, it was cool, and I thought it

was a really good thing for us to be doing, but, in hindsight, it probably wasn’t. We didn’t have access to separate tracks, so you couldn’t remix as such. You just had the original finished version of the song, which was totally his, and all we could really do was put a beat on it. I worried that it would veer into ‘Jive Bunny’, but hope it didn’t.

The new album has various members of the Noisettes on it… Dan Smith (Noisettes guitarist - JH) came down to Bristol and played with us. He played piano on a few tracks. We desperately wanted to get some female backing vocals, so we punted out there that we wanted Shingai Shoniwa (Noisettes singer – JH) and she was more than happy to do it. I do think she’s an incredible talent.

The Noisettes had a lot of success with their new record… I know! They seem to be everywhere. I saw them on “Friday Night With Jonathan Ross”, and they just seem to be popping up all over the place. They are really, really good.

Both you and Swaby live in the West Country. There’s a big music community in that area…

Well, Bristol’s a really cool place. It’s very multi-cultural and has a slower pace. I think things get recycled at a slower rate here. There’s a lot going on here. Obviously, there are the big bands, but it’s a cool city.

Are you a big Blues fan?

I am massively influenced by the Blues. I wouldn’t say I’m a connoisseur, but I know what I like.

What bands are you listening to at the moment?

I like the Kills. I think they are really cool. There are a few about, but not loads… Cold War Kids are cool!

The Heavy: (from left) Spencer Page, Dan Taylor, Chris Ellul and Kelvin Swaby.

photos: Will Cooper-Mitchell

It was the iconic image of actor Richard Roundtree walking through the streets of Harlem, accompanied by Isaac Hayes’ revolutionary score in the 1971 film “Shaft”, which launched the era of blaxploitation movies and music.

It was the era of fast cars, even faster women, and blokes who were so cool they belonged in the deep freeze section at the supermarket. Both the music and the films have been parodied and sampled ever since, but, in many ways, musicians like Hayes bridged the gap between the Blues and soul scenes of the ‘60s and the disco movement of the late-70s.

Isaac Hayes himself was already a huge figure in the music industry by the time he recorded the soundtrack to “Shaft” in 1971. With songwriting partner David Porter, he had been responsible for a string of hits at Stax.

The death of Otis Redding in 1968 nearly saw the end of the Stax label - Redding had been the label’s biggest money-spinner. Hayes was one of the artists that Stax’s new owner Al Bell turned to for help, and a year later, Hayes released “Hot Buttered Soul”, which was a landmark record. A twelve-minute long version of Burt Bacharach and Hal David’s ‘Walk On By’ was just one of the standout tracks.

Having mastered the art of the three-minute hit record, Hayes was now broadening his horizons, and using lush orchestral arrangements to devastating effect.

The album proved to be a massive hit, and it saved the label from financial oblivion.

Hayes released a series of genre-defining records on Stax, but it was the soundtrack to “Shaft” which proved to be his crowning achievement, and won him an Academy Award in the process.

It’s easy to forget how revolutionary that opening song really was. Hayes broke every rule in the songwriting book. For the first two minutes and forty seconds of the song, it’s an instrumental piece with the strings, piano and guitar slowly building. The rest of the album sees Hayes build up a polished and class selection of jazz, before delving straight into bump and grind territory with ‘Do Your Thing’.

In his later life, Isaac Hayes became famous as the voice of Chef on the television series “South Park”. His character even reached #1 in the UK singles charts in 1999 with ‘Chocolate Salty Balls’.

Hayes died in 2008, leaving behind an astonishing musical legacy. Shaft might have been the best private detective in Harlem, but when it came to creating some of the finest soul music ever recorded, Isaac Hayes was ‘the man’. JH

We just always listen to old music.

How do you find life on the road?

It’s difficult. We’ve just got back from three weeks in America. It’s a lesson in self-discipline. You have to sit there and accept it will be however many hours before you reach the next place - the distances are so huge out there. They think nothing about driving eight or nine hours to the next city, but the gigs are great.

As long as the gigs are good, then it makes up for the hardship.

What sort of reaction did you get?

It was mad. We did a gig in Minneapolis and a gig in Chicago, and they were both ridiculously busy. They were two of the best shows I’ve ever been involved in. The reception was great. I can’t complain. I guess they were always going to get it, because of what we are doing. It feels like a more American sound to me, but things in England tend to be a bit slower for us.

Are you getting used to making rock star demands then?

I’ve not made one rock star demand! That’s the thing, you don’t feel like a rock star at all, you just feel so tired. There are no real egos in this band.

You’ve done a couple of videos. The one for ‘Sixteen’ looks like it was shot in a fairground…

We did that in Coney Island in New York with a friend of ours. It was at the end of another threeweek tour, so we were not feeling very video-esque! It was a really spooky and surreal area.

How do you find lip-synching on videos?

Rubbish! It’s the most awful experience. The worst thing is when people say can you get a bit more into it and you’re like, “No!” We’re not really pantomime puppets. You just need to drink to get through videos.

What has been your best gig so far?

I like the club gigs. They are the ones that are really good fun. You can’t move and everyone is loving it. We played in a place called Saskatoon, which we were dreading visiting, because it sounded so bizarre. It was in Canada and in the middle of nowhere, but it was great. The more intimate stuff you enjoy the most, because the reaction is so obvious.

Have you played the SXSW Festival?

We played it at the beginning of last year. We were involved with “Playboy” on a couple of gigs, which was bizarre - and it sounds better than it was.

You got some great reviews for your last album. Did that help, or do you not take much notice?

I try not to, because there is nothing I can do about them. I wrote the best songs I could.

I don’t really think I have a thick enough skin to be able to take loads of bad reviews. It’s better to avoid all reviews. You just have to stay focussed and make it as good as possible. JH

.B. King’s “Live At The Regal” is a rare CD. It’s well recorded, finds the performers on very good form, and has an appreciative/vocal audience.

The monologues between songs finds King in good form, and the musicianship is surprisingly well recorded for a concert that took place on 21st November 1964, when the world was experiencing Beatlemania, the fall out of the ‘50s, and the baby boomers were discovering Blues for the first time - the call and answer guitar and vocal interplay that B.B. King was adept at had an influence over a number of musicians from the following generation, and unlike Eric Clapton and Jimi Hendrix, who were experimenting with volume and thunderously loud guitar riffs, King’s guitar led from the front, but he never felt the need to establish his authority with loud or grandstanding playing.

The band is fully integrated, with the contributions of drummer Sonny Freeman, pianist Duke Jethro and bass player Leo Lauche supporting B.B. King’s flights as a vocalist and guitarist, and the powerful interjections of the full-time brass section of trumpeter Kenneth Sands and saxophonists Johnny Board and Bobby Forte.

The ten tracks that are contained on the album give an overview of King’s repertoire at the time, ranging from the upbeat swing jazz of ‘Everyday I Have The Blues’ to his own Blues classic ‘Sweet Little Angel’.

King has acredit in much of the music on the album, with readings of ‘Please Love Me’, with its Elmore James sound-alike introduction; ‘You Upset Me Baby’ and ‘You Done Lost Your Good Thing Now’ giving the ensemble good music to play. John Lee Hooker’s ‘It’s My Own Fault’ gives full rein to King’s vocal prowess.

Jazz overtones interweave with the Blues, giving the music a more sophisticated polish and shine, and the supporting players more of a challenging framework in which to play. Many of the tracks are segued from one to another, with all members able to follow shifts in key changes and tempo. The guitar solo that starts ‘How Blues Can You Get’ is a text example of pure electric Blues playing.

The importance of King’s predecessors can be heard, from the field-work holler of his voice, to the guitar style that borrows heavily from such players as T.Bone Walker and Charlie Christian, in applying more than the pentatonic scale to a Blues solo.

This album has proven to be influential, and shows one of the most important post-war Blues musicians playing at his best in his natural habitat, whilst the audience roars their approval with each twist of string, and each artfully applied vocal tic and vibrato.

Other live Blues albums have come along, including some others from King himself, but the warmth of the performance, the quality of the performance of the band and its leader, and the audience reaction means that this disc still has a lot to offer to anyone who cares to listen. BM

A FAVOURITE BLUES ALBUM?

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

DEATH LETTER

Son House

Possibly the most chilling vocal performance ever. Between the raw slide, the vocal and the lyric, how could you not be moved? When I first heard Son House, as a teenager, I didn't connect immediately. When I finally got it, it changed my life.

FEEL LIKE GOING HOME

Muddy Waters

Although I love Muddy's electric stuff, hearing him acoustically is magnificent. The slide is great, and his voice is enormous. Muddy always said that the only reason he picked up an electric guitarwas that he couldn't get the acoustic guitar loud enough to hear it in the noisy clubs. Rock’n’roll thanks him for making that transition, but you hear how comfortable he is just singing above the acoustic guitar.

BLUES POWER

Albert King

I've always maintained that Albert influenced

rock guitarmore than any other Blues guitarist, in the way that no-one before him sounded remotely like that. His tone was tremendous but his phrasing was totally unique. Without Albert there would be no Hendrix, no Clapton, no Duane Allman, no Stevie Ray, no Santana... there would be no any of us.

“Hardcore fans tend to not want us to move too far away from where we started, but the band never wants to stay in one place for very long.” Released in

Recorded at Willie Nelson’s Pedernales Studio in the Texas Hill Country, Gov’t Mules first studio album in three years sees Warren Haynes and co. celebrating the roots of American music, whilst taking sonic forays into the future. It feels like we’re moving forward and backward at the same time,” Haynes notes.

October 2009, “By A Thread” features the likes of ZZ Top’s Billy Gibbons and runs the rock’n’roll gamut. To get your hands on a copy, tell us:

Which legendary Blues-rock outfit is Warren Haynes also a member of?

SMOKESTACK LIGHTNING

Howlin' Wolf

Everything about this track is menacing. I can only imagine what it must have sounded like coming over the radio in the ‘50s. This is truly rock’n’roll before it's time. The way it's recorded only makes it sound nastier. The guitars of Hubert Sumlin and Jody Williams create the funkiest, swampiest mood - the perfect backdrop.

THE SKY IS CRYING

Elmore James

Elmore is credited for making the slide electric, but we can't overlook what an amazing voice he had. Whenever I hear Robert Plant vocal performances, I can't help but think he got a lot from Elmore.

THE THRILL IS GONE

B.B. King

The epitome of minor key Blues. When I was a kid, I would spend hours everyday listening to soul music. Then rock music made me want to play guitar. All my favourite guitarists were influenced by the Blues, so I went backwards and started studying. B.B was at the top of everyone's list and soon was at the top of mine with tracks like this.

ALIMONIA BLUES

John Lee Hooker

Hooker is one of those artists that, to me, sounds better by himself than with a band. Even Muddy said that when he played with John Lee, he would just wait on him to change chords because you never knew if or when he was gonna change. Having said that, playing with him was one of my fondest memories. This track, from "Hooker N Heat" is one of the many cuts on the album recorded with no band - you can hear, in all his music, possibly the strongest ties of any Blues artist to traditional African music. Check out the guitar sound.

SECOND BEST

Freddie King

This cut, from "The Burglar", represents not only what an influential guitarist Freddie was, but what an amazing singer as well. If you study Freddie from the beginning, you hear how much his approach changed. His voice started out as smooth and clear as Sam Cooke and eventually became as raw as Otis Redding while his guitar playing followed suit. Probably

Clapton's biggest influence, as you can definitely hear in this track.

I CAN'T QUIT YOU

Otis Rush

Several versions of this song exist, one in which you can hear where Led Zeppelin got theirs. Complete with the "sharp one" chord and the Jimmy Page guitar breakdown. Otis was a continuation of the Albert King "planet lefty" school, but with a personality all his own.

SHIPS ON THE OCEAN

Junior Wells w/Buddy Guy

Junior mixed James Brown with Sonny Boy and created something new. Although both Junior and Buddy were great on their own, most agreed that together they were explosive. Buddy's playing here was obviously an influence on Hendrix. WH

Life changing music for Warren Haynes (second from left).

KING KHAN & BBQ SHOW

Canadian outfit King Khan should instantly win favour amongst Blues fans with the lyrically filthy and lewd vocal of opener ‘Anala’ (I’ll let you work this one out), but drawing unashamedly from familiar ‘50s crooners and rock’n’rollers and ‘60s pop and R&B outfits (the Kinks riff steal on ‘Invisible Girl’, for example) should allow for belated wider appeal for the duo’s (primitive guitar and drums) most assured offering to date - well, if they can get past the censors! The band excel at playful and shambolic garage rock – the catchy ‘Animal Party’, replete with pig oinks, chicken clucks, an elephant trumpet, and plenty more, finds them at their theatrical and OTT best (in the hands of lesser mortals, this would be a clumsy mess). The retro stylings and repetitive lyrics can wear, and several tracks do peter out in a thin punk clatter when you are looking for Khan’s (Black Snake) guitar to rip and BBQ (Mark Sultan) to thud more intently. However, Khan’s demented crooning and the duo’s clear love of vintage rock puts them on a par with mates the Black Lips, but with a slightly more obvious knowing wink.

Darren Howells

FRAN MAY Pink Blues Storm

This album is a nice mood piece, but the good ideas on here haven’t quite reached full fruition. Fran May sings her songs with backing provided by guitarist Richard Newman. The songs are personal, dealing with aspects of being female. Richard Newman’s backing is built up of multi-layered acoustic and electric guitars together with drums and occasional electric bass. Various kinds of sound wash have been added to create an ambient Blues background - it is quite a seductive sound –but the vocals seem to have been added after. This approach tends to lessen the impact of the songs, with the backing dictating the songs instead of vice versa. The production doesn’t allow the voice to come with full clarity; the sound wash and harmonics tend to mask its finer qualities. As Fran is also a visual artist, this mood/ambient effect may well be her intention, but, even so, the whole production needed stricter editing – for one, the instrumental introductions are overlong. The standout track and best by far is ‘Men’ - good vocal and a tempo change that really works. It creates a slightly harder edge than on the rest of the album. Perhaps this points to

where Fran should aim with maybe a purer acoustic backing and a modal approach on her future work.

Vicky Martin

HIJAK OSCAR

BlackSheepMoneyBox

myspace.com/hijakoscar

Formed in 2005 in York, this band have a policy of playing anywhere, anytime and to anyone - and their fan base is growing. Eschewing the norms that usually dictate how a band is described, they come over as a “party Blues and drunken soul band,” who are heavily into a “grungy Blues collaboration.” Mixing theatre with rock, newscasts with Blues, and much more, I get the impression this band would come over as a modern day version of The Tubes. The album opens with ‘The Ambiguous Report’, their take on a news bulletin outlining (or not) a disaster somewhere unknown! They then proceed into what I best describe as their tour of social commentary. Track titles such as ‘Social Immunity’, ‘Lifetime Guarantee’, ‘Greed’, ‘Last Chance Saloon’, and the title track point to the underlying theme. Don’t be fooled, though, as the band can play, and Tim Fox, lead vocal and mean harmonica player, has written all of the lyrics for the album. With influences ranging from Son House and RL Burnside through Mingus and Miles to Hendrix, Zeppelin, Radiohead, Nirvana and Dylan, this is a really interesting collaboration of modern ideas. Look out for them in your neck of the woods.

Merv Osborne

CHARLEY CRUZ & THE LOST SOULS The Last Warrior

White Indian

This quartet of musicians hail from Holland, playing music well entrenched in the country Blues end of the spectrum. They do it with a high degree of skill, and the results are pleasing on the ear. Catchy melodies coupled with hook-laden lyrics delivered across the standard line-up of drums, bass and two guitars. Formed around the Cruz brothers, Charlie and Ronald, I liked this from the off. There is nothing pretentious to be found within, just honest musicians having a good time doing what they do. Charley mostly handles lead vocals, along with bassist DJ Ciggaar, and you get a good value fourteen songs for your hard-earned money. As the album progresses, it is easy to figure out the influences that have come to act upon the band, as you can hear Orleans, The Byrds, The Eagles, and touches of The Allman Brothers Band. 'Curfew City' opens up proceed-

SEASICK STEVE Man From Another Time

Warner Bros

In the age of “X-Factor”, and image over talent, Seasick Steve’s rise to mainstream prominence was welcomed by many disenchanted ‘real music’ fans – whilst for Blues fans, he was certainly the type of dishevelled songster they would want playing their beloved music (not those kids from Detroit with matching clothes!). Yet, there’s no disguising Steve’s first album for a major label lost much of the edge and intensity of his previous outings (particularly “Cheap”), with uncomfortable ‘celebrity’ guest slots, no doubt engineered to increase his growing appeal post Glastonbury/Jools Holland. Most of the talk ahead of this release has focussed on Steve taking control back from the label (who apparently didn’t hear the album until it was finished and pressed ), and recording on analogue equipment, with everything played by the man himself (except drums) on homemade or vintage instruments. The perfect build up for a raw and gutsy new outing, but whilst there’s still enough to endear the man to you here, this is sanitised Blues designed not to offend the average supermarket CD shopper. Given his past struggles, and the “miracle” of his success, you can’t blame him for not wanting to risk his new found fruits, but as likeable as the man is, the stories are becoming exhausted, and for a man with nearly seventy, we are continuously reminded, eventful years of struggle and hardship, there should be more to affect listeners than songs about his diddley bow guitar or new tractor. On one track, he muses: “I don’t know why you wanna listen to what I got to say,” and I’m beginning to wonder. Perhaps it’s still image that sells, just a different sort.

Darren Howells

Darren Howells

ings, quickly followed by 'Savage Delight' and 'Small Town Girls', and straight away your feet are tapping. The pace changes with 'Blue', and, true to the title, it is a rather sad song of non-communication between a couple approaching the end of a relationship. This is the second release from the band and all the songs are in-house creations. My favourite is 'Secret Waste Of Time', and, to paraphrase, this is certainly no waste of time if you like country Blues.

Graeme Scott

TINSLEY ELLIS

“Tinsley Ellis releases hard-hitting Blues-rock album” - almost all that needs to be said. With over ten discs to his credit, and the majority with Alligator, it’s easy to pigeon-hole Ellis, and this is another guitar attack album with earthy vocals and plenty of good old southern rock. No complaints at all! ‘Slip And Fall’ is a perfect example of the successful formula. Meaningful lyrics, all Blues loss and Blues love, intertwined with echoing guitar and pulsing drums. Many tracks are radio friendly, but this doesn’t mean the album is easy listening, or a soft touch. There are grains of reflective subtlety in there, in particular the Peter Green ‘Oh Well’ homage called ‘The Other Side’, even though it is riff-driven. The slow Blues ballad-come-anthem ‘It Takes What It Takes’ and the funky ‘Left Of Your Mind’ introduce suitable punctuation to the hotlypaced self-produced album. Ellis clearly knows what he’s doing and, in general, plays it safe by delivering what the audience knows it wants. Robert Cray fans may like to invest time into lis-

tening to ‘Cold Love, Hot Night’ a deliberate soul mood piece done in Cray style. Lovers of Hendrix will find pleasure in ‘Amanda’ as Ellis curves his guitar with wah wah and edgy psychedelia. Trivia collectors may like to know that the title track was written for Guitar Shorty but Alligator’s Bruce Iglauer persuaded Ellis to record it instead.

Gareth Hayes

CHUCK PROPHET Let Freedom Ring

Cooking Vinyl

Chuck Prophet apparently once jumped “from one San Francisco rooftop onto another and fell three stories through a skylight onto the cement floor of a mechanics' garage; all in an attempt to impress a girl and get into his apartment (that he had locked himself out of).” The same level of commitment is evident on this, his ninth record of chaotic rock’n’roll in two decades. He is a survivor, a satirist and a songwriter who deserves more recognition than he gets for pithily getting to the point – as he says in opener ‘Sonny Liston’s Blues’, “I’m a man of few words, baby/And I think by now you’ve heard them all.” We haven’t, of course, and this eleven track collection is worth the investment of time – understanding yourself only comes with experience. ‘What Can A Mother Do’ poignantly marks a mother sending her boy to war - only the confidently gutsy would follow that with a good old George Thorogood style driving R&B number like ‘Where The Hell Is Henry?’ soaked in Prophets’ own punchy, quirky homemade sauciness. With Jonathan Richman mannerisms throughout, this is full of gear changes characterised by sensitive guitar work, expert vocals and lyricism, with a tongue in cheek appreciation of how to engage with even the most casual listener. Although proclaimed as “an energised shot across the bows of the American dream,” drilling this deep is unnecessary –rock’n’roll is sometimes simple, and the better for it. Bittersweet, raw, reflective and recommended.

Richard Thomas

William Levise, more commonly known as Mitch Ryder, emerged from his home city with his band, the Detroit Wheels, in the mid-60s, and successfully bridged the gap between the Motown scene and the rock’n’roll of bands like The Stooges and MC5, with their own brand of rocking rhythm & Blues. After their apparent success declined, Ryder stepped back for a number of years. Recently, however, he has endured an upsurge in popularity and “Detroit Ain’t Dead Yet” looks likely to strengthen this surge. The album is a collection of well-crafted and generally upbeat songs. It opens with the funky groove of ‘Back Then’, which grabs the listener’s attention. Ryder has a great vocal range and handles a good selection of songs of varying tempos and styles. ‘The Promise’ is a more moody song, with atmospheric guitar from Randy Jacobs. In comparison, the upbeat ‘If My Baby Don’t Stop Crying’ features some black humour – Ryder had wanted to name the album “Your Balls, Both Of Them”. The piano led ‘Crazy Beautiful’ is the most commercial song and refers to the passing of time, while ‘Lets Keep Dancing’ is also very accessible. A live recording of ‘What Becomes Of The Broken Hearted’ has Ryder singing superbly - it would have made a

fine set closer. The encores are the closing double assault of ‘Junkie Love’ and the political ‘The Way We Were’.

Duncan Beattie

DOUG DENNING AND THE JEWEL TONES

Falling Through The Cracks

Mighty Tiger

I did not recognise the name of Blues guitarist and vocalist Doug Denning, but, after a listen to “Falling Through The Cracks”, I found I was very much familiar with his music – this is because his sound is firmly styled as post-war Blues and early rock’n’roll. The album starts with a ‘50s style rocker ‘Tonight Is The Night’ before the jump Blues of ‘Don’t Worry Me’. The title track has the West Side Chicago sound of Magic Sam, whilst ‘You’ve Changed’ follows a boogaloo groove. While each of the songs is somewhat derivative of a particular style and era; Jennings, his band and guest harp players Kim Wilson and Dennis Gruenling perform all with conviction. Indeed,

MARIA MULDAUR & HER GARDEN OF JOY

Good Time Music For Hard Times

JOE LOUIS WALKER Between A Rock And The Blues

Stony Plain

Born in New York’s Greenwich Village, Muldaur grew up with bluegrass, jazz, gospel and Blues, and old-time jug music. After any number of Blues, jazz and gospel albums, it’s the old-time that is chiefly on display here. It’s designed for fun and foot-stomping, with all of the fifteen or so musicians high in spirit and having a whale of a time. With most of the songs being traditional, and from way back, this album could have been recorded on black crackly vinyl many years ago. Banjo, mandolin, mandola and retro banjo are all there, both in the background and up front to accompany Muldaur’s drawling vocals that are well-defined amongst the hoops and hollers. ‘Shout You Cats’ puts you in the barn for that dance; ‘Let It Simmer’ puts you on the porch for the wisdom; and ‘He Calls That Religion’ covers all bases of Blues and gospel and folklore storytelling. ‘Bank Failure Blues’ is a desperate slow Blues about debt and despair that talks, for example, of a preacher trading his Bible for a gun. It’s a wonderful hearty album that, even with the Blues, is warm and welcoming - and it features Taj Mahal! From the same stable comes an edgier new album from Joe Louis Walker; a full-band affair with all stops being released. ‘Eyes Like A Cat’ has Walker’s guitar pyrotechnics taking centre stage and doesn’t disappoint. His voice is less tortured than that of his earlier albums, and the overall feel of the album brings on a desire to listen again immediately after a first run through. It’s more rock/Blues than his recent jazz deviations - there is a clue in the album title. ‘If There’s A Heaven’ humps and grinds with a vital expression of genius. There’s a Rolling Stones vibe to ‘I’ve Been Down’, with a Richards-esque guitar riff and Jagger-esque vocal - it could turn out to be a classic homage. ‘Hallways’ takes us back to ‘The Gift’, and yet there are plenty of new sounds to enjoy, too. A must-buy.

Gareth Hayes

ful guitar solo. ‘East Side Hop’ is a lively instrumental reminiscent of Little Walter, with fine harp from Gruenling, whilst the moody Latin tinged ‘Put It Down’ and ballad ‘Every Night When I Get Home’ both show a more mellow side. From start to finish, this is a great listen.

Duncan Beattie

JOHN PAUL KEITH & THE ONE FOUR FIVES Spills And Thrills

Big Legal Mess

In case you’re wondering, John Paul Keith is one person, not some crazy assed combination of The Beatles and The Rolling Stones. Although he does specialise in a style of music that would have delighted many a Hamburg based beat combo in 1962. It's hard driving rock'n'roll, mixed in with a dose of rockabilly and a smattering of rhythm & Blues. We're talking Gene Vincent here, rather than Cliff Richard, and these all original songs have an incredibly authentic sound. Kudos for that must go to the One Four Fives, especially drummer John Argroves, who lays down a beat that is resolutely 1958. As befits music of this ilk, the songs are all about girls, dancing, rock’n‘roll, dancing girls and girls dancing to rock’n’roll. There are some mighty fine guitar licks courtesy of John Paul Keith and Kevin Cubbins, who also co-produced the record, and although they sometimes peek over into the ‘60s, as on the Memphis soul strut of 'Cookie Bones', it's when they whip up a red hot rock'n'roll storm on 'Pure Cane Sugar' that it all works best. 'Let's Get Gone' is a cousin of 'Baby Did A Bad, Bad Thing' and 'Doin' The Devil's Work' is just crazy, man, crazy. I

had a blast, and if you want a reminder of when music was raw, exciting and energetic, so might you.

Stuart A Hamilton

MORIARTY

Gee Whiz But This Is A Lonesome Town

Naive

Nothing at all to do with Sherlock Holmes, Moriarty do make an interesting mystery story, however. Gentle and hypnotic, this is a lovely hybrid of banjo-led, harmonica melody and camp-fire folk that can be described as original and traditional in equal manner. Sometimes too theatrical and howlyalmost circus-like - it is nevertheless very interesting and intelligent music.

Rosemary Standling handles the majority of vocal lead and makes it very personal storytelling by delivering her songs poetically in the first person. ‘Private Lily’, a claustrophobic tale of a 19-year-old heading off to war, is particularly poignant, with emotional banjo accompanying the naive vocals. Moriarty have that sound and feel of ensembles like Emily Barker and The Red Clay Halo offering cowboy Blues and mischief. ‘Motel’ is one of the Bluesiest tracks, with deeply haunting harmonica and hesitant guitar adding chills to Standling’s lonely vocal. ‘Cottonflower’ is an atmospheric love song that suggests we’re listening to The Cowboy Junkies from

an alternate universe - that’s a compliment! Fiddle is introduced for ‘Whiteman’s Ballad’ and bounces nicely off occasional Jew’s harp, as Moriarty explore lyrics that expose mankind’s darker side (“he’s coming to steal and to rape”). ‘Jaywalker (Song For Beryl)’ is a mammoth seventeen minutes long and would be dangerously close to cabaret if it wasn’t so cool and classy.

Gareth Hayes

SOULSAVERS

More than merely offering his astonishing vocals to electronic outfit Soulsavers’ latest, once again, Mark Lanegan’s rich, spellbinding croon dominates proceedings, at the forefront of ten of the tracks on offer (apparently Jason Pierce and Richard Hawley also appear) – whilst also being the chief songwriter, it makes “Broken” pretty much a solo album (although Red Ghost’s sultry tones on three numbers, notably the provocative duet with Mark on the jazzy ‘Rolling Sky’, are amongst the best offerings here). With V2 onboard for a “more relaxed” recording environment, we are told “Broken” is a lighter record than the collaborators’ previous opus “It's Not How Far You Fall, It's The Way You Land” –not that you can hear it, with lyrics like, “Death bell ringing loud…ringing in my ears,” and “When you have no-one/No-one can hurt you” (on the hushed piano augmented ‘You Will Miss Me When I Burn’), this is as bleak and heartbreaking as anything Lanegan has ever done. But it’s captivating and moving throughout, and when Lanegan growls threateningly over the group’s intricate, lush orchestral backing (‘Some Misunderstanding’, ‘Shadows Fall’…), there have been few more fearsome singers ever – ranking him alongside the genre’s best (even if his Blues are without twelve-bars).

Darren Howells

JOHNNIE BASSETT The Gentleman Is Back

Mack Avenue

As I have no personal knowledge of Mr Bassett, I cannot testify as to his gentlemanliness. What I can tell you, however, is that this veteran Bluesman has recorded a very good album indeed. He's been playing the Blues since the mid-50s, plying his trade in the Detroit area alongside the likes of Johnny 'Guitar' Watson and Little Willie John, amongst others. Heck, he even played on some early Smokey Robinson & The Miracles recordings. It's no surprise, then, that there is a very soulful side to a lot of the material here, helped along by the Motor City Horns, who honk away in mighty fine fashion. At times, it's reminiscent of B.B. King's early-70s recordings, but it also jumps into, um, jump Blues on 'Keep Your Hands Off My Baby'. There is also a sly sense of humour running through songs like 'Nice Guys Finish Last', 'Your Real Gitchiegumee' and 'Meat On Them Bones', but he can also bring a tear to the eye on 'I'm Lost', which is straight out of the finest Bobby 'Blue' Bland mould. Most of the material is brand spanking new, but there's still room for a run through Hoagy Carmichael's 'Georgia' - the song that persuaded Mack Avenue to bring

GOV’T MULE By A Thread

Provogue

Mule head honcho

Warren Haynes says: “This record feels like we're moving between the future and the past. At heart, it feels like we're breaking new ground without forgetting our roots." And that is pretty much it in a nutshell. Versatility, energy, excitement and passion have long been the factors that have drawn fans in their masses to worship this band, and, thankfully, they’re all here in abundance. This is the band’s first studio album in three years, and it‘s also their first with new bassist Jorgen Carlson, who replaces Andy Hess. It is Jorgen who kicks off proceedings with the hard hitting stomp of ’Broke Down On The Brazo’s’ - a song that could only be made more low down and funky if they added ZZ Top’s Billy Gibbons so that’s exactly what they do! The listener gets transported back to ZZ Top‘s magical ‘70s era when Gibbons and Haynes get into jamming at the end of the track. ’Railroad Boy’ is a take on an old American folk song that see’s Celtic melodies and the Mississippi Delta collide. ‘Any Open Window’ and ‘Inside Outside Woman Blues #3’ both have a definite Hendrix vibe, while the latter sends the band into late-60s psychedelic mood. ’Forevermore’ is a wonderful soulful ballad that changes the mood of things nicely and really shows Haynes’ strength as both singer and songwriter. They have an amazing knack of turning out albums of great quality time and time again.

Steve Hoare

Bassett back into the recording studio. It's a decision they won't regret, as this is a delight from start to finish.

Stuart A Hamilton

TOM HINGLEY

Thames Valley Delta Blues Cargo

Tom Hingley’s interesting musical career has spanned twentyfive years. Most famous for fronting Manchester scallywags Inspiral Carpets, he retains the chiselled poise of a suburban bank manager. One thing that the Carpets inspired was the career of Noel Gallagher, but this is an unfair linkage to continually rake up, since they are significant in their own right, and so too is their urbane vocalist. Now a lecturer on the pitfalls of the music business, he clearly

BOB LOG III

"All the driving, all the sweat, all the hangovers, flat tires, sore fingers, customs, visas, headaches, lost loves, and injuries are easy. For the simple fact that I love to play my guitar, I love to play my songs, and I love to help a room full of freaky, fun people dance their troubles away."

DAVE GROSS

"Stevie Ray Vaughan was the eye opener that made me start digging deep into Blues music. I worked my way backwards and dug in deep, decade after decade."

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knows how to craft something interesting. This is just him plus guitar and banjo, and in such a simple format - there is little to distract, with only the material and simple musical elements to consider. Hingley pulls this off with a combination of hauntingly unpretentious songs, a thoughtful, refreshingly intelligible vocal and some clean, uncluttered playing. This is perfectly illustrated on ‘Love You In The Morning’, which is a charming contemporary love song. Lyrically, this is all very intriguing, with some obvious angst apparent - “Don’t sell out your family/One day your money will gone.” The standout is the moody ‘Don’t Want To Be A Fighter Any More’, but you will enjoy the very accomplished guitar work in ‘Love Week’, too. It’s not rufty tufty, high octane stuff, but highly alluring nevertheless.

Richard Thomas

SHAUN MURPHY

Livin’ The Blues

Vision Wall

With a CV that boasts stints touring with Bob Seger, Eric Clapton and fifteen years with Little Feat, singer Shaun Murphy

HILL COUNTRY REVUE Make A Move

Razor & Tie

New to me for sure, but it is always good to keep open ears, and I was very entertained by this heady mix of grungy hard rocking Blues, and yet there is also clearly other elements at work here - add in a touch of southern rock, the harder edge of country and just a hint of funk. The album title suggests that these guys, despite this only being their debut release, have their sights very firmly on taking on the business and really making a name. Such a confident outing it is, too. With most of the songs coming from the pen of Garry and Duwayne Burnside, the album opens with a song with their mother's name, ‘Alice Mae'. Perhaps not what you would expect before moving onto a cracking self-titled 'Hill Country Revue'. If ever a song laid clear markers down as to what you can expect when they hit the road and come to play your town, this is it. 'Highway Blues' and 'Ramblin'' continue the restless theme so common in music. My favourite track is 'Georgia Women' - it starts with just guitar and voice before, almost without you realising it, other instruments join in until it all kicks off as a band. Lovely stuff! Certain albums take a little while to grab you, but not this one - you are with it from the off.

Graeme Scott

covers, and both Bob Dylan’s ‘It Takes A Lot To Laugh’ and John Hiatt’s ‘Feels Like Rain’ were regulars in the set list when she sang with Little Feat. She also does an amazing job with the Mike Farris version of Sister Rosetta Tharpe’s ‘Ain’t No Grave Gonna Hold My Body Down’. Her passion, professionalism and many years on the road mean that she is simply incapable of giving a bad performance. When she sings, she really sings. Her band also rise to the occasion on each and every song. Cramer’s guitar work is excellent and there’s some tremendous keyboard playing from Larry Van Loon. It’s more Blues focussed than some of her Feat recordings, and Shaun Murphy sounds all the better for it.

Jamie Hailstone

ERIC DEATON Smile At Trouble

Hillcountry

Eric Deaton was raised in North Carolina, USA, but, after leaving home at 18 years old, he resettled in Chulahoma, Mississippi. There he was adopted by mentor Junior Kimbrough, under whose influence he learned his trade. He played both bass and guitar for the ancient Blues trance master, and that man’s influence is plain to hear on this album. Later he played bass for the Burnside Exploration, then he experimented fusing Mississippi Hill country Blues with West African music. Now this album is a fine testament to all these strong influences on a mature and vital musician. Simple and pounding rhythms are the backcloth to some propulsive rock and Blues numbers, all of which Deaton wrote. Employing a few musicians to augment his own guitar, bass, sitar, percussion and shruti box, this album has a compelling and repetitive ambience, inducing a somewhat spaced-out feeling. There are reminders of the North Mississippi Allstars, but the strains of distant Africa and proximity of Mississippi Blues are supplemented by modern lyrics and superb production. I especially liked the title song, ‘Smile At Trouble’, and the loose ‘Turnt (sic) It Around’. Only occasionally, on tunes like ‘Sweetheart Blues’, is a more orthodox take on the Blues evidenced. The finest aspect of this album is the superb bass playing, for example in the closing track ‘Mercy Dub (Hard Times Finally Passed)’.

Noggin

TRIBO DE JAH

Refazendo

LGK

There have been several Blues/reggae fusions over the years, but almost all of them have been instigated from the Blues side. This is different. Tribo De Jah is, as the name suggests, a reggae group from Brazil. Leader Fauzi Beydoun has recorded Blues previously, though, and he has a fondness for the sound of British rock of the late-60s and early-70s. The band take their inspiration from Bob Marley's internationally successful recordings, when Bob employed black American guitarists – most notably Don Kinsey – and guided them through the unfamiliar reggae sound by simply instructing them, “Just play the Blues.” That is just what guitarists Marlon Siqueira and guest Neto Enes do here when called

upon (which happens fairly frequently!). Elsewhere, you can spot the soul influences on the vocals, or an occasional Stax styled horn intro. Reggae then, but guaranteed to appeal to those who have ever enjoyed a reggae/Blues fusion.

Norman Darwen

FRAN McGILLIVRAY & MIKE BURKE The Road That You Believe In

This duo have been playing folk and Blues together since the mid-70s, and after playing our very own stage at Colne’s Blues festival a few years back, they decided to record a stripped back acoustic album. This CD really is back to basics and is quite sparse musically, letting the collection of self-penned and traditional numbers breathe. It is beautifully delivered, with McGillivray on vocals singing in a warm, slightly husky tone, whilst Burke accompanies her on guitar, with flourishes of harmonica and mandolin to add some colour. The guitar stays in the background and serves to compliment the overall picture, and there isn’t a solo in sight, but this is a thoroughly enjoyable set. The sound is a very mellow, laid-back affair, bordering more towards the folk side of the Blues, but Blues nonetheless, with tunes such as ‘Make Me A Pallet On Your Floor’ and ‘Researching The Blues’ uphold-

ing this case. A gorgeous ‘Wayfaring Stranger’ is one highlight, as well as the soulful sermon in ‘Message From My Heart’. It’s certainly not an album to throw on during a party, but the quiet simplicity of cuts such as ‘The Snows They Melt The Soonest’ and the title track will keep you warm during winter.

Andrew Baldwin

AMERICAN DOG This Ain't The Summer Of Love Bad Reputation

American Dog have been on the prowl for years now, cranking out hard driving albums like "Red, White, Black & Blue", "If You Want Bud, You Got It" and "Six-Pack" (spot the theme?), and playing any sweaty club where you're guaranteed to stick to the floor, bashing out three chord rock'n'roll to anyone who'll listen. This six-track offering is a bit of a curio, rounding up a couple of Dog rarities, some cover tunes and the title track of their forthcoming album "Mean". This means you get bar brawling versions of tunes by Blue Oyster Cult, Kiss and Motorhead. Imagine Nashville Pussy as a covers band, and you'll be close enough for rock'n'roll. Of the original tunes, 'New Evil' was a bonus tune on the "Red, White, Black & Blue" disc, and is a moody beast that well deserves resurrection, while 'Movin' On' was recorded for a Harley Davidson compilation, and is a real gem - boogified and nasty. This leaves the new, title track of the upcoming “Mean” CD. It's

a mid-paced growler of a tune, the kind of thing that sneaks up on you in an alleyway when you're the worse for wear, leaving you sore to the touch and vowing to see the error of your ways. If you don't know the ways of the Dog, then treat this as your key to the treasure chest.

Stuart A Hamilton

THE BADDEST BLUES BAND (EVER!)

The Baddest Blues Band (Ever!) - that’s some claim! I've heard some shockingly bad Blues bands in my time, and was even in one of them. Unless, of course, they're using the colonial hippity hop patois, and bad is supposed to be good. In which case, it's an even bigger claim. Sadly, or fortunately, neither of these claims is true. So, I'm just grateful that they turn out to be a good Blues band, albeit not the ‘goodest’. They get kudos for being a British Blues band putting out original material, mainly written by vocalist Zoe Schwarz and guitarist Rob Koral, something that is a bit of a rarity. They're better at sprightly numbers like 'Broken Heart Blues' and 'Too Much Of A Good Thing' than they are at slow Blues, and they have put some thought into the arrangements with splashes of Hammond organ, and the harmonica embellishments of Si Genora were always welcome. The sound doesn't really leap out of the speakers, but they did lay down all fourteen tracks in two days. The more you play it, the more you get drawn into their John Lee Hooker inspired 'I'm In The Mood' and the bouncy shuffle of 'Let Me Sing The Blues'. They finish off with a live version of 'I Can't Quit You Baby', which rounds off what turned out to be a good, if not the baddest album.

Stuart A Hamilton

VOORMANN & FRIENDS

A Sideman’s Journey

Universal/Mercury

Some records are basically critic proof. What is there to say about a CD that features Paul McCartney, Ringo Starr, Dr John, The Manfreds and Bonnie Bramlett – apart from the fact that it’s really good. However, this is not their album. It belongs to Klaus Voormann, legendary artist, sideman and producer. He was the bloke who designed the cover to the Beatles LP “Revolver”, which you may have seen. Voormann was also a bass player to the stars, including Manfred Mann, Lou Reed and the Plastic Ono Band. Remarkably, this is his first solo album, and he has recruited some of his old chums to record songs that he was either involved with in the first place, or has some connection to. The calibre of the people involved is staggering. Not only did he get the two surviving Beatles, but he also managed to bag Albert Lee, Van Dyke Parks and Jim Keltner along the way. The end result is an engaging romp performed by some truly great artists. It might not break any new ground, but you can’t really fault any of it. A feature-length documentary is also bundled with the album on DVD, and that is well worth watching, as it features the star-studded cast and Mr Voormann himself. It gives a fascinating insight into the life of a session musician and a remarkable talent.

Jamie Hailstone

VIRGIL & THE ACCELERATORS And So It Begins...

virgilandtheaccelerators.com (EP)

This first release by 18-year -old Virgil McMahon is an excellent introduction to the combined talents of his band. The primary focus is McMahon’s electric guitar skills. Things start with a statement of intent through the self-penned ‘No Turning Back’, a superb bass heavy introduction to their brand of Blues-rock. This is followed by the upbeat shuffle, ‘What I Am To Do’, which has a great hook and some fluid guitar playing. An excellent reading of Lonnie Mack’s ‘If You Have To Know’ demonstrates Virgil’s acoustic dexterity and soulful Blues voice. The finale to the disc is a pulsating interpretation of ‘Couldn’t Stand The Weather’, which climaxes with some tight instrumental work.

Duncan Beattie

PEGGY SUE

Yo Mama

Chess Club (single)

‘Yo Mama’ is the first song to be released from this group’s debut album “Fossils And Other Phantoms” which is due out soon. The trio of Rosa Rex, Katy Klaw and Olly Olly Olly (yes, really) have got a strong Blues and roots edge to them. They also have the benefit of some top-flight helpers, in the shape of the Dodos’ producer John Askew and Alex Newport (Death Cab For Cutie, Two Gallants…) who have both worked on the new record. As a taster, the track does make an immediate impression. It’s gothic, dramatic and oozes Americana.

Jamie Hailstone

CRY BABY & THE HOOCHIE COOCHIE BOYS

Salt Glazed Blues

crybabyhoochiecoochieboys.com (EP)

Four nice and raucous tracks running to just short of twenty minutes from this Stoke-on-Trent based six-piece. There is more than a hint of Nine Below Zero and Dr Feelgood about the takeno-prisoners opener and, of course, the cover of NBZ’s ‘Soft Touch, and there is plenty of attitude on the other two tracks, too. ‘Ain’t Nothin’ But The Blues’ refers to many of the music’s greats, showing these guys know what they are singing about (some nice Blues harp, too), and the cover of J.B. Lenoir’s ‘Gimme One More Shot’ is a flat-out rabble-rousing closer.

Norman Darwen

DEBBIE GILES BAND

Debbie Giles Band

Blueriff (EP)

The EP commences with a twelve bar Blues-rocker entitled ‘Rockin ‘n’ Rollin’’, which is a vocal duet between songwriter/guitarist Phil Headsmith and Debbie Giles, showcasing how well matched their vocals are. Debbie’s raw Blues tones crossing with Phil’s gritty deeper resonance topped off with foot tapping instrumentals. Blues-rock ballad ’Crazy ‘Bout My Baby’ follows. Here you get a true listen to Debbie’s raw, sensual vocal, with its clear intonation and passion, again underscored with fluid emotive guitar riffs and driving bass and drums. ‘Get Gone Blues’ is the last track, and this time Debbie and Phil get their teeth into some driven, gritty and dirty Blues. A good sampler.

Carol Borrington

OWEN TROMANS & THE ELDERS The Fall Of Acre Sacred Geometry

With a great big crow on the cover, and song titles like ‘To Vanquish A Serpant’, you could be forgiven for thinking this was a tribute to Edgar Allen Poe. While there is a definite gothic vibe to the proceedings, Owen Tromans is more of an alt rocker with a very wide music palette. At times, he sounds like an alt country hero like Jay Farrar of Son Volt, and other times he is a definite indie muso. This is a stunningly ambitious, full of sweeping highs and lows. You can’t fault it on that level. Highlights include the jaunty ‘Crew Of The Raven’ and the haunting ‘The Dead-Eyed Man’. Over the years, Tromans has played with the likes of Brian Jonestown Massacre, Idlewild,

DELTA MOON

Plush and The Autumn Defense. He also appeared on records with Devendra Banhart, Mercury Rev, Bardo Pond and members of REM and Sonic Youth. His own output is no less eclectic. “The Fall Of Acre” is original, experimental and unique.

Jamie Hailstone

JOHN SCOFIELD Piety Street

EmArcy

If there is anyone reading this who doesn't know who legendary jazz musician John Scofield is, then may I suggest a trip to the PC to type his name into an internet search engine. I promise to stop pointing and shaking my head by the time you get back. Right, now that we've established his impeccable

You’ll Never Get To Heaven On A Hellbound Train

KELLIE RUCKER

Blues Is Blues

PERCY SLEDGE

My Old Friend The Blues

PATRICK VINING BAND

Atlanta Boogie

JIMMY McINTOSH

From New Orleans To London

Blues Boulevard

If you like the sound of gritty songs driven along by a slide guitar, then the new album by Delta Moon is the one for you. “You’ll Never Get To Heaven On A Hellbound Train”, their second album, is chock full of southern Blues stylings straight out of the Tony Joe White handbook. It’s no wonder that the American Roots Music Association named Tom Gray, their vocalist, the 2008 Blues Songwriter Of The Year. They really are that good. Check out ‘Hellbound Train’, ‘Lonely’ and ‘Ain’t No Train’ if you have the temerity to doubt me. Kellie Rucker has been playing the Blues for twenty-five years now, but this might just be her best work yet.

“Blues Is Blues” sees her singing and blowing up a harmonica storm on some fabulous original material, a fair number of which were written with legendary guitarist Jon Butcher. Kellie describes her sound as “a blend of country, Blues, jazz, and four-on-the-floor rock’n’roll,” which is pretty much spot on - although it’s the moody and magnificent ‘Mississipi Rain’ that takes top prize this time out. If you don’t know the name Percy Sledge, then frankly we don’t want your sort round here. He may be pushing 70, and he isn’t hitting too many high notes, but his new album, “My Old Friend The Blues”, is well worth a listen. Produced by Barry Goldberg, and featuring a stellar cast, this sees the soul legend taking on material from writers as diverse as Steve Earle, The Bee Gees and The Hollies to great effect, with the latter’s ‘Lonely Hobo Lullaby’ being a real treat. This originally came out in America as “Shining Through The Rain”, but has been retitled with a bonus track for its European release. As befits the album title, “Atlanta Boogie”, the Patrick Vining Band are a jump Blues band from Atlanta. And if you’re a Big Joe Turner or Smiley Lewis fan, then you’ll love this. I am, so was delighted to see so many self-penned tunes here, although I’m not sure letting someone else sing the title track is the best promotional device ever. Regardless, tunes like ‘Last Night’ and ‘I’m So Glad’ will keep your boogie shoes tapping. “From New Orleans To London” is the first release from Jimmy McIntosh, twenty-five years into a career as a professional musician. As is often the case with session musicians, his own muse sees him heading off into fusion territory, although it does have a firm foothold in the Blues. Although I doubt that comes from his day job playing in the Broadway house band for “Mamma Mia!” He’s got some big name friends onboard, including The Neville Brothers, Ronnie Wood and “Hot Dog”, whose real name rhymes with Deaf Deck. It’s a really good album, at its best when he funks it up a bit on ‘Mama Funk’ and ‘Aka Papa Funk’. There’s also room for a Rolling Stones cover (‘Slave’) and a bash at Jimi Hendrix’s ‘Third Stone From The Sun’.

Stuart A Hamilton

musical credentials, let's look more closely at this fantastic release. Mr Scofield originally planned to go to New Orleans and make an out and out Blues record, but he rather sniffily wondered if the world really needed another record comprised of twelve bar Blues. Now the answer to that is, of course, yes, but instead he decided to look to the Blues God fearing sibling that is gospel music. So what we have is a modern Blues and roots look at bona fide classics like 'Motherless Child', 'Something's Got A Hold Of Me', 'The Old Ship Of Zion' and 'I'll Fly Away'. To interpret some of the most life-affirming music ever, he brought in an A-team largely comprising Jon Cleary (Taj Mahal, Bonnie Raitt), The Meters’ George Porter Jr., and former Beach Boy, Ricky Fataar. It's an absorbing, toe tapping, head turning, invigorating record that just gets better with every play. One of the best albums you'll hear this year - you really ought to stop reading and go get it.

Stuart A Hamilton

GEOFF MULDAUR AND THE TEXAS SHEIKS Texas Sheiks

Tradition & Moderne

This collection has been dedicated to the late, great Stephen Bruton, who took part in some of the recordings before he sadly passed away. It’s essentially a love letter to the music of Texas. With banjos, violins and accordions, this release harks back to be earlier age, when music was played on a back porch as the sun set. No musical stone is left unturned, with nods to jazz, Blues and country. Many of the songs are traditional, with the likes of Robert Johnson and Big Bill Broonzy covered. The whole album has a pleasantly relaxed feel to it, and you get the impression that it was a real labour of love for

all concerned. Fortunately, that love and affection for the music is entirely infectious. In a lot of ways, this harks back to artists like Hank Williams, Jnr and Bob Wills. It’s bona fide honky tonk music. If ever there was a CD to sum up the cultural smorgasbord that is the Lone Star State, then it is this one. Geoff Muldaur has done a superb job, bringing some forgotten musical gems back to life. Let’s hope this project is not a one off.

Jamie Hailstone

LES TRIABOLIQUES rivermudtwilight

World Village

Jessie Broon! There ought to be some sort of warning if you've got an album cover like this. Especially if there's a slipcase, and it's there in stereo. It's why brown paper bags were invented. The weans were greeting for half an hour after I waved the sleeve at them. Justin, Lu and Ben are the men responsible, so we only need a casting session for one rider of the apocalypse. Thankfully, the music is very good indeed, although not Blues in the conventional meaning of the word. There's a mix of folk, flamenco, gypsy, jazz and Blues - so imagine Nick Cave doing an album of Roy Harper covers, accompanied by an electric kabusy. I don't know what that is either, but it's just one of many, possibly mythical instruments that are credited on this bizarre but appealing album. Some of the songs don't work on any level, or seem to come from the soundtrack to a French cartoon about aubergines set in the ‘30s ('Gulaguajira’). 'Crossing The Stone Bridge', however, is a malodorous, depressing, throttle of a song that works magnificently. The Third Man sound-alike of 'Hora Anicuata Draga' leads into an interesting take on 'Don't Let Me Be Misunderstood' and good old ‘traditional arrangement’ turns up on 'Jack O' Diamonds'. If you have a yearning for

DAVY KNOWLES & BACK DOOR SLAM Coming Up For Air

Blix Street

This is the follow-up to Back Door Slam’s 2007 debut album release “Roll Away”. In the intervening time, Davy Knowles has relocated from the Isle of Man to the USA and changed the band’s line-up. Thankfully, the key components remain: Davy’s mature and Bluesy vocals, his distinctive and melodic guitar playing, and his ever improving songwriting. The centrepiece of the album is a recording of George Harrison’s ‘Hear Me Lord’, on which Knowles and producer Peter Frampton duel on guitar in support of Knowles’ plaintive vocals. The title track is an excellent low key opener, and ‘Tear Down The Walls’ is a powerful rocker, with interweaving keyboards providing a fuller sound. Even better is the Knowles/ Frampton co-write ‘Keep On Searching’, with its pumping guitar riff and upbeat lyrics. The mellow ‘Mistakes’ maintains a folk influence and demonstrates this young writer’s ability to display his full emotions, as does ‘You Can’t Take This Back’, which is an outstanding song. This album is more polished and soulful than its predecessor; but Davy Knowles can also strip it back to his Blues roots. An example of this is ‘Saving Myself’, which features simply the voice and a National guitar. It’s a combination of a modern story told over an ancient sound - a sublime moment on what is a very strong album. This is surely the album that is destined to see Davy Knowles propelled into the limelight on both sides of the Atlantic.

Duncan Beattie

HOT TUNA

Relix Collection

JORMA KAUKONEN Relix Collection

Retroworld

Hot Tuna comprises the considerable talents of Jack Casady (bass) and Jorma Kaukonen (guitar and vocals), who were thrust into the West Coast limelight during the heights achieved by the legendary Jefferson Airplane. This duo’s vision was not acid rock, but a shared love of simpler country Blues. This two disc set covers their acoustic work, first with material taken from a 1971 radio broadcast, which was originally released in its entirety as “Classic Acoustic Hot Tuna”. The band uses sparse percussion backing, but the real bonus is the presence of Papa John Creach, a fatherfigure fiddle player, who adds so much to songs such as the melodic ‘Been So Long’. Elsewhere standards like ‘Hesitation Blues’ are smoothly covered. The remastered quality of the recordings is surprisingly good, considering the primitive equipment of the time. The other side of Hot Tuna is revealed in the electric set, recorded just over two months after the acoustic material. This time the duo are live at the Fillmore West in San Francisco, and again the set features the talents of Papa John Creach, whose adaptability is amazing. This work lacks the relaxed feel of the first CD, and is occasionally self-indulgent, like the tedious bass solo during an extended version of ‘Candyman’. ‘Babe, I Want You To Know’ has been added to the original release “Classic Electric Hot Tuna”. A selection of Jorma Kaukonen’s solo recordings for the Relix label are culled from seven albums for another double CD set. They perfectly illustrate his mature and relaxed mastery of the ragtime and country Blues scene, now generically referred to as Americana. The version of Robert Johnson’s ‘Walkin’ Blues’ is perhaps as predictable as the inclusion of rather un-festive tunes from “Christmas With...” is surprising. Half of the material represents live recordings, which allows Kaukonen to stretch out. Undoubtedly, the best representation of the man’s craft is from the classy Bluesy 1998 studio album “Too Many Years”, where the beauty of playing on tracks such as ‘Man For All Seasons’ is worth the price alone. The seven tracks from that album include the superb ‘Hypnotation Blues’.

Noggin

the end of days being soundtracked by calabash and tilinkas, then this may well be for you.

Stuart A Hamilton

GREGG WRIGHT King Of The Rockin’ Blues

Left Hook

This album is technically excellent with quality sound, but doesn’t fully kick in till around halfway. The opener is a standard FM friendly Texas shuffle featuring the obligatory guitar solo, and things plod along pleasantly until the album takes off at track six, the title track – an up-tempo number, with good changes and really nice guitar (there’s a Western swing influence here). From then on, the album held my attention. ‘Between Heaven And Hell’ is acoustic Delta style with a strong feel - very impressive indeed. ‘Bayou Moon’ is a very interesting slow 6/8 tune. Greg seems very influenced by Hendrix’s “Axis Bold As Love” album, and this instrumental track has echoes of the guitar on ‘Little Wing’. There is a great song yet to be written to go with this. Tracks ten to twelve give the album a strong finish. ‘Politics Of Fear’ is heavy Blues and features brave political lyrics. ‘Tricked By The Devil’ is nice from an intriguing theological stance, but Gregg saves the best till last - ‘Brick By Brick’, an atmospheric slow minor Blues, featuring great keyboards and more Hendrix style guitar sounds (one lick recalled ‘If 6 Was 9’). It’s a really heartfelt song, and a good finish to an album that promises much for the future.

Vicky Martin

MICHAEL J SHEEHY With These Hands

Glitterhouse

To be honest, this would not normally be my cup of tea music wise. Even now, I am left with a rather strange feeling of not knowing whether I liked it or not. Was I to tell you that it was a concept album that would probably conjure up ideas of some of the progressive rock brigade? However, this is far from that territory. It is a rather sad, dark and disturbing tale of a boxer, Frankie Delaney, well past his prime. Coaxed out of a drunken stupor for one last fight, we meet him first at the end of his career taking a dive supposedly for the misguided appeal of a local call girl. Over the course of fourteen songs, we gain an insight into his world as a frightened 10year-old being dragged by a violent father to a club where "these b**tards will make you a man" in 'Medal Made Out Of Tin'. Through a natural ability and hard work, success comes via 'With These Hands' and 'Ain't A White Boy Alive' to the inevitable downturn in fortune when he comes up against Marcelus J Mudd in 'Fightnight' and 'Dementia

Pugilistica'. There is a certain visual element to the story that might transfer to the theatre, but, if you stray this way, be aware that it is not an easy listen.

Graeme Scott

THE MOJO STARS

Devil’s Advocate

myspace.com/themojostars

Mike Zito from New Orleans has given us an excellent album here. It has wonderful playing and the production is top notch. It includes several guest musicians from the New Orleans area. There are five standout tracks: ‘Pearl River’, a well paced atmospheric slow Blues with nice changes; ‘Change My Ways’, a minor Blues with nice keyboards; and ‘One Step At A Time’, an acoustic country tune. ‘Dead Of Night’ is again very good - moody with nice accordion. Finally, ‘C’mon Baby’ is a real soulful tune, which closes this record on a high. On a general note, I would have liked to have heard more of the other instrumentalists - the keyboards, in

This trio are a Blues band out of British Columbia, Canada, and play a blend of Blues and rock. A lot of obscure bands and albums are reviewed in Blues Matters!, and, at times, they can be quite difficult to critique when they neither blow your socks off, nor downright irritate you, and this is one of those albums. It is tough to recommend purely because it is just so very average. The utmost respect to these guys who are out there gigging and giving it a go, but they just come over as a decent pub/club Blues band, and I’m afraid they just don’t have anything special to appeal to listeners out of their local area. The guitar playing, to be fair, is strong and pretty enjoyable, while the vocalist is clearly enjoying himself, but he is ten a penny, and he just doesn’t grab you. ‘Struck’ has a New Orleans almost swing feel to it, whilst ‘Vina Vina’ is an up-tempo funky cut that is fun and doesn’t take itself too seriously. There is the obligatory slow Blues number in ‘Fool’s Heart’ that struggles to impress this listener, and that pretty much sums up the album. Unfortunately, the songs don’t rise above your average fare, and the music is ultimately forgettable.

Andrew Baldwin

ALLEN TOUSSAINT

The Bright Mississippi

compositions. This recording combines the work of such artists as King Oliver, Louis Armstrong, Jelly Roll Morton and Sidney Bechet, amongst others. The effect of recording a mainly instrumental album is that it directs the focus onto Toussaint’s excellent piano playing. A superb list of musicians, such as Don Byron on clarinet, Marc Ribot on acoustic guitar and Nicholas Payton on trumpet, contribute to produce a refined and laidback work of art. Two of the songs feature only the rhythm section in accompaniment, whilst others involve the full band. There is a delightful duel between Toussaint and saxophonist Josh Redman on ‘Day Dream’, one of two songs by Duke Ellington - the other being ‘Solitude’. Each recreates the melancholy of the originals. The interpretations of ‘St James Infirmary Blues’ and Django Reinhardt’s ‘Blue Drag’ are more intimate. These allow the listener to hear the subtle interplay between Toussaint and Ribot. Finally Toussaint does sing on the twelve bar Blues of Leonard Feather’s ‘Long, Long Journey’. It is an appropriate title for Toussaint, yet with “The Bright Mississippi”, it does appear he has taken a new and interesting direction.

Duncan Beattie

THE NELSON BROTHERS Places In The Heart

NB

The Nelson Brothers – Steve and Simon – are songwriters with lengthy musical careers who have got together with some experienced musicians to make this album of original songs. Lead vocals are by Steve, and he has a rich, deep and characterful voice that delivers the often introspective or nostalgic lyrics effectively. The songs have elements of country music and frequently elements of ‘50s jazz/crooner songs. Sinatra gets name-checked a couple of times, and some of the songs have bridges that Nelson Riddle might have enjoyed adding

strings to. There’s also a cocktail lounge or cabaret feel to one or two numbers, and a European influence here and there. There are Bluesy ingredients in parts, but Blues isn’t really at the heart of the record. Country music is much more at the heart of the songwriting and playing. There are some original ideas in some of the lyrics, and the opening track, ‘New Me’, is a particularly strong song. There’s a hint of Leonard Cohen here, of J.J. Cale there, in the vocal style and tone, the latter particularly in the opening track and the closer, ‘Sail On’. Plenty of jazzy chords accompany many of the songs, and the aim certainly isn’t to get in your face. Most numbers are slow to mid-tempo and, after a while, things do get a bit samey on that front. But there are some imaginative ideas, and the band have succeeded in producing something quite individual.

FRANCAIS D’AMERIQUE Enregistrements Réalisés Entre 1928 Et 2004

Frémeaux & Associés

This record was released following the anthology of traditional French music, produced by Guillaume Veillet, music collector and former editor of TRAD Magazine, who wished to make available to the widest public possible an insight into traditional French music. This record is, in fact, one of ten CDs in this collection, which is divided geographically by region. This particular CD includes twenty-seven tracks tracing back the

history of the French and their influence in the United States and Canada. From their arrival in Acadia in 1604 to their conquest of Louisiana, including the founding of the city of Quebec, the French strongly influenced North America both in its culture and its music. The songs written by French-speaking communities using rhythms from Western France and especially Brittany have had a great impact. These rhythms give those songs and dances selected for this CD an energy and a contagious happiness which you cannot help being moved by. There are many in the States who will confirm that Louisiana Cajuns have, with their favourite instrument, the accordion, helped spread a music brought by the African slaves and which became known as the Blues. It’s a very interesting album which will delight lovers of American music and its history, and those who enjoy going on a musical journey.

Frankie Pfeiffer/Nat Harrap

VICTOR WAINWRIGHT AND THE WILDROOTS

It might be the debut album for this four-piece from the Savannah, Georgia, but these guys are already driving on a full tank. The focus is the soulful vocals of Victor Wainwright - his voice as mighty as his frame (think Dr John on Viagra). Guitarist

Stephen Dee, who has worked with Pat Travers, handles the majority of the songwriting, and his compositions are finely crafted. The tracks signpost most Blues genres, and the quality of the playing ensures they handle each with aplomb. Of particular note are the affecting ballad ‘Blues In The Rain’ and the country Blues of ‘Not Afraid’, where Wainwright’s vocals drip emotion. This boy can really sing! My personal favourite is the short ‘Sold Down The River’, a Delta Blues number that’s so authentic, you can almost taste the cotton fur your mouth. The funky wig out ‘Wildroot Jam’ and jazzy ‘Square’, augmented by sax and a breathless co-female lead vocal, demonstrate their range and class. The lyrics cover the standard tales of Blues libido but also take in environmental concerns and equal rights. For Blues fans across the board, this is one road trip you should hitch a ride on.

Duncan Jamieson

PUERTO MUERTO

Drumming For Pistols

Fire

I wouldn’t say this record is dark, but this is definitely music to sacrifice virgins or farmyard animals to. The husband and wife team of Tim Kelley and Christa Meyer have come up with a series of primeval and swampy tracks that make Nick Cave sound like “Bob The Builder”. The opener, ‘Song Of The Moon’ sets out their stall perfectly. The Bluesy swagger and darkerthan-dark lyrics would fit perfectly on a “Twilight” film. The two swap turns with the vocals, giving them a much broader musical palette to play with. The light and shade of their singing reinforces the noir-ish undertones. The Biblical and literary references in their music give them a depth that most other bands seem to lack these days. They sing about revolution on

IAN SIEGAL Broadside

Nugene

Let’s get one thing straight: Ian Siegal is no Tom Waits clone. For a start, he is a much better singer than the American living legend. Don’t get me wrong, Waits is a great performer, but he can barely carry a tune these days.

Siegal, on the other hand, is the real deal. He can do whiskey-soaked rasping, but he can also do much more besides, as he proves on “Broadside”. While his previous release, “The Dust”, was all stripped-back Blues, this time Siegal has broadened his musical horizons and delivered the most accessible and enjoyable Blues album of the year. As a guitarist and singer, he has no equal. Blues purists might turn their noses up at some of the funkier and rocking tracks, not to mention the large amount of Hammond organ and James Brown impressions, but the rest of us will lap it up. The highlights include the very funky ‘Like Hell’ and the magnificently titled ‘The Ballad Of Big Foot Chester’. Producer Matt Schofield has done a superb job and everyone, including Siegal, sounds like they had a blast, and really let their musical hair down. “Broadside” lives up to its title. There’s plenty to enjoy, and all of the Blues’ different facets are represented. Yet again, Ian Siegal has thrown down the gauntlet to the rest of the British Blues scene. Let’s hope they pick up the challenge!

Jamie Hailstone

the title track, which is a magnificent piece of alternative rock. ‘The Bell Ringer’ is suitably spine-tingling, while ‘Arcadia’ is a true epic. The whole album has a very dark and alternative feel to it. This is definitely not a record to listen to on a Friday night just before you go out - unless you are planning to watch a film like “The Wicker Man”. Incidentally, no virgins or goats were harmed in the making of this review…probably.

Jamie Hailstone

JACK EDERY & ULTRASUEDE

Fried Chicken & Whiskey

myspace.com/jackedery

This band comes from Beaumont, Texas and features the fine talents of Jack Edery (guitars and vocals) and Susan Pierce (keyboards and vocals), behind whom a solid band lay the foundations for some excellent Texas rocking Blues. All but one of the eleven tracks are composed by the leader, and he takes most of the lead vocals. Throughout the CD, there is a loose and bar-room feel to their music, like the opening ‘Blues Outside My Window’ - plenty of tempo breaks and rollicking piano. There is some great call and response between the two vocalists during the amusing ‘Turn Me Loose In Your Kitchen’. Pierce takes command on the menacing ‘Blind Woman With A Gun’, where the lyrics details the revenge of the person cheat-

NICK MOSS AND THE FLIP TOPS Live At Chan’s – Combo Platter No2

Blue

Bella

Although recorded miles away from Chicago, at Chan’s on Rhode Island (not surprisingly where the first collection was recorded), the feel, quality and ambience is wholly Chicago. Nick is an unpretentious musician, totally schooled in the Chicago scene and surrounded by some quality musicians - two of whom, Bob Carter and Willie Oshawny, have played with the likes of Sunnyland Slim, Otis Rush, Lefty Dizz, Jimmy Rogers and William Clark. On bass is Kate Moss (his wife, not the model). To cap it all, his guest is Lurrie Bell, and between them they create great music. Opening with ‘Spare Ribs & Chopsticks’, the band set out their stall with this stinging instrumental. Another original has Moss singing on the steady beat of ‘Try To Treat You Right’. Gerry Hundt, (harmonica and mandolin) makes his mandolin heard in the jug stomping ‘Whiskey Makes Me Mean’. Sounding like a young James Cotton, Hundt blows his harp on ‘I Got All Kinds Of Love’, and then the beat is slowed right down for a smoky ‘Lonesome Bedroom Blues’. When Lurrie Bell hits the stage, there is some great twin guitar playing. Lurrie’s style is more abrasive than Moss, and this is made obvious in the wonderful Eddie Boyd song ‘Five Long Years’. There’s no doubt that this is one of the best Chicago Blues albums I have heard in a long time.

Osborne

ed; something of a loose cannon without eyesight to aim her shot! Cited amongst their influences are Dire Straits, and this is only apparent in some of Edery’s phrasing and vocal nuances. Elsewhere, the funk of ‘Fried Chicken & Whiskey’ adds flavour to some other great tunes. ‘Mr. Earvin’ is a moving tribute to a departed musician friend and influence. The standouts are the closing pairing of ‘Memphis’, a gorgeous ballad, and the instrumental ‘Knucklebuster’. For a powerful down home Texas experience, this is a good example of the genre.

Noggin

PAUL CURRERI

The new record from Paul Curreri is a triumph of a very different kind. Last year a vocal injury forced him off the road and made him put his musical career on hold. But despite the career-threatening diagnosis, he has dusted himself off, returned to his studio on Virginia and delivered an album of exquisite beauty. Again, he has played every single instrument, and he sings as well as he has ever done. The remarkable thing about “California” is that it is never mawkish or selfindulgent. Curreri’s folkish songwriting is rooted in a positive and life-affirming vision of the future. Tracks like ‘Here Comes Another Morning’ have an infectious joy to them. If this man has been through the mill over the last fifteen months, then you wouldn’t know it. Like its namesake, “California” is warm, sunny and full of joie de vivre. Each one of the albums twelve tracks burns with a quiet intensity. His acoustic guitar work on ‘I Can Hear The Future Calling’ is particularly stunning. Whatever the future holds for Paul Curreri, you can be sure there will be more albums just as good as this.

Jamie Hailstone

SHANNON McNALLY AND HOT SAUCE

Coldwater

shannonmcnally.com

Shannon McNally has been a busy lady over the last few years, touring and playing shows with the likes of Willie Nelson, Stevie Nicks, John Mellencamp, Ryan Adams and Derek Trucks, to name just a few, whilst also appearing on “The Late Show With David Letterman”, “Late Night With Conan O'Brien” and “The Tonight Show With Jay Leno”. Shannon’s strong vocal reminds me of Emmylou Harris at times, and Bob Dylan at others, whilst the music itself conjures up images of Bob Dylan and J.J. Cale jamming. Kicking off with ‘This Ain’t My Home’, we get a Bluesy stomp where McNally perfectly demonstrates her county meets Blues voice, while tasteful twangy guitar licks weave effortlessly between the melody. ’Jack B. Nimble’ could be Dylan in disguise, while ‘Lonesome, Ornery And Mean’ and ‘Bohemian Wedding Song’ have definite late-60s Nashville vibes to them. Things get stripped back to the bare bones on ’Freedom To Stay’, and the set finishes off with Dylan’s ‘Positively 4th Street’, which amazingly sounds less like Dylan than some of the others. All in all, this is a really nice feeling album from a very talented singer-songwriter, who I will certainly look forward to hearing more from.

Steve Hoare

BEN PRESTAGE Live At Pineapple Willy’s

myspace.com/bprestage

Ben Prestage is a true one-man-band, playing a John Lowe cigar box guitar strung for both guitar and bass guitar, and some pedals he made himself that allow him to play four separate drum devices simultaneously - all coupled to a gravelly and tuneful voice. He plays classics from the Blues, jazz and rock genres, as well as self-penned songs, and delivers them all with an air of enjoyment and a lot of skill. His version of the jazz classic ‘Viper’ has all the fun that George Melly gave it along with a Ry Cooder-ish guitar line, and his version of the Grateful Dead’s ‘Me & My Uncle’ rips along at a blistering pace.

Merv

When he gets down and dirty, as on ‘Someday Baby’, he picks out some mean slide and imbues his voice with a dirty and cod-threatening tone. All through this double album, you can hear his history as a street performer in his playing, as he constantly switches mood and rhythm as if to suit a moving and variable audience. My personal favourites are the songs where he takes a classic and gives us the Ben Prestage version –‘Death Don’t Have No Mercy, for example, has a real subtlety and expressiveness, and ‘Cocaine Blues’ pushes along with all the paranoid urgency of a cocaine blitz. I have no idea if he is planning to visit these shores, but this set will certainly suffice.

Andy Snipper

AARON WILLIAMS

aaronwilliamsandthehoodoo.com

This power trio from Madison in Wisconsin play rock loud, fast and furious. Unlike a lot of bands on the circuit, they are not another SRV-inspired clone. It’s just three young guys playing the Blues, funk and rockand having one hell of a good time! The opener, ‘Hypnotize’ might feel like a ZZ Top cast off, but they soon flex their musical

Shackelford on drums and ‘Z’ on bass keep it tight throughout, and Aaron Williams plays a mean guitar. ‘Cadillac’ Joe Anderson provides some excellent Hammond B3 to liven up the proceedings. It’s great to hear a young band having fun and creating music that is entertaining. The track ‘Drinking Blues’ does exactly what it was on the tin. It’s a song about drinking and the Blues, and it’s best enjoyed with a cold beer. It’s also nice to hear a record that doesn’t instantly make you want to reach for your battered copy of “Texas Flood”.

Jamie Hailstone

JAMES McMURTRY Live In Europe

Lightning Rod

The quality of James’ songs, the imagery of his poetry and the stories that he tells has burned into my psyche. McMurtry hails from Austin, Texas, and this live set was recorded both in Germany and at the Paradiso club in Amsterdam, from where the whole of the accompanying DVD is recorded. McMurtry’s music is how Dylan would sound if he appeared as a young man today. Neil Young and Johnny Cash also feature in his sound, his voice somewhat of a drone at times, but it really suits the music, and he can certainly play a good rock guitar when needed. Ian Mclagen (Small Faces, The Rolling Stones…) guests here and adds some sublime keyboard work, ranging from quality piano playing to raunchy bar-room organ chords. Opening with ‘Bayou Torture’, a swamp filled

further great forty minutes enhanced by the appearance of fellow Texan, Jon Dee Graham on the rocker ‘Laredo’.

Merv Osborne

THE PETE HARRIS BLUES BAND

Pete Harris is a stalwart of the Blues scene in the south of England, and has been demonstrating his prowess as a singer and lead guitarist for a very long time. This CD is a live recording of him and his excellent band, and it comes in at a whopping seventy minutes of music. Pete Harris has a good voice that cuts through, and the CD sounds like one of the good-quality Blues bands of the ‘60s British Blues boom. As a guitarist, he shows good taste and good technique, playing to serve the music and not overpowering things with hysteria or volume. A highlight of the CD is the virtuoso harmonica playing of Hugh Budden, who gets plenty of lengthy workouts throughout. The sound is impressive, and the band tight. In some ways, it’s a testimony to just how good people on the British Blues scene, who might be categorised as ‘unsung heroes’, are. The numbers are all covers, of numbers by people like Muddy, Little Walter, Wolf, Slim Harpo and the like, and Pete Harris and his boys do them justice. The CD is a kind of document of a band that exists to play live and serve up well-played Blues music to audiences. It’s not

going to shake anyone up with its originality, but it ought to make people go and check the band out live.

Mark Harrison

HARRY MANX Bread And Buddha

Dog My Cat

East truly meets West for this stunning and mystic Blues album. Harry Manx himself studied for five years in India with slide player Vishwa Mohan Bhatt. So, his music is a stunning mixture of folk, Blues and Hindustani classical music. It’s an intriguing mix, and one that has been done before - not least by Ry Cooder and Bhatt, who worked together on the GRAMMY Award-winning “A Meeting By The River”. The music on this CD is extremely chilled-out, with a spiritual undercurrent always bubbling away just below the surface.

Harry’s soulful voice is similar to Sting’s, which may or may not be a good thing, depending on one’s musical tastes. There are some very moving tracks, including ‘Humble Me’. This isn’t a record you can dance to, but it is an album you can sit back and think deep thoughts to.

Harry’s skills as an acoustic guitarist are never in doubt. He is clearly an excellent player and learned a great deal from Bhatt. It’s a slow grower of a record, but listen to it a couple of times and you will really get into it.

Jamie Hailstone

SOUTHSIDE DENNY SNYDER

Full Circle

myspace.com/southsidedennysnyder

Out of South Bend, Indiana and Chicago and now resident in Montreal, Canada, Denny Snyder plays, writes and teaches guitar, and this example of his music is damn fine. From the opening harmonica howl of Canadian Blues legend Rick L Blues on ‘Lazy Busy Blues’ to the beautifully and sadly sentimental picking of ‘P’Tit Gars’, this is a completely convincing and often emotionally draining album. Numbers like ‘I Got To Go’, with a ringing slide and funk laden backbeat, or the jazzy sleaze of ‘Delirious Frank’ – all Cab Calloway meets Ry Cooder – or the simplicity and folk tinges of ‘Strongest Man

In The World’, with its clever and wry lyrics, all act to demonstrate the artistry of a man who lives for his music. He has gathered some of Montreal’s best and brightest – Lindsay Pugh on bass and contrabass, along with the magnificently named Ivanhoe Jellicoeur on trumpet and flugelhorn, and the aforementioned Rick L Blues – and used them to illustrate his songwriting and guitar playing. However, this isn’t

JON AMOR

Stories From The Crooked Room Number 31

I just can’t help feeling frustrated at the direction that Jon Amor is going in. His musical journey post Hoax must truly be interesting to him but, to many, he seems to be going backwards, ignoring his strengths and trying to build up the weaker area of his musical being. “Stories From The Crooked Room” will do nothing to place Jon into the public eye. In fact, on the opening track ‘Enemies And Foes’, Jon says it himself, “I’m not what I was,” a refrain he sings many times. Jon’s voice cuts it sometimes, but on other songs, he sounds weak. Vocally, he hits it right on ‘Stitch In Your Party Dress’, a lusty tale of seduction, and he has edge in his voice for ‘The Rules’, a tough sounding rocker. ‘Oh Eloise’ is perhaps the best cut on the album, an almost ‘60s folk song with its pleasant acoustic guitar. ‘Nightjars’ is ‘60s pop, whilst ‘Beautiful Trouble’ and ‘Miss Grace’ have a heavy Beatles influence. Overall, however, I feel there is something lacking in the quality of the songs. Simplistic, almost naïve, and songs that you don’t believe in.

Merv Osborne

AL STONE I Want It All Last Resort

BEGGAR JOE Beggar Joe

C.A.T.

Beggar Joe might be from Manchester, but anyone expecting an orgy of indie tunes will be severely disappointed. Like Gomez before them, they have taken the Blues as a starting point, fusing it with country, soul and world music to create a sound that is utterly their own. The end result is a staggeringly impressive debut album, which gets better with every single listen. The slow-burning appeal of their music should not be underestimated, and veteran producer Al Stone has done a superb job, giving the album a real edge. From the Delta Blues of ‘Sleeping City’ to the sly funk of ‘Ain’t No Way’, this record is a constant surprise. The band even manage to pull off a thirteen minute epic, ‘Can You See’, to finish the album. Singer and songwriter Jon Kenzie is a great vocalist, and effortlessly switches between the Blues and soul. Rome Mossabir’s ethnic percussion gives the album an extra edge, too. This is a classy record which reaches far beyond the normal limitations of the genre. It deserves to be heard far and wide. If I was Gomez, I would start looking over my shoulder, because Beggar Joe could soon be coming after them!

Jamie Hailstone

Well into his fifties, Stone has been playing the Blues on and off for thirty-plus years. Born in Chicago, but now based in Jacksonville, Florida, he is a guitarist, vocalist and songwriter. He doesn’t appear to have made many albums (if any), and this could well be his first one in some time. His music is electric Blues, but with more than a hint of southern rock thrown in to the melting pot. The usual Blues issues arise on these ten originals: love (both lost and found), drunkenness etc., and are often intertwined in the same song. The set opens with the title track, which bounds along with great energy and features some decent slide work from fellow guitarist Erik Guess. Stone has a decent vocal, with a country flavour to his accent, and it works best on ‘The Captain’, a slower paced song that contemplates his life and where it might be going - and it is one of the sets better tracks. ‘Blind Dog’ is also a decent Blues track, with good lyrics about his old lady leaving him. There is nothing here to get over excited about, and it certainly shouldn’t be your next purchase, but it is a solid, enjoyable enough album that is worth a few spins.

Andrew Baldwin

STEVE MEDNICK AND EDDIE SEVILLE

La Collaborazione Dei Due: At The Ferndale Valley Sanctuary Vol. 1

Cottage Sound

Eddie Seville has been around quite a while, and played with some serious hitters in the alt.country and country Blues scenes – he plays guitar, keys, drums, produces and sings. Steve Mednick has been playing for many years, but is only now beginning to make a serious name for himself. This collab-

oration sees the two of them coming together seemingly for the sheer pleasure of it all, and the resulting album has a rolling and relaxed groove, with both musicians getting equal billing and plenty of opportunity. They sound a little like late period John Hiatt or John Mellencamp, with that earnest lyrical style and building guitar – you can almost hear the congratulatory whoops at the end of each track. The only problem is that they don’t really have enough identity. The playing is fine and the songs are a good example of the genre –‘Man On The Road’ is dense and atmospheric and ‘Walking On Faith’ has a lovely keening guitar line in the background –but the album would benefit from more of a coherent sound. It isn’t bad – not even close – but it just doesn’t give me the lift I was hoping for given the talent of the musicians.

Andy Snipper

THE ALLMAN BROTHERS BAND Reach For The Sky/Brothers Of The Road

BGO

This single CD combines The Allman’s 1980 and 1981 albums issued on the Arista label. The line-up for “Reach For The Sky” comprised Greg Allman on keyboards and vocals, Dickey Betts on guitar and vocals, Butch Trucks and Jaimo Johanson on drums and percussion, plus Dan Toler on guitar and David Goldflies on bass from Dickey Betts’ other band, Great Southern. For “Brothers Of The Road” two more Great Southern members appeared; Mike Lawler on keys and David Toler replacing Jaimo Johanson on drums. There is plenty that will attract those who purchased the platinum selling album “Brothers And Sisters” to this reissue.

‘Hell And High Water’, with its opening gospel harmonies gives way to a country rock theme owing much to ‘Rambling Man’, while the instrumental ‘From The Madness Of The West’, composed by Dickey Betts, has echoes of ‘Elizabeth Reed’. The one single to come from this album, ‘Angeline’, is a country rocker, as is ‘Keep On Keepin’ On’,

CHERRY LEE MEWIS Southbound Train

CherryJam

while ‘Famous Last Words’ and ‘So Long’ are very FM radio friendly. Tracks like ‘Leaving’, ‘Maybe We Can Go Back To Yesterday’ and ‘The Judgment’ are familiar Allman’s territory with their tight rhythm section, Betts’ tumbling guitar and Allman’s gravelly voice, but others such as ‘Straight From The Heart’ and ‘Two Rights’ could have been written by Jackson Browne, with their catchy refrain and romantic lyrics. A valuable piece of The Allman Brothers Band’s jigsaw.

Philip Woodford

JUSTIN ADAMS & JULDEH CAMARA Tell No Lies

Realworld

This is the second collaboration between these two artists; former winners of BBC’s World Music Award. This album does fall into that broad church, but such a general categorisation does not do it true justice - this is much more than an obscure ethnic art form, rather it is a hybrid of cultural diversity celebrated in a clear equality of European and African cultural and musical influences. Former punk rocker Justin Adams has been exposed to many styles of music, and most recently he has worked with Robert Plant, taking a leading role in Plant’s wonderful “Mighty Rearranger” album. Juldeh Camara is a native Gambian, and acknowledged master of the riti - a single string violin which produces all manner of strange sounds. He also plays a two string African banjo, and sings. A predictable emphasis on African rhythms and vocalisation is embellished by some astonishing riti and guitar parts, which draw upon Celtic music and rock in equal measure. What is even more rewarding are the stylistic changes between the pulsating rock of ‘Kele Kele (No Passport No Visa)’ to gentle ballads such as ‘Gainako’ and from the almost Bo Diddley like ‘Nangu Sobeh’ to the playful ‘Banjul Girl’. This is hypnotic, trance-like, and certainly different!

Noggin

SAMUEL JAMES

For Rosa, Maeve And Noreen

NorthernBlues

I tried to find out a bit more background to Samuel, however, almost in true Blues tradition, there is not too much to be had. Young he may be, but his singular talking Blues style is just wonderful. For certain, he has been touched by the past mas-

It is a little known fact that a certain Bonnie Raitt started her career by playing obscure acoustic Blues tracks, before going on to worldwide stardom. Cherry Lee Mewis might be from north Wales, but this album is every inch as good as Ms Raitt’s early work. Not only does her voice shine in the same radiant manner, but she has brought new life to some old blue gems. Her covers on this album include songs by Koko Taylor, Blind Willie McTell and Memphis Minnie. The original songs are not too shabby either. The acoustic Blues setting really suits both her and the material. Her sexy turn on ‘Let’s Go Back To The Beginning’ and ‘Kissing In The Dark’ make this a CD to remember. This is one of those releases that you just cannot find a fault with. It’s a pleasure to listen to, and anyone who reckons the British Blues scene is stale should get ready to eat their words. A special shout-out has to go to Jeff Dakin who plays Blues harp on this release. His contribution is excellent throughout. This is a first class recording by a first class singer. Cherry Lee could well be Britain’s answer to Bonnie Raitt, and no mistake!

Jamie Hailstone

DAVID JOHANSEN

David Johansen/Live It Up

TAJ MAHAL

Ooh So Good ‘N Blues/Mo’ Roots BGO

These releases combine vintage LPs and cover a lot of ground – though all of it with strong Blues connections. At one time, the inclusion of former New York punk mentor David Johansen might have raised more than a few eyebrows, but since his stint with The Harry Smiths, his roots credentials have increased considerably. The two albums on his CD date from 1978 and 1982 respectively, but both demonstrate a strong influence from Mick Jagger and the early years of The Rolling Stones, as well as a punky feel to several numbers. “Live It Up” starts with a live medley of material from The Animals’ repertoire and also contains worthy versions of The Four Tops’ soul hit ‘Reach Out (I’ll Be There)’ and The Jayhawks 1956 novelty hit ‘Stranded In The Jungle’. There is a strong ‘60s feel to much of the material on both these former LPs. At the start of the ‘70s, Taj Mahal was a respected Bluesman; by the end of the decade, he had become a world music pioneer. This CD shows what happened: 1973’s “Ooh So Good ‘N Blues” is a largely solo and very satisfying set of mostly vintage styled Blues, with The Pointer Sisters supplying some sultry harmonies in places, whilst 1974’s “Mo’ Roots” finds Taj exploring his Caribbean heritage. Largely a reggae set – one of the earliest by an American musician – it saw Taj bringing in Bob Marley to help out. It would be interesting to know if this collaboration influenced Bob’s own approach. Whatever, this is a fine and relaxed CD overall.

ters of the genre, but, on this new collection of cuts, all fourteen are self-penned. In a relatively short period of time, he constructs a series of stories that have both the audio element to them and also a visual impression comes over as well.

These vignettes allow you to experience the pleasure of total involvement in the music.

Using a mix of guitars, banjo, harps and the ubiquitous foot stomping redolent of the old timers, I reckon that Samuel would be a joy to see live. All three ladies in the title have their own tracks, 'Rosa's Sweet Lil' Love Song', 'Darlin' Maeve' and 'Miss Noreen', and were they not to be actual people, surely they must be a combination of characters he has met along the way. The instrumental 'Trouble On Congress Street Rag' shows off Samuel's skill as a player. My favourite is 'John Ross Said' that tips its hat to the legendary Cherokee chief. Stripped back to just voice and the odd tap, 'Wooden Tombstone' has a lonely haunting quality that is unnerving. I liked this lot - it is both old and contemporary at the same time.

Graeme Scott

SAVOY BROWN Skin 'N' Bone/Savage Return

BGO

These two albums were the last recorded by Savoy Brown before Kim Simmonds’ relocation stateside in 1979. “Skin 'N' Bone” featured Paul Raymond on keyboards and rhythm guitar,

Ian Ellis on bass guitar, Tom Farnell replaced the tragically addicted Dave Bidwell on drums, while Simmonds handled all vocals and lead guitars. 'Get Up And Go' starts with a fine drum pattern by Farnell, before a trademark riff from Simmonds, a catchy chorus and prominent keyboards from Raymond. 'This Day Is Going To Be The Last' slows things down, an introspective beginning is followed by a sublime solo by Simmonds. Russ Ballard's 'She's The One' starts promisingly, with Simmonds providing some fine bottleneck, yet its repetitive chorus means that it is memorable for the wrong reason. The final song, a live cut of 'Walkin' & Talkin'', is an exciting finale - it starts as a simple boogie before fluid solos by Simmonds on both guitar and harp interweave with those by Raymond on the electric piano. Savoy Brown’s legendary line-up changes continued, hampered by the departure of Raymond to join UFO. Rather than replace him, Simmonds decided to continue as a power trio. The result was "Savage Return", which was a harder sounding album than its predecessor. This was partly down to the production of Robert John "Mutt" Lange, who later went on to produce for AC/DC and Def Leppard. The album commences with 'The First Night', which is in a style not too distant to either of these bands. 'Play It Right' is similar to The Rolling Stones' 'Tumbling Dice’, whilst 'Don't Do It Baby, Do It' is more reminiscent of T-Rex’s glam rock style. Simmonds’ guitar work is the dominant feature of both nonessential but enjoyable albums.

Duncan Beattie

Norman Darwen

FLOYD LEE BAND

The Amogla Sessions

Amolga

This record needs no introduction for anyone who has seen the stunning documentary “Full Moon Lightnin’”, as it features the veteran Bluesman Floyd Lee. If you haven’t seen the DVD, then you should – as it is one of this year’s must-see releases. This twenty-one track CD takes some of the songs from that documentary and puts them together with other tracks that Floyd has recorded. The 75-year-old singer was a cousin of John Lee Hooker and has lived quite a life. He sings every tune with a passion and intensity that artists half his age can only dream of.

Guitarist and songwriter Joel Poluck has clearly found his muse in Floyd. Each track simmers with a burning intensity, and Poluck’s guitar work, particularly on ‘Mean Blues’, is sensational. Listening to the tracks again, you are struck by what both Floyd and Joel were going through while they were recording them. As one of the last surviving Bluesman, Floyd deserves to be cherished by music lovers. Many of the tracks have a rough and ready, garage band feel to them, which suits both Floyd and the songs perfectly. He even gets to cover a

DAVID GOGO Different Views

BOP ENSEMBLE Between Trains

Cordova Bay

couple of standards, including ‘Shake Your Moneymaker’ by Elmore James. File under essential listening.

Jamie Hailstone

LA JONES & THE BLUES MESSENGERS Man Alive!

Barking Blues

The opening track didn’t instantaneously sell the skills of these musicians hailing from Los Angeles, due to poor recording on this live album recorded at Reigen Live, Vienna, Austria. The second track, ‘Blues After Hours’, was totally different - the recording was much improved, combined with great harmonising, creating a very listenable sound that evoked the atmosphere and feeling of listening to the Blues late into the night with a traditional twelve bar instrumental. By the third track, we were introduced to LA Jones’ voice, which was good, but once again the recording quality doesn’t do the band or his voice any justice, combined with no real sense of an event normally garnered on a live album (with interaction and response from the crowd). So, you do wonder why LA Jones & The Blues

Messengers traded studio recording production quality for a live album. ‘Help Me’ saw the tempo lift, and the band became more relaxed, and this was maintained throughout the rest of the CD. “Man Alive!” certainly provides depth of sound and variable tempo that demonstrates LA Jones & The Blues

Messengers are obviously enjoying the vibe, and, overall, the album is a good introduction to this band.

Liz Aiken

Although still relatively young, this is Canadian David Gogo’s tenth album, during which time he has had several Blues awards bestowed upon him in his homeland. This album ranges from Blues to rock to soul, and is a strong offering, with Gogo writing his own material and they stand up well to the few covers that he sprinkles in. His guitar playing is nice and edgy, going from grungy, swampy driven tracks to more slow soulful Blues fare, whilst his vocals aren’t too shabby either. If anything, there isn’t quite enough of his axe work on this record, but ‘Lies’ is a powerful, aggressive track, followed by the lyrically excellent ‘Erase Any Trace’, which is dark and moody, and is a Blues gem. Certain cuts, such as ‘I’ll Get Over It’, are a little too polished and commercial, but ‘Relax’ shows off his soulful vocals, whilst the fiery ‘Over And Over’ is solid rock’n’roll. A thoroughly enjoyable CD that is well worth searching out by lovers of Blues with a rock edge. The trio that comprise Bop Ensemble are not improvisational jazzmen, but a folk ‘super-group’ also out of Canada. They couldn’t be more different from complex jazz in that they keep things very simple with a folky, roots music set that has a small strain of the Blues running through. All three take turns at the microphone, and all three gently strum along to a collection of unobtrusive and inoffensive songs. Most of the tunes are original, but the album does open with a really splendid cover of Dylan’s ‘Buckets Of Rain’. The vocals are strong and the production minimal - and it’s a really beautiful rendition of a great song. ‘Green River Girl’ follows and is probably the best of the self-penned tunes, with some nice vocal harmonising between the three. Then the tracks all seem to become a little too similar in style, being a touch pedestrian, and the cover of ‘California Dreamin’’ doesn’t quite work - you only hear yourself singing along to the original in your head.

Andrew Baldwin

JIMMY

“DUCK” HOLMES Ain’t It Lonesome

Broke & Hungry

Jimmy Duck Holmes is about as Blues as the Mississippi Delta itself. Born to sharecroppers in Bentonia, he and thirteen siblings were brought up in the famous Blue Front Cafe, now one of the most famous of the old juke joints on Highway 49. For sixty years, he has lived in the same house, and combines running a thriving watering hole for Blues tourists with successfully playing his own “mournful” brand of Blues. The pedigree and credentials are incontestable, and Holmes is one of the few remaining exponents of the minor tuned homespun picking called Bentonia Blues. He learned it from Jack Owens, another local juke operator, but this won’t be everyone’s glass of corn liquor. Indeed, while this record is so authentic you can feel the cool breeze of the ceiling fan and smell the nostalgia and the bourbon, it, sadly, rarely vitalises as you wish it would. It is a little one dimensional, and Holmes’ guitar only sparkles during the more upbeat numbers like ‘Tell Me Woman’. There is another welcome change in tempo, notably in standout track ‘Bentonia Boogie’ – a satisfying upbeat instrumental interlude - before it’s back to the more pastoral guitar-on-lap stuff. This is hypnotic rather than uplifting, and one almost feels like a Blues traitor not raving about it.

Even if your taste buds are not tickled, it should be respected and nodded to as one of the most unimpeachably genuine and bona fide Blues records you will ever hear.

Richard Thomas

SIENA ROOT

Different Realities

Transubstans

Experimental roots from a Stockholm trio might not be the most enticing of introductions to a Blues-loving readership, yet it does provide a worthy diversion. Highlighting the fact that Blues is blue, rock is black and reggae is, err, African coloured, the trio have labelled the colour of their music as sienna (yellow-brown colour) in an effort to convey warmth amongst muddy roots. The first track, ‘We Are Them’, duly complies and gives us expansive progressive rock with towering female vocals, high-staged drum and a lengthy guitar ending - it’s a ten minute track! ‘In The Desert’ is, as it says on the tin, a slow burning atmospheric piece that starts broody but then explodes into instrumental rock. Atmospheric, yet soulless, the tracks in the first half of the album segue into one another to form a single piece of work that they call ‘We’. The second half of the album, ‘The Road To Agartha’, is purely Eastern in mood and delivers with an exotic edge that supports the yellowish-brown or reddish-brown of the band’s name - and has the air of improvisation that

QUINTUS McCORMICK BLUES BAND

Hey Jodie!

ZORA YOUNG

The French Connection Delmark

The current strand of R&B has very little to do with either rhythm or Blues and rather more to do with bump and grind, so it is a pleasure to hear someone playing R&B that actually has rhythm - and is squarely in the Blues genre! It is even more of a pleasure when the album is as good as this one, as Quintus McCormick has a fine voice, has a terrific guitar style and writes a pretty good song, too. The title song, ‘Hey Jodie (Take Good Care Of My Baby)’, refers to a Jodie – a back door loverand kicks off with a heart rending plea to the man who has moved in on his woman to treat her well “while I’m gone”his sweet vocal style and aching guitar coupled with sympathetic horns and the full band treatment set a high-water mark (I would imagine this would make a dynamite live number, too). The rest of the album lives up to the standard of the opener. ‘Get You Some Business’ is funky and jazzy at once; ‘What Goes Around Comes Around’ is a deep Blues with a superb fuzzed guitar opening; ‘Fifty/Fifty’ is an old fashioned soul Blues with a sweet tone - you get the picture: this guy has real chops and a lot of classic sensibilities and feel. He sounds rooted in real music rather than fashion and he is not ashamed to sing about man/woman relationships. On the same label, Zora Young is a belting soul and Blues lady whose voice and laugh suggest that she enjoys life and isn’t afraid of a little fun. She has been around since the ‘50s singing gospel with her family, and then into the ‘60s and ‘70s playing and singing with a host of Blues superstars – B.B. King, Albert King, Willie Dixon, Buddy Guy & Junior Wells – but surprisingly never with her distant cousin Howlin’ Wolf. This album sees her teamed up with Bobby Dirninger – a multi-instrumentalist from Chicago – and an ace session band from France, delivering some classic Blues and soul with a gospel feel. Her version of Willie Dixon’s ‘Wang Dang Doodle’ has to be heard to be believed, and Muddy Waters’ ‘Honey Bee’ has a real Mississippi feel to it, with slide from Philipe Devlin. She covers a lot of ground, but there isn’t really any weak number here, and the combination of her powerful voice and some fine playing makes for a great listen.

Andy Snipper

makes an interesting listen if not addictive. The final track, another ten minute version, takes the Eastern mood and merges it effectively with Western rock beat, but, ultimately, it is still background music when played in the living room. Siena Root are probably best served seen live, where the emotional edge to these evolving musicians can be observed first hand.

Gareth Hayes

THE IDLE HANDS All Night Sinnin’ Independent Release

The Idle hands have been out-on-the road together for twenty years, and this is their latest release. The whole CD harks back to British Blues circa 1967, showing musical influences before and after that date, whilst at the same time being fresh and relevant in a new century. It contains a myriad of shades of the Blues, and straight out of the hands of four class musicians, with a lot of musical dirt under their fingernails. The CD opens with the powerful Blues-rocker ‘I Ain’t Broken’, an infusion of Hendrix and Led Zeppelin into a new musical tincture of sound. 'The Stroll' is a twelve bar Blues-rocker that swaggers its way into dramatic rock harmonies and guitar riffs. ‘Things Move On’ takes the tempo down into a Blues ballad with a hint of folk rock. Phil Allen’s gritty vocal interspersed with his interpretative harmonica playing is taken-up and further elucidated by David Robinson’s emotive electro-acoustic slide guitar. ‘Mississippi’, like its namesake, is a Blues-rock ballad that flows through beautifully making your feet tap and body sway in a metronom-

ic groove to Paul Haydon and Jamie Burns’s rhythmic drum and bass. The Idle Hands have always been an impressive band out live, but this CD marks the zenith of their recorded work to date, and a good example of their top class pedigree.

Carol Borrington

BLUE MOTHER TUPELO Heaven & Earth

Diggin’

If people ask about American roots music, the easiest way of explaining might be to play them this CD, Blue Mother Tupelo's third album overall, and first for eight years. It is worth the wait (but not so long next time, please!). This husband and wife team sing soul, Blues, country and gospel –sometimes in the same song, and usually harmonised so beautifully! Micol and Ricky Davis accompany themselves on guitars, bass, percussion, hand-claps, footstomps – or simply let the vocals convey the feeling. They occasionally draft in others for banjo, violin, drum or other duties; likewise they sometimes borrow other people's songs, but, for

the most part, it suffices to write their own. Micol can sound like Bonnie Raitt one moment, Annie McDowell (Mississippi Fred's wife) the next. Other critics have made comparisons with Sheryl Crow and Gregg Allman; I won't say they are wrong – not at all – but this is far, far rootsier. Blues-flavoured Americana at its best.

Norman Darwen

THE KENTUCKY HEADHUNTERS

Authorised Bootleg: Live/Agora Ballroom –Cleveland, Ohio May 13 1990

Mercury

GRAMMY Award-winning country rockers The Kentucky Headhunters have been on the proud highway since 1968, and this ‘official’ bootleg finds them live on stage in Ohio in 1990. The setlist is a southern rock fanboy’s dream, with plenty of no-nonsense boogie, and a bit of Robert Johnson, Hank Williams and Doug Sahm thrown in for good measure. The band, who had been on the road for twenty years at this point, deliver a high energy set - and the crowd go nuts! This particular recording has been unearthed to celebrate their 1989 album “Pickin’ On Nashville”. The group, who are still going strong today, never quite became household names. This could be because they were too rock for country audiences, and too country for rock audiences. The rocking itself is of an excellent quality. Changing musical tastes aside, they remain unpretentious and great fun. They might not win any brownie points for subtlety, but they rocked as hard as AC/DC and Lynyrd Skynyrd. They just never had the success those bands did. And watch out for the drum solo on Robert Johnson’s ‘Crossroads’!

Jamie Hailstone

BLUEFLINT High Bright Morning

Johnny Rock

All the way from Bonnie Scotland, Blueflint are made up of two old friends, Clare-Louise Neilson and Deborah Arnott, and with “High Bright Morning”, the banjo playing pair have succeeded in producing a magical album. Influenced by oldtime Americana, they invite us to join them in their bluegrass world, adding talented musicians such as Roddy Neilson on fiddle, Ian Stoddart on drums, and Hugh Kelly/Joey Sanderson on double bass to give their sound more depth. Each song, superbly written by Clare-Louise or Deborah, creates its own atmosphere, and the delicate vocals give each track a certain melancholy, which won’t leave even the coldest of hearts untouched‘High Bright Morning’ has beautiful lyrics about life or rather living life to the full before being laid low. There are a lot of emotions going through this impressive album, with stories of lost love, despair, betrayal and life and death. Indeed, there are some dark tales, as in ‘What Lies Beneath’ and ‘Black Horse’, movingly told in subtle harmonies, whilst you can’t help loving life when you hear ‘Skippin’ Skattin’’. Beware, though, their love of old country music is contagious. As soon as you’ve slipped the CD in the player, you can’t help feeling you have to go up to Scotland, order one of those fine malt

whiskies in an old-fashioned pub, and enjoy the wonderful, warming and soothing sound of Blueflint.

Frankie Pfeiffer/Nat Harrap

THE LONELY SOULS Move Your Bones

thelonelysouls.co.uk

The album opens with an old wailing voice over a lonely slide guitar followed by a short discourse on the move from black Blues – music of colour – to the beginnings of white rock’n’roll, and then we get into the real meat of the album and find that The Lonely Souls are a pretty good British Blues band who write their own material and make a damn fine noise as they go. They are Scottish based, and they’ve got a vocal sound from Paul Clinton that comes off as somewhere between Scotland and Seattle, but, musically, they are very much mid-period Stones. Mark Clinton’s guitar, especially, has a full and fat sound, and he slides up and down the fretboard with aplomb. The rest of the band support him admirably, and the result sounds like a happy band of brothers. There are a few top numbers: ‘Superhero’ has JJ Cale overtones and ‘Something In The Night’ is all choppy rhythms and growling guitars. ‘California’ is a real piece of punk Blues, with

NINE BELOW ZERO

It’s Never Too Late!

Zed

Sometimes there’s a paradox; some Blues is of the variety that it’s so upbeat that it will banish those very Blues that gives the music its name. This is just such a record. Openers ‘Mechanic Man’ and ‘Breakin’ Down’ will plant a smile on your face and put a spring in your step, and just when you think it might get too breezy over eleven tracks, ‘Hit The Spot’ pins you against the wall with its gritty Rolling Stones-esque riff. ‘You’re A Man’ is a track that’s cooler than a Popsicle, with its fun lyrics, such as “If you fry your bananas in the finest silk pyjamas/You’re the man.”

Add the funk of ‘It’s Never Too Late’; the narrative folk Blues of ‘The Story Of Nathan Jones’; the rocking ‘Hit The Ground Running’; and even the modern pop rock of ‘You’, and you have one of the most endearing records of the year. With Gerry Mc Avoy, Mark Feltham, Brendon O’Neil - all former collaborators with Rory Gallagher - and Dennis Greaves adding his lungs and string bending, this thirtieth anniversary record really captures the warmth, skill and fun of the band.

Duncan Jamieson

CHICK WILLIS

Hit & Run Blues

Benevolent Blues

Chick Willis’ pedigree includes notable stints with Elmore James and Guitar Slim. He’s also cousin to the late Chuck Willis. He’s been gigging for over fifty years, and is popularly known as the ‘Stoop Down Man’ - a reference to his 1972 US jukebox hit ‘Stoop Down’ that was banned from the radio because of sexually explicit content. His fifteenth and latest album is an unpretentious good-time Blues record. Chuck appears on the cover as a very upbeat sort of guy, and the album reflects that. Chick is augmented with brass so stylistically it sits in the tradition of Bobby ‘Blue’ Bland and Guitar Slim. Standout track was ‘Today I Started Loving You Again’. This country classic, originally made famous by Merle Haggard, works well as an R&B tune. Chick simply bends the melody a little, and it fits together nicely. There are two Bobby Bland covers, ‘Soul Of A Man’ and ‘Millionaire’, and both are done well and sound like the man himself. The rest of the tracks are fine, although I found Stoop Down Man’ irritatingChick’s clone of Freddie King’s ‘I’m Tore Down’. However, all in all, this is a good album that lifts the spirits nicely.

Vicky Martin

THE BAND OF HEATHENS One Foot In The Ether

BOH

This is the second studio release from The Band Of Heathens, but, unlike their studio debut, this is an electric release, featuring the band’s own brand of rock, Blues, gospel and country. The band primarily comprises the complementary talents of Ed Jurdi, Gordy Queist and Colin Brooks - each contributes guitar and piano to the album. They are also fine vocalists, commonly

EDDIE BOYD AND HIS BLUES BAND

Eddie Boyd And His Blues Band THE MICK CLARKE BAND Tell the Truth/No Compromise

West Coast Connection/Steel And Fire

BGO

Ah, Eddie Boyd - this is why you love the Blues! It’s “Ilost-my-baby-she-done me-wrong” Blues, backed by the Gods. Countenance no nonsense from anyone who says “dated” or “formulaic.” This is AAB format old Chicago Blues with Peter Green playing lead, a classic McVie /Dunbar rhythm section and John Mayall playing some jolly harmonicas. No, you haven’t died and gone to heaven - I speak the truth. The only possible criticism is that ‘Dust

trading the songs’ verses and regularly harmonising on choruses. The opening track, ‘L.A. County Blues’ is a strong country rocker dedicated to Hunter S Thompson. ‘Shine A Light’ features a gospel influence. ‘You’re Gonna Miss Me’ is a midpaced Blues song, with slide guitar from Brooks, and would appeal to fans of Derek Trucks or The Black Crowes. The band appear to have a superb level of understanding, probably honed on the road, and are at ease on songs like the radio friendly ‘Say’. Each song is composed of three frontmen, with the exception of a reflective cover of Gillian Welch & David Rawling’s ‘Look At Miss Ohio’.

‘Golden Calf’ is far more stripped back, and almost has the sound of a field recording. Lyrically, like other songs on the album, it refers to Biblical imagery and spiritual allusions. In contrast, the Blues of ‘Right Here With Me’ deals with the loneliness of touring apart from loved ones. This is an album with crossover appeal, and without a weak track. It is recommended to all with a love of roots music.

Duncan Beattie

MICHAEL BLOOMFIELD WITH NICK GRAVENITES AND FRIENDS

Live At Bill Graham’s Fillmore West 1969

Raven

Originally this set was separated between two albums, this one and Gravenites’ “My Labors”, however, this release restores it to its original state, eleven tracks live from San Francisco’s leg-

My Broom’ is a rather obvious cover, but who cares with talent like this? From the simplicity of ‘Unfair Lovers’ to Boyd’s piano expertise on ‘Vacation From The Blues’, you are challenged to keep still. If you do, get a doctor - you actually may be dead after all! Mick Clarke is a home-grown artist who maybe slid under the radar of many Blues followers who have been distracted by the talents of Moore, Clapton and others of that ilk. Here is the perfect opportunity to become acquainted. It is a relationship worth forming, and in ‘Bear With Me ‘and ‘She Moves Me’, you get hard, vigorous British Blues - and the pace never drops! In many ways, it is unremarkable because it’s what you expect of UK R&B, but when you watch a good football player, you say he’s good, not that he is merely a football player. There are four remastered albums here from The Mick Clarke Band, and the music, like the band’s name, is uncomplicated and frill-free.

Richard Thomas

endary venue. The friends in question consist only of Taj Mahal and a trio of saxophone players, but it’s nice to have the tracks reunited onto one disc, as this is an excellent set, with Bloomfield in fine form throughout. He plays with fire and aggression on the opener ‘It Takes Time’, whilst the fifteen minute tour-de force ‘Blues On A Westside’, with some dazzling solos, clearly shows why he is still regarded as one of the finest ever Blues guitarists. The majority of the tunes are Gravenites penned, but covers of Otis Rush, Ray Charles and some southern soul from Arthur Conley mix things up. Gravenites sounds strong vocally, but it is the fabulous instrumentation conjured up by Bloomfield that steals the show. If the guitarist had took heed of the warning in ‘It’s About Time’, he might still be with us. Taj Mahal sings on ‘One More Mile To Go’, and is backed by some stinging lead guitar. This release does have a bonus track of Bloomfield with Al Kooper, and goes to show what a tremendous talent we lost in 1981.

Andrew Baldwin

BOB CHEEVERS

Despite the alliteration in the title, “Tall Texas Tales” comprises of one distinctive track after another, bounded together by ballad style lyrics and a pride in Texas. The opening track reminds

you of Glen Campbell - definitely country knocking on Texas Blues door. If you want to widen the Blues genre to include roots and country music under the label of Americana, “Tall Texas Tales” fits the bill every time. The CD is never repetitive due to the imaginative use of different beats and distinctive elements in each track, such as the Mexicana style whoops in ‘Luckenbach’ reminding you that Texas is border country. In ‘Mushroom Cloud Lil’, his voice takes on a Neil Young timbre, as the grim story is told with background of country violins. This CD is definitely Americana Blues, with pride steeped within the Lonestar State that keeps you entertained throughout. Bob Cheevers is a strong singer-songwriter, and the fact that the CD was recorded over eight days is reflected in the fresh energetic sound that comes from music that has not been over engineered, thus reflecting both the personality and feelings of songwriter and singer. Bob Cheevers delivers a sound that is country with a little bit of Blues, but for anyone who isn’t a Blues purist, this is an album well worth dipping into and adding to your collection.

Liz Aiken

L.C. ULMER Long Ways From Home Hill Country

Veteran Bluesman Lee Chester Ulmer was a mere 79 years young when he took to the stage at the Roots N’ Blues Festival

ALBERT KING WITH STEVIE RAY VAUGHAN In Session

Stax

To my knowledge, this album has been around since the late-90s, although it was recorded in Hamilton and Toronto in the ‘80s. Albert King had been invited on to a Canadian programme ‘In Session’, and someone thought it would be good fun to throw in a curveball in the shape of SRV. Legend has it that King refused to go on when he saw “that skinny white kid,” but then realised that they had met a few years before. When they did get down to playing, the results were electrifying. This is a brilliant example of two great artists exploring each other’s talents and finding a huge vein of mutual respect, as well as the origins of real friendship. They open with ‘Stormy Monday’, and while both take solos, it is Albert King that makes the most impact – but only just. The cackle of joy both great men exclaim tells the story. The tracks are interspersed with chats between the two, and you do feel that this is ‘real’ and not rehearsed. The only SRV number on the album is ‘Pride And Joy’, but you can clearly hear the influence that King had on the young man, so much so that the guitar styles on this number coalesce. ‘Blues At Sunrise’ is fifteen minutes of pure Blues, with King testifying about playing with Hendrix and Janis at Fillmore West and SRV matching him line for line in the Hendrix role until the whole thing just explodes with some of the most expressive Blues anyone could wish for. Anyone who professes to be into electric Blues should have a copy of this – as an example of the genre, it is unmatched.

Andy Snipper

in Italy to record this CD back in June 2007. Ulmer is backed throughout by Wallace Lester on drums, Eric Deaton on guitar and Justin Showah. The old boy himself is in fine voice, and he also plays electric guitar on all the tracks. The only niggle is that some of the tracks do wander off a bit. At more than nine minutes long, ‘Burn Down The House’ feels like a jam too far, and while it is highly listenable, it would have sounded a lot better if it was a few minutes shorter. You probably had to be there! Ulmer is still a phenomenal performer. When it’s just him, the results are incredible, like the spine tingling ‘Move Them Hips’. It’s the Blues as it was meant to be played, and performed by a Mississippi veteran who was there when it all began. He might have been a long way from home, but Ulmer definitely brought the Blues with him!

Jamie Hailstone

CAL WILLIAMS JR

The CD is a mix of covers and his own material, whilst Australian slide guitarist Cal Williams displays little slide playing. The guitar instrumental on the first track ‘Greyhound’ is rather heavy handed and plodding with no distinct style, rather a motley mix of picking, slide and the hint of Spanish Flamenco – an opportunity missed to lead you expectantly into the album. ‘Mexico City Blues’ introduces Cal’s singing voice, but this has the same leaden range of the guitarnot so much harmony as monotony. By the third track, I was looking for some texture, and the title ‘Lonesome Valley’ hinted at the possibility of Americana/country Blues, with bass player Kory Horwood joining in to create a poor imitation of Robert Plant Alison Krauss’ collaboration. The choice of

Bob Dylan’s ‘I Shall Not Be Released’ was not a good one, as his voice did not meet the demands of this lyrical number. Reverse psychology was in use with the last track, ‘Death Letter Blues’ (an Eddie ‘Son’ House Jnr cover), which was the highlight of the album.

Liz Aiken

THE MICHAEL LOUIS BAND South New York

MMM

Brooklyn, New York born Michael Louis grew up listening to the rock’n’roll music that his parents loved, and so, for this release, he and his band travelled south to record in Memphis and imbibe the feel of those ‘50s and ‘60s greats. Co-produced by Travis Wammack, himself a 16-year-old prodigy in the ‘60s, this trio have forged a CD that is heavy on rhythm, riff, distortion and rock - all interspersed with lighter moments of funk (‘Shade Tree’), country (‘Country Girl’) and southern rock (‘Saturday Night’, with its seemingly strained vocals). ’Let It Go’ is very reminiscent of early Allman Brothers, with some pleasant slide playing, however, some distortion on this track does sound as if a rogue CB radio is playing in the background. In ‘Super Directional’, Louis has nailed a superb rockabilly instrumental. The final song on the album is perhaps the real reason that Louis and the band travelled south. ‘Memphis Sound’ is very much a tribute to those early rock‘n’roll pioneers, played in the spirit of those times, and with Sun Records legends Sonny Burgess and Billy Lee Riley singing on the track. The final offering is a recording of a conversation with those two, recounting their memories of how they achieved that sound.

Merv Osborne

LIVING COLOUR The Chair In The Doorway

It’s been five years since funk metal pioneers Living Colour last released an album. Did you miss them? Be honest now. It has to be said that the album’s title is a bit of a stinker, and the cover is not much better. The band, who still have all their original members, have been going since 1984, and were hailed (winning a GRAMMY along the way) in that decade for seamlessly blending a number of genres, including the Blues, into their hard rock sound. Unfortunately, on this effort, they illustrate little sophistication - in the cold light of day, many of these songs sound ridiculous. Like any metal track, songs like ‘Decadence’ revel in the clichés of the genre. When the band do slow it down, as they do on ‘Young Man’, they reveal something slightly more stylish and a lot more enjoyable. The best track by far is ‘Bless Those (Little Annie’s Prayer)’ which will appeal to Blues fans, with a great slide introduction, and show there is more to this band than just thunderous riffs (and perhaps pointer to why they were so successful twenty years ago).

Jamie Hailstone

LONG JOHN HUNTER Looking For A Party

Blues Express

Long John Hunter, born in Louisiana in 1931, previously recorded on Alligator Records, and did not come to the fore until the mid-90s, as, previously, his music was little known outside of Texas. First track on this CD is the title track, ‘Looking For A Party’, and thus you are promised a robust beginning to the album. He doesn’t let you down with a full on Texas Blues track, with a strong drum beat delivered by Lee Spath. The track is reminiscent of Albert Collins, with a modern twist of

POKEY LaFARGE

Beat Move And Shake

Big Muddy

added brass. Overall, the relaxed and easy voice of Long John Hunter is reminiscent of Sherman Roberts. Each track is distinctive with skilful use of the whole panoply of styles and instrumentations, from the piano on ‘Beggar Man’ to a percussive ‘Looking For My Baby’. The guitar work blends the mix together with skill, artistry and vigour of an incendiary device. “Looking For A Party” is a well recorded set of originals, with an upbeat tempo, crisp sound, good diction and musicianship blending the whole Blues listening experience into a toe tapping delight. This album will definitely broaden the following of Long John Hunter even further.

Liz Aiken

MURALI CORYELL Sugar Lips

Murali’s

The title and liner picture suggests something more provocative than the content the album actually delivers, but that doesn’t mean it hasn’t got plenty going for it. Opening with a full-tilt ‘Blame It On Me’ and ‘What You Gonna Do About Me?’, the tone is also set by Coryell’s effective gravelly vocals. The album could go one or two ways, either more Blues or towards soul and Stax. He possibly chooses the latter, although, with Joe Louis Walker and Reese Wynans (Stevie Ray Vaughan’s keyboard player) on board, it’s a surprising turn. Maybe this is because Coryell’s father Larry is involved and adds a more sensitive touch, with gentle and subtle guitar work. This is very evident on the uniquely depressing ballad ‘Mother’s Day’. It may be politically incorrect to call this obscure, but it is, even if it is a very personal tribute to Coryell’s mother who passed away in 2009. The title track is a stormer, with a flavour of ZZ Top to excite. The album comes into its own on the tracks where Joe Louis Walker contributes. Walker

It sounds like Pokey LaFarge’s radio ran out of batteries circa 1940, as this is music deeply rooted in a bygone era. The man from St Louis is a lone troubadour who conjures the spirit of the likes of Blind Blake or Sleepy John Estes on ‘Mr Nobody’ and ‘Where I’m Gonna Go’. The higher register employed on ‘Favourite Dog’ nods at Skip James, whereas ‘Born In St Louis’ has an assertive rhythm and narrative akin to Lightnin’ Hopkins. However, what prevents this from sounding like a pastiche is that LaFarge’s self-penned songs are borne out of experience of a life on the road, playing over two hundred shows a year. He may have swapped a boxcar for something more modern, but the spirit of the wandering minstrels lives on in this ‘man out of time’. The unadorned a cappella of ‘I See The Change Coming’ is pulled off with total authority. There are a couple of occasions that hint at something more contemporary, the Dylane-sque vocal delivery on ‘Arkansas’ and the Ryan Adams sounding ‘Cairo, Illinois’, but, generally, this is the sound of the ‘30s brought back to life - and from a man who plays a mean kazoo! Who could resist?

Duncan Jamieson

bends and twists frenetic guitar pulses on the stunning ‘Minor Funk’. Walker also supplies innovative harmonica on ‘I Still Do’. Engaging and rewarding, if not essential.

Gareth Hayes

DAVE RILEY AND BOB CORRITORE Lucky To Be Living

Blue Witch

After a particularly successful first album, “Travellin’ The Dirt Road”, we were expecting great things from Dave Riley and Bob Corritore’s second album - and they haven’t disappointed! This is a superb album of pure Blues, with no filling in with long, useless guitar solos. The sound is perfect, just like it used to be in an old-fashioned ‘50s studio, with Bob’s harmonica leaving Dave’s voice in the forefront, whilst always being present. This incredible sound is down to the talent of Clarke Rigsby - in charge of recording and mixing - demonstrating what a producer Bob Corritore really is, taking care of every detail. As for the musicians, there are the usual culprits: Chris James and Patrick Rynn, regulars in The Blue Four and Bob Corritore’s loyal soldiers when on tour, but also Henry Gray on piano, Dave ‘Yahni’ Riley Jr on bass and no less than three drummers. There is a special tribute to Frank Frost, the last original Blues artist to have recorded in 1962 for Sam Phillips, with four of his songs being covered, such as the highly spirited ‘Jelly Roll King’. Four other songs are written by Dave Riley, another one by Fred James, and, as in the first album, Dave pays homage to his late friend John Weston by performing one of his songs, ‘Sharecropper Blues’. “Lucky To Be Living” is a CD you could describe as timeless, between acoustic and electric, one of those CDs they don’t often make any more - a Blues masterpiece.

Frankie Pfeiffer/Nat Harrap

DENNIS JONES Pleasure & Pain Blue

Rock

Rated by many as a future top guitar slinger, “Pleasure And Pain” certainly highlights the playing of Dennis Jones. At times, it was surprising to realise that, in fact, this is only a trio, so cleverly crafted are some of the songs to appear much fatter than they really are. Jones was influenced by the usual bunch of ‘60s musicians, and as a US serviceman in Germany in the late-70s, he garnered greater experience by playing in bands there. As a guitarist, he draws from those experiences, sounding at times like Jeff Beck, Stevie Ray Vaughan, and others, moulding his playing to suit the feel and attitude of the song. His voice, whilst not the best, is strong and expressive, and more than once I was reminded of Hendrix. Whether he’s playing a Vaughan type shuffle (‘I’m Good’); shredding and playing full rock style (‘Try Not To Lie’); funk (‘Blue Over You’); or playing with passion (‘Sunday Morning Rain’), Jones carries it off with style. All eleven songs here are Jones originals, and they stand up extremely well - the weakest being the closer ‘Hot Sauce’, with its uneventful call and response type arrangement. But Jones can play sweet and pretty, or downright hot and nasty.

Merv Osborne

CLARENCE BUCARO

New Orleans

Hyena

Blues, soul, gospel, pop…we all love to pigeonhole artists neatly, but with Clarence that’s not so easy. You get a bit of a mix of, for sure, all four of the previously mentioned genres, but I’m sure that you could probably factor in a couple of other musical styles as well. So does this mean that you should not investi-

THE ROBERT CRAY BAND

This Time

Nozzle/Vanguard

There are some artists who, by just playing the first few notes of any song, can be instantly identified. Such is the case of Robert Cray. Here Robert has been joined by his long time keyboard player Jim Pugh, drummer Tony Braunagel and former bassist, during the period 1974-1991, Richard Cousins has been pulled back in as well. So, there is perhaps an element of freshness about this collection sitting alongside the familiar feel so redolent of Robert's work in the past. No idea what divisions of ideas in the writing department are attributable to each song, however, all members brought songs to the table. A slowish Blues, 'Chicken In The Kitchen’ is a song which has the oft targeted subject of partner or marriage infidelity - "I do all the cooking in the house while you're out running around.” Sex has always played a big part in the Blues and this is a good example. I did not expect the pace to drop even further on the second track, 'I Can't Fail', but slow it did. Don't worry as there are up-tempo songs as well'That's What Keeps Me Rockin'', 'Trouble And Pain' and 'To Be True'. Overall, this is a good, balanced album, and a very welcome return.

Graeme Scott

gate what is on offer here? Certainly not! I really liked "New Orleans" a lot. An album full of tender love songs with a laid-back simple groove throughout leaves you with a wonderful warm glow reminiscent of Simply Red and Van Morrison. I assume that these cuts were recorded in New Orleans, and a certain Crescent City atmosphere shines throughout. 'Light In Your Eyes' begins the journey of discovery, moving on to 'Matters Of The Heart' and, a place I am sure we have all been, 'Unfulfilled Love'. Continuing the theme, the slightly rocky 'The Other End' has our man waiting for the object of his desire to leave her present relationship. By 'It's Only You Tonight', they are at last together but for how long? To find out, buy this album!

Graeme Scott

THE LUCKY STRIKES

The Chronicles of Solomon Quick Stovepony

A concept album about the man who killed Robert Johnson sounds like a risky business to many, but the story of how The

Lucky Strikes came to be is fitting: just back from travels in the Deep South, singer Jesse Vance stumbled in a small London club upon a three-piece band playing traditional Blues. Sounding like one of the apocryphal tales told by Delta Bluesmen, this suitably rootsy genesis permeates into their music, with their visceral garage sound lying somewhere between “Exile”-era Stones and Neil Young’s Crazy Horse. The Strikes start as they mean to go on with the unrelenting classic rock of the album opener and title track, before moving into some boogie woogie piano on second track, ‘Morning Light’. They display their country credentials admirably with the fiddle and banjo of highway song ‘Going Out West’ and the tender, if rather tame ‘Sweet December’. Indeed, the band’s ballads fail to match their heavier numbers, with the likes of the ragged ‘Sunlight Blues’ far superior to the saccharine ‘One Way Down’. The honourable exception to this is the epic album highpoint ‘Second Act (Funeral)’. An album of vignettes – both musical and narrative – it doesn’t always hit the target, with lyrics that at times seem contrived to fit the concept, but when it does, it does so spectacularly. Solomon Quick: he might have murdered Robert Johnson, but he has provided the inspiration for a damn fine album.

A.M. Bates

THE OLLY ALCOCK BAND Doggin’ The Blues

myspace.com/ollyalcock

Olly Alcock is a Carlisle based guitarist and singer who has played on the Blues circuit for nearly forty years. His band plays a form of rocking Blues notable for the inclusion of alto saxophone by the formidable Roz Sluman. “Doggin’ The Blues” contains twelve self-penned tracks by Alcock. Following the upbeat opener, ‘Trouble’, is ‘Hit The Track’, which is somewhat of an anomaly for the band in that it sounds more funk than Blues. Sluman’s sax is used to good effect. ‘Something For Nothing’ commences with a powered up Elmore James style and features some powerful slide guitar. However, as the album continued, it was clear there was little variation in the music, and the raspy vocals of Alcock are an acquired taste. The subject matter does refer to oft-covered subjects, such as hard women and hard living, such as ‘Hair Of The Dog’ and ‘Killing Time’. Some respite was offered with the slow and atmospheric ‘Living The Dream’, before a return to the style of the previous tracks in ‘Going Back To Carlisle’. The closing title track is the strongest song on the album, a reflective tale of a problematic relationship, with a great sax solo. Ultimately, I did find the album rather one paced. There is little doubt that the Olly Alcock Band can provide a good evening of entertainment, but that doesn’t mean you’d want to take them back home.

Duncan Beattie

THE CRANK BROS. Black Midnight, Stars & Streetlights

Fabuloso

Proving that the Blues is a universal form of music, here we have The Crank Bros. from Oslo, Norway. Also proving that good Blues is good Blues, we have The Crank Bros. from Oslo,

Norway. This is a really fine album, understated and with a sound from the heart of some very good musicians. Their sound is dark and intense, and, in Kjetil Grande, they have a guitarist who can wring emotion and the frustrations and pains of life from his instrument like the best of the Chicago school.

Gunnar Saeter hits a big old drum sound and Audun Ramo’s bass is positively stygian, right on the money and a huge part of their atmospheric reverb and twang. They do stray a little into formulaic territory occasionally, but with a very Norwegian twist. Grande manages to avoid one of the most common traits of ‘foreign’ players in that his voice sounds as though English is his first language, which helps, as the words and the vocals match up. They do a fine version of T-Bone Walker’s ‘Get These Blues Off Me’, with a superb guitar line and a fair version of ‘Cuttin’ In’ (Johnny Guitar Watson), but it is really the self-penned tracks, like ‘The Big Deep’ - all surfer-psych and Dick Dale guitar - where their real strength lies. Good Blues, no matter where it originates.

Andy Snipper

THE MOJO GURUS Let’s Get Lit With…

Linus

The song titles tell most of the story: ‘Let’s Get Lit’, ‘Bucket O’Blood’, ‘Better Of The Bottle’…yes, we are in

HIP ROUTE Working On Hope

JIM BLAIR One Take Kitchen

myspace.com/hiproute

good ol’ boy territory with geetars, cowboy draaaawls and ‘clever’ lyrical tricks. There are tracks here that have a tinge of Status Quo, and others that could be in George Thorogood’s canon, but most of this is pretty generic. Sure, they play well enough, and most of the songs actually bear up to listening more than once - if you came across them in a bar you would have a great time getting down and partying - but there is very little here that would pass the iPod test, with the probable exception of ‘Stingray’, which is a real Dick Dale styled instrumental paean to the Corvette, with a wicked psych organ wail and a thumping drumbeat. ‘13’ is pretty fair as well, with a rip roaring guitar buzz, and the line “Hellhounds and Demons coming in my dreams/My sweet Jesus turned his back on me,” but most of this is redneck country, and derivative at that.

Andy Snipper

JOHN MAYER Battle Studies

Sony/Columbia

Where did it all go so right for John Mayer? It’s in the seamless blending of slick pop with the Blues, as evident on this, his most recent release, that’s where. “Battle Studies” follows on from where “Continuum” left off, and,

Interestingly, “Working On Hope” begins with an instrumental called 'Paige'. It is short and just ambles along - starting with a little guitar and building as the other instruments join in – giving the impression of the band jamming together as a warm up. Things really kick in with 'Traffic Lights And Roundabouts' that has a kind of Tony Joe White growling vocal. As the album progresses, it is clear that bandleader Jim Blair (guitar/vocals) is not only influenced by the Blues, but folk, jazz, funk, roots and reggae - I really enjoyed the reggae tinged 'Wait And See', as it transported me to the warm sands and seas of Jamaica. Darker territory ("Heard of a girl never let out of sight/You can be watched, but to suffocate is not right") beckons in 'Graced By You', and further highlights included the title and closing track 'Sometimes Always'. Hailing from the south of England, Hip Route have a universal sound that should appeal to lovers of real music. “One Take Kitchen” is an almost totally solo effort (some very discreet percussion is audible in places), just Jim and his guitar sitting in his kitchen with a mate’s recording unit and a microphone, and most of the ten tracks on this CD were laid down on the first take. As you might expect, the overall mood is very intimate, with the slide guitar whining away or some simple strumming on some personal, original songs - most often delivered in Jim’s quiet, almost whispering voice. Sometimes, though, things do become rather more animated, with the slide guitar propelling things along in classic Blues fashion – try ‘Dancing Barefoot’. Most of the music is Blues or roots based, and although one or two tracks might have benefited from a little pruning, this is a very entertaining release.

Graeme Scott/Norman Darwen

for most of his existing fans, delivers what anyone could have hoped for. It’s a masterpiece of texture and tone that leaves you wondering just who is Mayer’s major influence – this is not another SRV wannabe! Mayer gives a nod to the likes of Chris Rea, Eric Clapton, Fleetwood Mac, and, ok, SRV, but also many more over the course of this “handbook for heartbreak” (as Mayer so eloquently put it himself). But if anything, Mayer has shifted his balance more to the pop side of his psyche for this collection, but for an interesting, if out of place cover of ‘Crossroads’, standouts remind you of the likes of Paul Simon in his “Graceland” days (‘Assassin’), and even country artist Taylor Swift (‘Half Of My Heart’). What Mayer does so artfully is blend Stratocaster tones with synths and drums - we don’t have endless solos or

KILL IT KID Kill It Kid

One Little Indian Expectations have been slowly been rising about this outfit all year, spurred on by the mouth-watering single ‘Send Me An Angel Down’. However, the big question remains –can this band of twenty-something Brits cut the mustard? Are they the next big thing? And will Southampton Football Club ever get back in the Premiership? The good news (for anyone who isn’t a Saints fan) is that this album does indeed live up to the hype surrounding their first two singles, both of which are here. Chris Turpin has a totally unique voice. God knows what it must be doing to his vocal chords, but the sound that comes out of his mouth is fantastic. His deep love of all things Blues is clear. The band mix rock, Blues and folk in a very unique fashion. To say they have their own sound would be an understatement, and Stephanie Ward’s presence as the other singer gives an extra sense of fission to the record. There is perhaps more rock than you might have expected, but each track is a thrilling listen. It’s all a million miles away from the dross currently doing the rounds in the charts. Like Gomez before them, Kill It Kid are taking the Blues in a bold and new direction. Believe the hype.

Jamie Hailstone

open-minded, “Battle Studies” will leave you spellbound.

Samuel Pentony

NATURE BLU Here Am I

J&N

It is perhaps a testament to the sorry state of Blues music in America that an artist as majestic and talented as Nature Blu is forced to advertise for bookings on her website. This is a singer who should - and hopefully will one day - sell-out rock stadia, with a voice unlike anything you will ever have heard before. If you are unfamiliar with her, then never fear, as she announces ‘Here Am I, Here I Am’ on the album’s uplifting title-track and opener. However, Blu is versatile, belting out a bitter lament on the excellent ‘Damn Your Eyes’. There is a caveat – for all the brilliance of Nature Blu’s vocals, her band offer what can only be described as Blues-by-numbers backing. The music is somewhat predictable, and this distracts from Blu’s soulful singing. The honourable exceptions to this formulaic approach is the superb Blues-funk evident on the album’s closers ‘Wha’ U Do’, and ‘All The Way Down’ – this heavier approach to the Blues is perhaps a direction Nature Blu could pursue further on her next album. That said, the music on “Here Am I” is more than competent, with Blu’s soaring vocals redeeming even the most ordinary tracks (save the incongruous and underwhelming ‘Spanish Harlem’). Nature Blu is capable of more, however, and that is reason enough to keep listening to this diva with the incredible voice. Here she is indeed.

A.M. Bates

NOBODY ELSE We Don't Dance!

Pacific Grove

Is “We Don' t Dance!” a Blues album? Maybe not entirely, but it is very much influenced by the Blues. Is it a good album? Most definitely! Opening with two fairly standard yet melodic rock numbers, it is the third track which clearly identifies the influences of this band. 'Thank You' is not only an homage to some Blues greats, but a classic yet modern Blues stomper. Of the eleven self-penned tracks, two may well become modern Blues classics if given a wider audience. 'Good Goodbye' could be mistaken for a collaboration between Bessie Smith and Robert Johnson, with mournful lyrics sung over a riff straight from the Delta. The last track, 'Where Is Your God?', is a masterful combination of gospel, rock, soul and Blues, and provides a fitting finale. Throughout the album, Annette Chapman's vocals are never less than stunning. This is a real voice. The band's playing is always complimentary to the songs, and Nobody Else show a real confidence in the integrity of a three-piece. If you think Blues music should be enshrined in some form of stasis, never to evolve, then this album is not for you. If, however, you believe Blues is a living, growing entity, which is totally relevant today, then this album is a must.

Martin McKeown

THE NEW LOST CITY RAMBLERS

Before the ‘60s Blues boom, there was the folk revival. The two overlapped, of course, and figures such as Leadbelly, Big Bill Broonzy, Josh White, Sonny Terry & Brownie McGhee, and Brother John Sellers helped to establish a new audience for the Blues in the ‘40s and ‘50s - even if that audience did not actually realise it! The New Lost City Ramblers came together in 1958 as an old-timey string band, comprising Mike Seeger (who died on 7th August 2009), John Cohen and Tom Paley, who left in the early-60s and was replaced by Tracey Schwartz. The NLCR have always been distinguished from their contemporaries by their earthy, authentic presentation of obscure material (documented on a whole slew of Smithsonian Folkways albums), and they continue to exert a strong influence on American roots music – everyone from Bob Dylan to The Grateful Dead’s Jerry Garcia to The Carolina Chocolate Drops! This film by Yasha Aginsky is an hour long celebration of the band’s fifty years together, focussing on them not only as musicians but also as musicologists. The film combines still photos with vintage footage in settings both formal and informal, clips with older musicians such as The Balfa Brothers with the Bluesy Cajun accordionist Nathan Abshire, and Elizabeth Cotton, writer of ‘Freight Train’, among many others, interviews, and more modern footage. Bonus features on the DVD include a twenty-four minute film of the group from 1969 and previously unseen footage from 1959. If you are at all interested in Americana, this DVD is, quite simply, a must.

Norman Darwen

ZZ TOP Double Down Live Eagle

So, there I was bemoaning the fact that I hadn’t been able to get to Wembley for the only ZZ Top show of the year, when suddenly those nice folks at Eagle deliver not one but two classic ZZ Top shows to my doorstep – Christmas come early! The two discs represent ZZ Top nearly thirty years apart, and, in many respects, you are looking at two very different bands. The show from 1980 recorded at Germany’s

Rockpalast sees the young(ish) threesome full of ‘p**s and vinegar’. There is little real showmanship, as they rely entirely on the music – and what music! All the early greats are included: ‘Waitin’ For The Bus’, ‘Jesus Just Left Chicago’, ‘Heard It On The X’, and a glorious version of ‘Tush’. Billy Gibbons and Dusty Hill are doing the trademark ZZ Top steps and playing tight and ever so funky, while, in the background, hidden behind his drums, is a disinterested looking Frank Beard. Skip forward thirty years and the film is of the 2008 world tour, with all sorts of cut-ins and split screen effects, lots of audience reaction and between show interviews. Billy Gibbons looks grizzled and confident, Dusty Hill even more the bass god, and Frank Beard, now clearly visible over his drums, still looking completely disinterested, but drumming like the bedrock he always has been. The show is slicker, but the songs are still here: ‘Got Me Under Pressure’, ‘Waitin’ For The Bus’, ‘Jesus Just Left Chicago’, ‘Heard It On The X’, a magnificently dirty sounding ‘La Grange’, ‘Hey Joe’, with half the audience looking bemused, and a glorious version of ‘Tush’ as the closing credits roll. The two different DVDs can each stand in their own right: 1980 has a band eleven years into their career and playing hard and bright, and probably the best Blues they ever did, whilst 2008 showcases a band that has paid all their dues, generated three platinum albums in a row, and playing exactly what the audience want and expect. Two different takes on ZZ Top, and each of them a glorious example of Texas Blues boogie.

Andy Snipper

FEATURE FILM Soul Power

Eureka

In 1974, a three-day music festival was held alongside the legendary “Rumble In The Jungle” fight between George Foreman and Muhammad Ali in Zaire. The footage of the concert was never released, but now some of the film has been dusted off and edited into this feature length documentary. The festival featured the best African-American entertainers of the day. Actually, scrub that - make it any day! They had James Brown, B.B. King and Bill Withers, and all of them were at the height of their powers. The documentary neatly switches between the bonhomie of the performers, who were clearly delighted to be taking part, and the chaos behind the scenes. Ali himself is as charismatic and as watchable as ever. He truly was a force to be reckoned

JOE BONAMASSA

Live From The Royal Albert Hall Provogue

This DVD encapsulates two stories - the performance of Joe Bonamassa and his band at The Royal Albert Hall in May this year, and his twenty-year journey to playing that prestigious venue. The two-disc package includes over two hours of live footage and an extensive interview. It commences with Bonamassa humbly discussing his long held ambition, as the camera follows him on route, ultimately, to the stage. There’s a spine tingling moment as he starts to play the opening ‘Django’, and you view the sell-out crowd rise to greet his appearance. The performance throughout is exceptional, and includes the addition of a second drummer Anton Fig and a brass section. Fig works perfectly in unison with Bogie Bowles - for example, the synchronised introduction to ‘Highwater Everywhere’ - while the horns enhance the slower songs, like ‘So Many Roads’ and ‘The Great Flood’. Bonamassa’s own guitar playing is flawless, in spite of the significance of the occasion, and he is in fine voice throughout. Eric Clapton is proudly introduced to the stage for ‘Further On Down The Road’, and receives further homage as a signature lick from Cream’s version of ‘Crossroads’, from the same venue, is repeated during ‘Loansome Road Blues’. Paul Jones also makes an appearance later in the set, as recognition for his part in achieving this goal, before the fans’ favourite ‘Mountain Time’ delights the audience. The camera work and editing is excellent and helps maintain the viewer’s interest throughout the show. Whilst the majority of shots feature Bonamassa, these are balanced with those of the other musicians and the crowd in order to successfully capture what was a momentous occasion.

Duncan Beattie

with, and one of the wittiest figures the world has ever known (curiously, George Foreman is nowhere to be seen). When it comes to sheer charisma, he really is the only man on the planet who can rival James Brown. There are some truly electrifying performances –B.B. King nails ‘The Thrill Is Gone’. The show, though, is well and truly stolen by the Godfather of Soul himself, Mr James Brown. The three tracks of his on this documentary show just how good he was, and how insanely funky the JBs were. Brown singlehandedly invented the funk, and it’s a pleasure to watch James Brown in all his glory, strutting his stuff. It’s a shame there can’t be an entire DVD of his set, but that’s just a minor quibble. The picture and sound quality are excellent. The DVD also includes extra footage, and a brief interview with the director about the documentary.

Jamie Hailstone

THE BLACK CROWES

Cabin Fever

Silver Arrow

The talk ahead of the release of “Before The Frost…” (and it’s accompany download album “…After The Freeze”) concentrated on the unique recording process the band adopted, where they allowed an audience of their fans into the sessions at Levon Helm Studios in Woodstock, NY – and critics were powerless to resist the warmth subsequently captured from those

intimate sittings. A follow-up DVD, capturing the best moments from those five nights, could have been predicted from the very first press release, given it’s unique nature, and it showcases the slightly weathered, and heavier looking veterans in a laid-back, easy going mood – a “vibe” (as Chris Robinson himself would put it) that transferred so well onto the final recording. It opens with Chris in jovial mood, bantering with the audience and explaining his idea – and how the band didn’t really know what they were doing – before the Crowes play Indian-flavoured instrumental ‘Aimless Peacock’, with Rich on sitar; the perfect opener with its sense of wonder, and the song itself being unlike anything the Crowes had ever done before. We then run through a selection of standouts from both albums (including ‘Good Morning Captain’, ‘Appaloosa’ and ‘Shady Grove’), seamlessly moving between the band practicing and then playing/recording in front of an audience. We also get an idea of Chris’ psyche, not only as he chats to Levon Helm about the project, but candid snippets as he talks about ‘UFO sights’ and “incredible dimensional trips,” where he was “immersed in a dimensional super visual cerebral place of like time and space continuum.” It’s all very serious, and therefore all very ridiculous, of course, but this is a major reason the band have endeared themselves to so many over the years. An essential purchase for fans who were unable to experience the magic first hand.

Darren Howells

Ultimate Hendrix – An Illustrated Encyclopedia Of Live Concerts And Sessions

Backbeat (Author: John McDermott, Eddie Kramer and Billy Cox)

I’ve been a Hendrix fan since I first heard ‘Hey Joe’ on its original release, so I approached this book with a degree of trepidation. Unlike many biographies, there is no room for gossip, groupies, drugs and the salacious stories that abound, instead, John McDermott has attempted to produce a balanced perspective, based on fact, from both the studio control room and recording studio, as well as the stage, by working with the famed Eddie Kramer, who was involved in so much of Jimi’s recorded works, as well as his good friend and mentor Billy Cox, who worked live with Jimi over so many years. The greatest insight here is the development of a prodigious talent from a sideman to superstar under Chas Chandler. However, with the growth of fame came the growth of expectation, pressure from fans and record companies, and the collapse of confidence that led to the demise of the Experience. This all took its toll in the studio, but then came the rebirth, via the Band Of Gypsys, and with it the new found confidence that exuded from the guitarist. He sought to achieve even more, and his work rate soared. The time spent in the studio, seeking perfection, is almost unbelievable, and the manner in which he worked, trying to play the sounds and colours in his head, makes for intriguing reading. It doesn’t matter whether it is take five or take thirty-five that was used as the working master, what is fascinating here is the way in which Jimi drove himself and others, sometimes returning after everyone else had gone to clandestinely lay down a better bass line or on occasions drum pattern. This is a really good read, and anyone interested in Jimi Hendrix - the artist - should read it.

Merv Osborne

78 Blues: Folksongs And Phonographs In The American South

University Press Of Mississippi (Author: John Minton)

The Chuck Berry International Directory Volume 1

The Chuck Berry International Directory Volume 2

Music Mentor (Author: Morten Reff)

Music Mentor Books of York are an amazing outfit. Looking at their catalogue, if you’re into American rock’n’roll history and roots, is a delight. Amazingly, they already stock Fred Rothwell’s labour of love on Chuck Berry, “Long Distance Information”, which deals with his recorded legacy and much more. But now, along comes Morten Reff’s gargantuan

1,018 page, two volume directory on the same Poet Laureate of rock’n’roll. It weighs a ton, and every page is littered with record labels, album sleeves and fascinating text boxes packed with arcane information. But, at two pence short of fifty quid, you’ll need to be as big a Berry fan as Mr. Reff obviously is. There’s also a fascinating ‘roots’ section, where just about every artist or record which influenced Chuck on his climb to fame is listed. I suppose the term ‘coffee table book’ might be apt here, but if you’re a wannabe musicologist hoping to create an impression, leave this lying around and people will believe you’ve got a brain as big as Bolivia whilst they’re scanning your coat-hooks for your anorak. Works like these are for hardcore collectors and completists, but for the casual reader, they’re nothing if not totally engrossing and entertaining. Makes you wonder what Morten Reff is working on right now, but whatever it is, if it’s as thorough as this then he can feel duly proud.

Roy Bainton

once I got past the first chapter, ‘Learning To Listen’, the book gave me a great insight into the age on which it comments. For example, there is a section on recorded sermons released by preachers of the day, leading to an explanation of the origin of Jelly Roll Morton’s reenactment of ‘Dead Man’s Blues’, the famous New Orleans jazz funeral song. Milton also grabbed my interest with a section on songs based on the songster’s journeys, citing John Lee Hooker’s tale of how he came to Detroit in his ‘Boogie Chillen’’. Interestingly, when he recorded this for Chicago’s Chess label, he relocated his story from Detroit’s Hastings Street to Chicago’s Parkway. The best part of this book is the insight it provides into a very important period of musical history, during which southern folk music developed into a number of genres, including Blues. Milton achieves this by interpreting and presenting lyrics firmly in the context of the times. His descriptions and analysis of various passages from a large number of recordings are sometimes fascinating, and, as a bonus, there are interspersed amongst the 288 pages a number of wonderful photographs. My favourite being the juke box standing in a field near a trailer park in Alabama in the ‘30s. I don’t think this is particularly a book for the casual reader, but I found it fascinating.

Kevin Wharton

Brian Jones: The Untold Life And Mysterious Death Of A Rock Legend

Piatkus (Author: Laura Jackson)

Rock Roadie: Backstage And Confidential

JR (Author: James ‘Tappy’ Wright and Rod Weinberg)

When we watch live gigs, we often forget that behind those performances is an army of personnel making a show possible. “Rock Roadie” is the autobiography of one of those, roadie James ‘Tappy’ Wright, and his involvement in ‘60s and ‘70s music. It is prime source material, seen from the inside, and ‘Tappy’ pulls no punches - he spares none of the rock’n’roll attitude or ‘hard’ language from a world which has a ‘dog eat dog’ mentality. The punter sees the polished side of the music business but below that is another. Some of revelations in this book open up once again debates that have been rolling on since the ‘60s, especially the life and death of Jimi Hendrix. Along with Chas Chandler, ‘Tappy’ became an integral part of Hendrix’s career and gives us firsthand insight into one of the Blues-rock greats. ‘Tappy’ was there when the unknown Hendrix was playing for nickels and dimes in dead-end clubs and when he recorded ‘Hey Joe’. He was also there when The Animals formed and recorded their five decade hit ‘The House Of The Rising Sun’. He was known as ‘The Sixth Animal’, right from the band’s inception. ‘Tappy’ was born in Whitley Bay, a small town outside Newcastle, and started playing guitar at the age 12. This was the period after World War II, and was the start of a new age - the beginning of the voice of youth culture starting to express itself for the first time in history. ‘Tappy’ started a band at 16 and met one Hilton Valentine, with whom he formed a close friendship, deepened by a common emotional trauma - the loss of both their mothers in their early teens. They formed a band, The Wildcats, and played the Newcastle area, but they had a rival, The Alan Price Combo, and when Hilton joined them to form The Animals, ‘Tappy’ went as their roadie. This started a long career, which saw him work not only with The Animals but Ike & Tina Turner, Peter Noone, Hendrix, Elvis, John Lennon, Mick Jagger, Chuck Berry and more! This book takes you into the ‘60s glitter, but also deep into the hell like musical jungle. Like Brian Jones, it also makes us question again the actual cause of Hendrix’s death…

Carol Borrington

This book affords the late Brian Jones an objective biographical assessment. Jackson digs deep into the type of man he was. She writes of his difficult home life in Cheltenham, when relations with his parents became strained as his naturally inquisitive and rebellious nature developed. This was in sharp contrast to his excellent academic results and innate musical ability. Indeed, music emerged as his lifetime obsession; first hooked on jazz, he then totally embraced the burgeoning rhythm & Blues scene, nurtured by mentor Alexis Korner. Jones is described as a brilliant musician, whose ability to pick up and master virtually any instrument placed his talent well above his Rolling Stones band mates. This was a two-edged sword, in that it added immeasurably to their early Blues sound, but lead to tensions within the band. Brian Jones is revealed as a charming but restless man, whose early sexual adventures included pregnancies amongst his young girlfriends, and resulted in a complex personal life. In the Stones, the very person who formed the band was then ostracised as Jagger/Richards dominated songwriting. Jones is portrayed as an ultra-sensitive soul, who took these matters to heart. Things became unbearable when Keith, by his own admission, “nicked his bird,” the exotic Anita Pallenberg. Then came dodgy drug busts and a breakdown. Eventually he jumped, or was pushed out of The Rolling Stones, and his horizons expanded to become an early devotee of world music. It was a fateful decision to buy his beloved home, Cotchford Farm, the former residence of A A Milne. Seemingly cleaning up his act, Jones started to put a new band together and write music there. However, tragedy struck when he drowned in his own swimming pool on 3rd July 1969. The author claims it was murder, and puts her case persuasively. The book is fascinating, and takes a supportive assessment of the Brian Jones legacy. Sometimes it seems to exaggerate his position in the pantheon of rock and fashion innovators, and one is occasionally sceptical of this. However, there is no doubt about the contribution he made to the ‘60s music explosion, and goes a long way to correcting an imbalance between the sensationalism of his mythical lifestyle and the substance and style of his contribution to rock music. Suffice to say, the Stones were never the same without him. Noggin

THE BILLY BATS

As a teenager, I’d wait backstage for the old Blues guys in Chicago and Kansas City to show me something on guitar - Hubert Sumlin, Son Seals, Maxwell Street Jimmy Davis, Jessie Mae Hemphill and a woman I don't think is known outside of Kansas City too much, Rosemary Robinson. In my mid-twenties, I was in Branson playing for an Elvis impersonator and I put my guitar away for years. It made me sick to be without my Blues. About three years ago, I was directing a production of ‘The Colored Museum’ and hired myself to play guitar. I went to some jams and was offered some studio time and stumbled into Zach McCall. Zach makes it all come to life. If I'm Dr. Frankenstein, then he's the Lightning.

“We were once called The Black Keys meets Little Feat – or, as they might say at a Hollywood pitch section, ‘Die Hard’ meets Elmore James! We produce Saturday night music that sounds pretty good the next morning.

“A lot has been made about the fact that we're a drums and guitar duo, but there’s always a third member of our band - the audience. They bring out new things in us all the time.

“Blues is about things that are so complex there may be no words to express them. But a drum can. A grunt can. And whatever your language, you’ll get it!

“We're pretty old school. You buy new stuff but still put in Hooker, Wolf, Wynonie Harris. It just ends up that way, y’know? That stuff from the '50's is so audacious. Today, there’s too much focus on guitar players - I play guitar, so I can say this. The uninitiated think that’s all Blues is – guitar solos. What about the songwriters?!

“Our song ‘Kung Pow Chicken’ has really grown. We just have to get out of its way. We squeezed it into the later half of our recording session. I didn’t think anyone else would get it. I mean how many up-tempo post coitus tunes can you name? They get the joke.

“I can’t see getting signed is in our future, but we’ll get our tunes out there.

“The next gig is always important. We would love to tour more, get overseas, and do some festivals. We want to spend some time with the old guys to say thanks.

Jason Vivone myspace.com/thebillybats

HEAVY MAMA

How would you describe your sound?

A very dynamic power trio, with a funky rhythm section and piercing guitar tones that melt your mind.

What stands you apart from other bands today? The feeling, man! We play from the heart. We improvise when we play live, which a lot of bands don't do anymore. We have our own sound!

What does the Blues mean to you?

It's a simple kind of music, but not that easy to do properly. It's about tone and feeling, which is what we are all

about. There’s a lot of power in Blues music – it hits you like a bulldozer - and we want our audience to be left with a musical concussion.

Which Blues artists do you listen to?

Heavy Mama are knockout performers.

The Billy Bats say ‘no’ to guitar solos!

EAT A PEACH

We are a hard rocking Blues outfit, putting a fresh sound on the classic Bluesrock genre. With a classic Blues line up (three-piece consisting of bass, guitar and vocals, and drums), keeping the key elements of the genre alive.

“There is no pretention in the Blues, its music made by the pain for the pain, and it’s made statements throughout the years that just can’t be understated. There is nothing more honest and true in music than the Blues, and we feel that our music has this honesty which the Blues represents. We try to ensure our music has a specific sound, something which people can identify with.

“We listen to the earliest pioneers of the genre, but we love the Blues-rock genre - it has inspired us so much! Artists such as Led Zeppelin, Rory Gallagher, Taste, Cream, Ten Years After, Stevie Ray Vaughan, The Jimi Hendrix Experience, Gary Moore We feel that these artists really were the pivotal pioneers in creating a sound which inspired so many bands and, ultimately, our music.

“The band’s name is taken from the classic album title by The Allman Brothers Band - a favourite album of ours. We also liked the simplicity of the band name, it was unassuming, and did not immediately display what style of band we were.

“We have been listening to the Blues since we were children, and our passion for the genre knows no bounds. This only adds to our enjoyment of being able to create it ourselves, and this passion for the style is reflected in our music, as it is performed with 100% commitment all the time. Whether we are performing to six or sixty people in the audience, our music is always performed with maximum ability.

“We are excited about our song ‘Chrysanthemum Blues’ because we like to see it as our absolute Bluesrock anthem. It is our interpretation of the classic Bluesrock genre, and we have coupled it with our own specific style of songwriting. There are many aspects of the song which are influenced by the classic Blues-rock bands of the late-60s and early-70s, and we have combined our

All of them! The three kings (B.B. King, Albert, Freddie), Magic Sam, Otis Rush, Muddy Waters, John Lee Hooker, Howlin' Wolf, Ronnie Earl, Otis Grand... These guys know how to make time stand still.

How do you see the Blues scene currently?

I don't think it's recognised by the general public as widely as it should be, though Blues does have a huge following. It’s great that fans put together Blues festivals around the country and magazines like yours keep the music alive.

What do you see as the future for Blues music?

People like us will always keep the Blues alive!

own sound to it, which is ultimately what Eat A Peach is about.

“Obviously, the more people we can hone our sound to, the better, and we are prepared to work as hard as we can to have our music fall on the right ears.

“Today, there are some contemporary acts which really are staying true to the Blues genre, and one of our main influences from this scene is Joe Bonamassa. His combination between raw Blues and heavy rock is fantastic.

“Unfortunately, we don’t think there is a strict Blues scene which is available through the media, or at least not one which is as strong as other forms of music. The Blues is still respected and recognised, but it’s not as strong as it once was - we are aiming to change this.

“We think the Blues has a bright future - it has too much longevity and history behind it, and it continues to influence vast amounts of artists. We think that the effect the Blues has on people will keep passionate artists alive, and there will always be the greats to look back on.

“We genuinely believe we have something new and exciting to bring to the Blues community, and given the great state of change the music industry is in now, a fresh take on the classic genre could add the missing element to today’s music scene.

Mike Roberts myspace.com/eatapeach1

How important is it to you to try and get a record deal?

A record deal would be nice, but not right now - we’re sharpening up our skills on stage. There are too many bands that have a great record but are absolute s**t live. myspace.com/heavymamamusic

Eat A Peach are what’s missing.

AYNSLEY LISTER

@The Caves, Edinburgh. 02/11/09

This was Aynsley Lister’s first appearance in Scotland’s capital for a number of years and, encouragingly, the good turnout included many who appeared to be seeing the band for the first time. Since his last appearance, Lister has adopted a slightly more song-based approach on record. However, the opener, ‘Big Sleep’, from Lister’s most recent album, “Equilibrium”, which featured a crunching guitar riff, was an early indicator that his live performance has not been tamed by commercial sensibilities. This year has seen an increased level of onstage improvisation and interaction within the band, into which the newest member, keyboard player Dan Healey, features prominently. The first evidence of this came in the instrumental build-up, as the band launched into ‘With Me Tonight’. The song is one of Lister’s best, and the driving rhythm and dynamics in the song strongly impressed the audience. The equally powerful ‘Sugar Low’ was next, with some fiery slide guitar reminiscent of the style of Rory Gallagher. This was followed by one of Lister’s earliest songs, ‘Soundman’, with dynamic bass playing from Midus Guerreiro. The subject nature was quite apt, as there was a sound misbalance, and, consequently, the delicate playing in ‘What’s It All About’ did sound a little muddier than desired. The quality of the performance was still apparent, however. ‘Running Out On Me’ is built on a basic shuffle format, yet Lister transforms it into a vibrant piece of contemporary Blues, which even contained a segment of ‘Green Onions’ for good measure. The cover of Prince’s ‘Purple Rain’ was further demonstration of Lister’s subtle use of notes, and his soulful vocals. A reworked version of ‘Early Morning Dew’ preceded a superb reading of ‘Hurricane’, in which drummer Simon Small and Healey’s keyboards really came to the fore. The band were enjoying themselves, and Guerreiro's smile said it all during the playful interplay through ‘In The Morning’. As they powered through the final pairing of ‘Crosstown Traffic’ and ‘Balls Of Steel’, it was clear the performance had pleased old and new fans alike.

Duncan Beattie

GOMEZ

@The Troxy, London. 20/11/09

With record sales in this country at an all-time low, The Troxy, London was an opportunity for Gomez to enlighten an aging fanbase, won over by that acclaimed debut album all those years ago, that they are still producing music to rival their earlier hits – and to get them buying their records again! Walking onstage unnoticed, the band remained shrouded in darkness as Ben Ottewell belted out ‘Tijuana Lady’ with minimal acoustic accompaniment. The crowd were instantly enchanted and onside, singing along and swaying – reminiscing, I’m sure, on the first time they heard this astonishing song. The stage then lit up for a trumpet intro (Tom Gray moved between guitar, keys and brass, whilst the other two frontmen – including Ian Ball - also switched guitars and instruments) to ‘Homoa Beach’ - the incessant clapping telling the band the crowd were willing to play ball, and this allowed them to fill the majority of the set with electrified versions of songs from latest album “A New Tide” (the guitar racket of the ‘Mix’ stood

photos: Shaun Kara

THE ANIMALS

@The Running Horse, Nottingham. 04/10/09

out) or slowed down numbers from “How We Operate” (‘See The World’ again illustrated the power of Ben’s vocal chords). As if knowing this was a risk, the band seemed uneasy on stage –silent for the most part with only occasionally, and awkwardly addressing the crowd, whilst there was disappointedly no trailing songs off into extended jam tangents (perhaps they had pushed things far enough already). Of course, they couldn’t avoid playing crowd pleasers from the first two albums - ‘Free To Run’, ‘Rhythm & Blues Alibi’ and ‘Make No Sound’ generated ecstatic responses - whilst their more experimental cuttings were bypassed completely (they did the damage after all). Unfortunately, whilst you couldn’t fault the quality of the songs or musicianship, the lack of interaction or seeming enjoyment from the band prevented a full connection – perhaps an indicator as to why these fans are happy to grab a gig ticket to hear some old favourites, but are less willing to buy into the band today.

Darren Howells

AFTER MIDNIGHT

@Albert Halls, Stirling. 23/10/09

They say that the proof is in the pudding. Well, if that is true, then After Midnight (a.k.a. Classic Clapton) are a fine example of a band being able to serve up a terrific blend of just the right ingredients. I don't often review a ‘tribute’ band; however, these guys deserve to have a voice out to the wider world. Fronted by Mike Hall, the quartet gave the audience a chance to experience two hours of the music of Eric Clapton's full career – and performed to a very high standard. All the major hits were, of course, present, and I will not insult your musical knowledge by listing them here. Perhaps of more interest to me

were the not quite so mainstream versions of, for example, 'Key To The Highway' and 'Hideaway' (played on a lovely 335 rather than the more frequent Stratocaster signature model). The Derek & The Dominoes take on Hendrix's 'Little Wing' was a joy to listen to (John Foster, bass, shared the vocals on this one). Clapton left the Yardbirds in 1965 because he thought ‘For Your Love' was too commercial, but After Midnight’s version sounded as fresh as a daisy. Ably supported by Vince Mason on drums and vocals, plus keyboardist Paul Warren, the overall sound was excellent. Everything was clearly separated, but with sufficient volume to give you that nice feeling inside. Two electric sets and a fine acoustic section sent folks home replete.

Graeme Scott

The Animals, in usual fashion, were on a mission to musically delight and woo their audience at ‘The Runner’. They powered into their first number, ‘Baby Can I Take You Home’. Pete Barton has the lung capacity of an opera singer, the grit of an old Bluesman, and a remarkable and dominating stage persona. He proved that although no clone, he was a more than a worthy successor to The Animals’ original lead singer - and has the extra bonus of being an impressive bass player to boot. Their rendition of the 1956 Screamin’ Jays Hawkins song’ I Put a Spell On You' was not only vocally eerie and menacing, but the instrumental on this was a transformational and a clever modernisation on the original - without losing the essence of the song’s roots! This was mainly down to some impressive and creative keyboard playing by Christian Madden (sitting in for regular member Micky Gallagher for the night), crossing with Johnny 'Guitar' Williamson’s tantalising guitar riffs and, of course, John Steel’s meticulous drumming. Despite its age, the song felt fresh and revitalised, but, at the same time, Blues rooted - giving a taste of those halcyon days of the developing

British Blues scene, when musical experimentation was the keyword. Ray Charles’ ‘I Believe To My Soul’, with its treble keyboards crossed with the deeper toned bass intro, set the scene off for an impassioned portrayal of this classic ballad. Pete Barton seems to have a quest to, vocally, blow the roof off every venue, and this was no exception, as they powered into ‘We’ve Got To Get Out Of This Place’, ably helped by the audience (and probably heard by most of the city centre!). Their encore, of course, featured their seminal hit ‘House Of The Rising Sun’. Christian took on the legacy of some the finest keyboard players and executed this song like the rest of the band with true class. The Animals have seen many changes in personnel over their history, and the present line-up matches-up as one of the best!

Carol Borrington

ALABAMA 3

@Coal Exchange, Cardiff. 05/11/09

Despite once being described as “the best live band in the country” (The Guardian), Alabama 3’s career is still only notable (for many) for providing the theme tune to “The Sopranos”. A perception of being hostile and unpredictable has been supported by diabolical live shows, where inebriated members have become embroiled in fisticuffs (the inaugural Tenby Blues Festival, for example). Therefore, the group’s humorous (although Rev. D Wayne Love’s preacher ramblings, in a put-on southern accent, weren’t as witty as intended) and good spirited (allowing a clearly worse-for-wear ‘star’ of “Dirty Sanchez” onto the stage during the encore) performance came as something of a surprise. And boy, do they like to party when the mood takes them! With each member kept in supply of a reassuringly expensive beer, Larry Love (replete with cowboy hat) camped it up and layed it on thick (at one point talking about his Welsh ancestry and the “Merthyr posse”, as if any bias was needed, as a prelude to ‘Peace In The Valleys’), stooping low and reaching high as they went through a floor vibrating ‘greatest hits’ set (including ‘Hypo Full Of Love (The 12 Step Plan)’, ‘Too Sick To Pray’ and ‘R.E.H.A.B.’ - surprisingly ‘Woke Up This Morning’ was the least euphoric rendition), which had the majority older, and knowing audience dancing and cheering as if twenty or thirty years younger - whilst stand-in for the pregnant Devlin Love, vocalist Aurora Dawn kept the younger male attendees more than happy (she was certainly dressed to suit the band’s debauched tales, even if her high notes pierced a little too sharply at times). A four-song encore told the story (they even slotted in new song ‘Jacqueline’ to a fanatical response), as the group ended on crowd favourite ‘Hello, I’m Johnny Cash’ in the sort of clumsy, tongue-in-cheek fashion that anyone out for a good time couldn’t resist.

Darren Howells

ALLEN TOUSSAINT

BLIND BOYS OF ALABAMA

@Barbican, London. 18/11/09

There was a very good turnout indeed for this pairing of legends. The great Allen Toussaint kicked things off with a polished solo set combining brand new material with a tour through some of the songs that have established him as a highly influential figure over many decades. Conducted as part talk, part gig, he gave the audience copious notes on the history and background of some of the well-known ‘50s,’ 60s and ‘70s New Orleans R&B numbers he wrote, as well as playing and singing excellent versions of them. Perhaps now only he and Dr John are in the same league as piano players in this style, and the full range of his brilliance was on display - the rolls and runs, and quite complex bits of business all delivered effortlessly. Highlights included ‘Play Something Sweet’, ‘Sneaking Sally Through The Alley’, ‘Tipitina’ and, of course, ‘Working In A Coalmine’ - the latter part of a medley of some of the biggest hits he wrote. Interspersed with all this were instrumentals from his latest album, “The Bright Mississippi’ - his marvellous reading of all sorts of styles and material from the history of New Orleans jazz. After a break, the Blind Boys Of Alabama were led on stage, cutting a dash in white suits and black shirts and, in the person of leader Jimmy Carter, declaring; “We don’t like a conservative crowd, we like a noisy crowd.” After a minute’s silence for the recently deceased founder member Johnny Fields, they set straight off on the business of tearing the place up. With a tight as it gets band directed by official group member Joey Williams, the only one of the five Boys not blind, their set simply raced on - no let-ups, no slackening of the pace. The voices of Bishop Billy Bowers, Ben Moore,

drummer Ricky McKinnie and, of course, Jimmy blended powerfully together or stretched out on their own for standards such as ‘Down By The Riverside’, ’How I Got Over’, ‘Free At Last’, and newer numbers such as ‘Down In The Hole’ (the theme tune for “The Wire”, which probably hasn’t done the Boys any harm commercially) and songs by Toots Hibbert and Ben Harper from the current album “Duets” (which Jimmy shamelessly, and I hope successfully, plugged). Towards the end, the 77-year-old Jimmy went walkabout in the auditorium with a minder, singing all the while and bringing people to their feet. It was all rousing stuff and the Barbican crowd, normally on its best behaviour, made a very good fist of getting down with the Boys; audience members rising to their feet and yelling and clapping to show Jimmy that they were well capable of living up to his requirement.

Mark Harrison

DAVID BRISTOW

@Millers Snooker Club, Kirby-in-Ashfield. 29/10/09

This special Millers’ gig for David was his two-hundredth performance. It was an electro-acoustic set of lively and traditional Blues, all wrapped around his fine songwriting skills and dry wit. His opening song took punters deep into David’s own life experience, which is a central foundation of his storytelling form of the Blues. He writes from somewhere deep inside himself about the realities of his life past and present. The song is a comment on a broken relationship, i.e. his first marriage. David’s pain ridden vocal, with its deep clarity and gritty resonances, saw him digging deep into his soul to reveal the real profundity of human emotion. Yet to David, life and the Blues is not all doom and gloom - it is a genre that can portray many moods and emotions, and his second number portrayed his current state of life, as a song dedicated to his present wife and family. This was a bouncy Blues ballad, underpinned with fluid acousticelectric guitar riffs that had the wonderful

photos: Carl DeAbreu

effect of transporting Millers’ from the Heartlands of the Midlands to the depths of the Deep South. Moving into a song called ‘Suitcase’, an on-the-road tale, where the punter was transported back to those very early days when Elvis first walked through the doors of Sun Records. Switching from guitar to banjo, David launched into ‘Sit Down Mama’, a great Blues ballad that transported his audience from their seats in the venue to a steam boat travelling the Mississippi heading for New Orleans and a trip to Beale Street itself. David is forever composing new material, and his latest song, with its working title of ‘I Can’t Afford The Rent Or A Plasma TV, For A Politician I Don’t Know’. It highlighted not only what a talented performer David is, but that the Blues is still as much a medium of protest and relevance for the working classes in modern times as it ever was!

Carol Borrington

TINARIWEN

@Koko,

Camden, London. 25/10/09

Koko was packed to the gunnels for Tinariwen, and a more diverse audience you couldn’t imagine, with all ages and genders, as well as race, represented. Their last appearance in London, at the Roundhouse, had been a less than stellar affair, as the audience that night was very much there for the support, Oi Va Voi, but the smaller venue, and the fact that Tinariwen were undoubted headliners, promised a show more in line with their reputation – and they really did not disappoint in any way. Their music was generally based around a single note or chord, and the percussion and voices weaved subtle spells around the drone. The effect was quite mesmerising, and there were times when the whole audience became so deeply entranced that the end of a number drew literal gasps of surprise – quickly followed by a bellow of delight. The band have a very unique look, and the way that individuals popped up, sometimes playing guitar, sometimes on backing vocals or just dancing, gave the impression of a whole tribe of Touaregs wandering out of the desert and on to the stage in Camden, but this flexibility meant that the band were able develop the sound with every number. The set had a great number of delights: Ibrahim Ag Alhabib completely dominating the stage with his guitar playing; Abdallah Ag Alhousseyni, who laid down his vocals and some remarkable acoustic guitar almost Robert Johnson like; and Said Ag Ayad, who created percussive magic with the Djemba. Musically they were somewhere between North Mississippi trance Blues and Griot arabe chanting, with a whole heap of electric Blues and europop influences bubbling under the surface. Tinariwen were as serious as a heart attack about their music, and it was impossible to leave without feeling that something special had happened to your soul.

Andy Snipper

RICHIE KOTZEN

@The Caves, Edinburgh. 20/10/09

It was over sixteen years since the last time I’d seen Richie Kotzen, during his one year spell with glam metal band Poison. I’d heard little of him since. Therefore, I shared feelings of anticipation with also a slight trepidation about the show I was to witness. This was the final date of a ten night UK tour in support of his twenty-third solo album “Peace Sign”. Playing as part of a trio, Kotzen took to the stage before a decent sized crowd and commenced with ‘Losing My Mind’. Kotzen is a virtuoso guitar player, and the technical ability he displayed on his red Telecaster was exceptional. His playing regularly involved the combination of a sweeping motion of the pick with a matching fret hand technique, which resulted in a fast and fluid sound. The influence of the Blues was apparent in his play, particularly his guitar leads. He is far more than a showman, however, as songs like the ballad ‘Doing What The Devil Says So’ demonstrated that Kotzen is also a very talented songwriter and possesses a wonderful voice. A rocking version of the Yardbirds’ classic ‘Shapes Of Things’ was to follow, before the strong chorused rocker ‘Go Faster’. ‘Sara Smile’ was a melancholic love song, with some

very tasteful guitar playing, before a passionate performance of ‘High’, which was perhaps the song which received the greatest crowd recognition. The title track of “Peace Sign” was one of the closing numbers, and notable as Kotzen sung his fine vocals along a Bluesy guitar line. Kotzen was well worth catching, and, with songs this strong, it is a wonder he is not better known.

Duncan Beattie

GREAT BRITISH RHYTHM & BLUES FESTIVAL

@Various. Colne, Lancashire. 28/08- 31/08/09

2009 marked the twentieth anniversary for this festival, and it set a marker for the future. Connie Lush & Blues Shouter kicked off events in style on Friday on the International Stage. Entering to strains of ‘Land Of Hope And Glory’, Connie, bedecked in a Union Jack, and MC Chris Powers, in Union Jack suit, had the crowd clapping and cheering from minute one. Connie and the band’s top class performance set the tone for a weekend of prodigious music - old, new and crossing the generations. Saturday afternoon, The Deborah Bonham Band took the second slot, and for their first appearance at Colne, they actually played one of the longest sets, due to the late arrival of Stan Webb. Asked to play on at the end of their set, a voice from the audience shouted, “Put her on for another hour,” to cheers and massive applause. This is a measure of the band’s performance, with Deborah Bonham’s incredible vocal, and the fine musicians with whom she has surrounded herself. The evening session on the British Stage saw a special performance for the anniversary, and an open commitment to the future of the Blues, with a performance of young musicians, entitled the ‘Younguns’. The Chantel McGregor Band displayed that not only did Chantel have great vocal ability; her mic technique and intonation were also superb. Her guitar playing displayed the A to Z of technique played with precision but jam-packed with all that feeling of the very best Blues guitarists. The Mitch Laddie Band were next up. Mitch’s vocal is still a little immature, due to developing vocal chords, but his guitar work was superb, and way above his chronological age! The Sean Webster Band followed. More the latter end of youth, yet no festival is complete without Sean and his band, whose performance was spot-on. Sean, though, had a second task to carry out that evening - to lead a set entitled on the programme The ‘Younguns’ jam session’, which featured himself, Tommy Allen, Chantel and Mitch, with added accompaniment of bassist Tom Latham and drummer Phil Wilson. This

photos: Alan White

session proved to be not only musically diverse and good, but also showed that be they young or old, putBlues musicians together and they will feed and create music of class. Sunday’s events on the International Stage saw The Miller Anderson Band and Paul Lamb & The Kings Snakes set an early top class standard for the day, and they were followed by another of the UK’s youngster’s on the Blues scene in the form of Joanne Shaw Taylor. The now fully matured and road experienced Joanne, with her passionate, technically fluent axe wailing and a deep velvety vocal, is at the top of the list of the new generation female Blues musicians. Eric Bibb, though, stole the night for the majority of the audience, with sophisticated charm, clear vocal clarity and a passionate Blues/gospel based set. Monday saw The Animals kick-off the International Stage and perform a shortened set of their classic hits, but still managing to metaphorically lift the roof with some high-powered playing and communal singing. Miller Anderson and Spencer Davies, who both added their own unique musical talents to the whole, then joined them, with a raucous applause from a packed crowd. The Alan Price Set followed with top class R&B topped with hilarious dry wit. Harper proved to be another highly popular addition to the Colne set-up - his own gritty, passionate vocal, incredible harp playing, that didgeridoo and superb songwriting. The event was drawn to a close in party mode by a superb performance by The Stumble, whose set ran on for an extra half-an-hour, so unwilling was the crowd to let them go. Colne 2009 proved to be a positive and enjoyable musical experience. What more could you wish for? Happy Anniversary, Colne!

Carol Borrington

ROB TOGNONI

@Park & Dare Theatre, Treorchy. 29/10/09

The Blues Lounge in the Park & Dare Theatre, a popular Blues venue in the Rhondda Valleys, delivers a wide variety of acts throughout the year. Rob Tognoni, hailing originally from Tasmania, Australia, and arriving in Europe during 1994, delivers a 100% powerfully charged experience with every performance. There is simply no compromise, which is strongly evident in his music. This night was no exception with Rob Tognoni being eagerly awaited, supported by Mike Hellier (drums) and Roger Inniss (bass). Rob immediately engaged with the audience, explaining he had only met up with Mike and Roger that afternoon, having flown in from Germany, and he was starting his UK tour in Treorchy. He apologised, asking, “Will it be alright if we have a bit of a jam?” This was an understatement, as they proceeded with the first track, his own ‘Rock n’ Roll Businessman’. Yes, the sound was definitely not rehearsed, but it wasn’t long before Rob, Mike and Roger developed a relaxed interaction between the three of them, with the two guitarists comfortably playing off each other, whilst building some wild riffs that reflected the music. Their pure pleasure in making music was reflected throughout the performance in their body language, smiles and sometimes amazement that it had all worked out so well. Rob Tognoni provided a lively set, with a mix of his own songs, such as ‘Jim Beam Blues’, ‘Bad Girl’ and ‘Itty Bitty Mama’, along with deft reworkings of firm favourites like ‘Red House’ and ‘Hey Joe’. Rob Tognoni did not disappoint the crowd with his wit and laid-back style, and we all knew we had listened to musicians who understood the Blues, and could rock the night away whilst varying the tempo and mood.

Liz Aiken

SHERMAN ROBERTSON

@Millers Snooker Club, Kirkby-in-Ashfield. 01/10/09

Sherman Robertson took only a few minutes to announce his presence to the Millers crowd; the ‘wandering minstrel’ was back on the edge of Sherwood Forest and ready to woo souls with his magic. He kicked off with a Blues-rock ballad that he called ‘Victim Of Circumstance’, and, in true Blues storytelling mode, he wove his tale in flourishes of emotional vocal and guitar riff. This was all beautifully underscored by the instrumental contributions of BluesMove, namely Gary Rackman on bass, Jools Grudings on keyboard and Jamie Little on drums. Sherman’s rendition of his hit song ‘Am I Losing You’, with its agonising lyrics of dying love, its raw vocal, integrally mixed with emotional keyboard riff, heart throbbing bass-line and

interpretative drum fills, was topped off with guitar riffs that mirrored the pain of the rest - high quality music! Sherman is the consummate showman, and it didn’t take long for him to get into his traditional ‘walkabout’ that brings him and his audience into a symbiosis - instead of performer and passive listener. Sherman also knows how to charm the ladies. Stopping at each on his travels and offering them guitar riffs equivalent to a gift of the perfect red rose. He’s quite a guy! He wasn’t going to leave Millers either, until he had the joint rockin' and the dance area rollin' - telling the assembled: “That’s how it was in Freddie King’s day!” Freddie and Sherman got it just right!

Carol Borrington

SEASICK STEVE

@Wales Millennium Centre, Cardiff. 12/11/09

If signing to Warner Bros has added too much sheen and censor to his recorded output, in a live setting, Seasick’s gruff, growling vocal belting and string strength testing is as raw and primal as you could hope for from Blues’ #1 protagonist – even if the Millennium Centre’s refined surroundings (with the military like stewards stopping anyone that wanted to stand, let alone dance) were far from suited. Every song was led into by an amusing anecdote, whether it be tales of nasty bugs biting your legs (‘Chiggers’), his diddley bow (‘Diddley Bo’), drinking whiskey or jumping freight trains – a misdemeanour that may have brought him new song ‘Just Because I Can’, but also, we were told, earache from the wife. If anything, Steve’s interactive storytelling was more of a drawer than the music, and even mishaps on stage gave the near 70-year-old the opportunity to humour the crowd– at one point, the string he used as a guitar strap broke, and he had the audience in raptures as he spoke of no expenses spared (money, or the lack of, was continuously referenced, indicating that Steve is still well aware of where he has come from). Steve even left his seat, where he would stomp incessantly as he drank whiskey or wine on his “doctor’s orders”, on several occasions to milk the adulation and go walkabout throughout the seated audience, giving what I heard one twenty-something male describe as the “moment of my life” (it’s comments like this which have left Seasick bemused, humble and thankful, as he expressed continuously). The power of the diddley bow (amps turned up way past 11) was something to behold in a live setting – Steve also using feedback to good effect – although the introduction and stories behind a variety of stringed instruments (which Steve informed us he would throw into the trash if he was a guitar technician) used left audience members equally a gasp. The set finished on ‘Dog House’, extended with a number of fake endings – each more frenetic than the last – pushing his drummer to the limits, before he eventually had the crowd howling like dogs and waving him off. It was this crowd control, where everyone was willing to appease his every whim that made for a very special evening.

Darren Howells

ELEPHANT SHELF

@Charlotte Street Blues, London. 23/10/09

I’ve seen this band several times in various venues, and they are always great value and garner a really enthusiastic reception. The venue was packed solid as “The Shelf” took to the stage with a real goodtime vibe in the air. Their all original set rocked from start to finish. Their opening signature tune, ’Snakebite’ always grabs the attention - it’s loud and exciting! The quirky lyrics, wild slide guitar and Vicky Martin’s single finger salute at the climax achieved the desired effect! It received huge applause - if ever a song was made for festival stages this is it. The tempo picked up with ‘Morning Letter’, including rock fiddle from Diana Stone, and a hint of Zeppelin in the rhythmic feel; then tempo and temperature were raised even more with rocker ‘In Trouble Again’. This song is developing an anthem-like quality, as the crowd sings along with the chorus each time it is played. Next was a change of pace for what Vicky described as “White-girl reggae from North London,” namely, Diana Stone’s ‘Undubwise’. This was a killer groove, with stinging guitar and Rosie Swan’s inventive vocal improvisations. Rosie featured next with an emotive New Orleans style Blues ballad, ‘When You Left Me’. She achieved the great accolade of almost silence as she closed this song, before the crowd exploded – this was a superb vocal performance. The band rocked through more excellent songs, including a sassy Blues ‘Squeeze Me Tease Me’, and ‘Fussing And Fighting’, featuring great visual interplay between Vicky and Rosie. It all led to the climactic ‘Devil On The Street’. This dark song,

photo: Rich Singer

photo: Ruth Liley

with apocalyptic lyrics, is reminiscent of the Stones, whilst a tempo change led to a rousing “you can all join in” upbeat boogie chorus of “out, devil, out!”; a nice twist to a certain Edgar Broughton Band idea from way back. The song ensured the show finished on a really exciting note, and left the crowd shouting for more. Elephant Shelf’s great strength is performing good, swinging, original tunes, with real edge and a touch of humour. They are highly entertaining and don’t take themselves too seriously – highly recommended!

Philippa le Marquand

ALBERTA CROSS

@The Cooler, Bristol. 11/11/09

Having upped sticks to New York from London, after struggling to make a serious breakthrough in the UK, Alberta Cross must have been fairly surprised at the large crowd that welcomed them on their return to these shores (this being the first date of their tour) – even if a reserved Bristol crowd needed a far amount of coaxing forward (perhaps nervous of the potential damage to their ears from Petter Ericson Stakee’s high-pitched tones). But if many in attendance were there on the strength of the mini-album’s stripped back and agonizing compositions (as reactions to authentic roots highlights ‘Low Man’ and ‘I’ve Known For Long’ suggested), this was the sort of performance to convert those earlier fans to the debut album proper’s more fully developed bludgeoning Bluesrock. A wall of sound hit as a frenzy of guitar and drums had us pinned back in trepidation and wonder through the likes of ‘ATX’, ‘Song 3Three Blues’ and ‘Broken Side Of Time’, but it’s Stakee’s emotionally drenched vocals that stand this band apart

from their fairly obvious traditional Americana and more recent shoegaze influences, and he soared above everything, pulling on the heartstrings as he asked, “How does it feel to be alone?” and lamented, “I’m out of luck…I’m out of time,” whilst moving like a “Thundercats” puppet throughout. An eerie gospel version of ‘Rise From The Shadows’, which created a communal atmosphere with the crowd’s involvement, and the stirring racket of new song (well, to me) ‘Ramble Home’ were just two highlight performances from one of the bands of 2009.

Darren Howells

DAVY KNOWLES & BACK DOOR SLAM

@The

Borderline, London. 07/10/09

Having spent the last two years touring the US, latterly with Chickenfoot, and despite his last appearance in London being at an open mic night, Knowles was hailed as the conquering hero by the enthusiastic audience at this near sell-out gig. Besides Knowles on guitar and vocals, the current line-up of Back Door Slam comprises three Seattle musicians: PK on bass, Steven Barci on drums and Ty Bailie on keyboard. This hurriedly arranged gig was timed to coincide with the UK release of the Peter Frampton produced second album, “Coming Up For Air”, on which Knowles’ excellent songwriting ability is matched by his musicianship and slightly husky but strong tenor voice. Kicking off with ‘Riverbed’, Knowles set out his

photo: Christine Goodwin (ccphotoart.biz)

stall with some breathtaking guitar work on this gutsy number. Confessing to being a big fan of the late Rory Gallagher, Knowles paid homage by launching into an electrifying ‘Messin’ With The Kid’ that stunned the many twenty-somethings in the audience, and delighted the older element who exchanged knowing smiles. An energetic version of ‘Outside Woman Blues’ from the first album and Dave Crosby’s ‘Almost Cut My Hair’, featuring an aggressive but controlled solo from Bailie on keys, were equally well received. The remainder of the set was an equal mix of songs from the two albums, with the slow Blues of ‘Gotta Leave’; the bouncy ‘Come Home’; the ghost story of ‘Heavy On My Mind’; a storming ‘Tear Down The Walls’; ‘Keep On Searching’, featuring a guitar break from Knowles reminiscent of the cream of Clapton; and the title track from the second album. Brought back for an encore, with ‘It’ll All Come Around’, proceedings were brought to an abrupt end when Knowles’ amp blew a fuse resulting in an anti climax to what was an otherwise memorable evening. Knowles’ prodigious talent on the guitar and for writing songs with variety, melody and memorable hooks deserves greater recognition. Catch him next time he returns to the UK.

Philip Woodford

ZZ TOP

@Civic Hall, Wolverhampton. 27/10/09

A lone wolf howled into the night before a thunderous, bone shaking jungle rhythm nearly reduced the Civic Hall to a pile of rubble. Seconds later, ZZ Top launched into ‘Got Me Under Pressure’, and for the next hour and forty minutes we were privilege to a ‘greatest hits’ show from the slickest, coolest, down home bar-room boogie band in the worldwhether it was the low down Blues of ‘Waitin For The Bus’ that slided seamlessly into ’Jesus Just Left Chicago’, or the rocked up tone monster of ‘Pincushion’ - it’s an enormous sound was full of tone and taste. ‘I’m Bad I’m Nationwide’ followed, and the crowd roared their approval, and rightly so, as Billy Gibbons displayed a mastery of the guitar that was sublime. Between songs, he had the crowd hanging on his every word and eating out the palm of his hand. Before ’Future Blues’, Billy asked for his “technicians” to bring him his Blues hat, and, with that, two Texan beauties in short black dresses and fishnets strolled onto the stage to deliver his request - much to the delight of the predominantly male audience. “So, we’re in Birmingham right?” he cheekily asked the Wolverhampton crowd, who hollered back their disapproval - Billy just grinned. He told us of his train journey to the gig and how, on his arrival, he went looking for a dollar store, only to find a pound store (or $1.63 store, as he put it). He explained how he purchased his items, one by one, before his last item, ‘Cheap Sunglasses’ – and with that we were off and running again with another classic slab of ‘70s sleazy Top. ‘Mexican Blackbird’ and ‘My Heads In Mississippi’ led into ‘I Need You tonight’, complete with a fine one handed solo. A tip of the hat went out to Hendrix on a storming version of ‘Foxy Lady’. Gibbons switched guitars and led us into a thunderous version of ‘Just Got Paid’, with a superb slide solo that just oozed class. With a cry of “Give the Drummer some,” we were straight into ‘Gimme All Your Lovin’’, ‘Sharp Dressed Man’ and ‘Legs’ (complete with furry guitars) - all three songs were accompanied by the world famous videos on three large backdrop split screens. ‘La

Grange’ closed the main set, before the band returned to deafening applause with ‘Tush’ and ‘Tube Snake Boogie’. The Civic Hall could never be mistaken for a tough old Texas Roadhouse, but for just one night, the sell-out crowd turned it into one, as we witnessed a truly wonderful performance. Let’s hope they return again very soon.

Steve Hoare

MARYPORT BLUES FESTIVAL @Various. 24/07-26/07/09

Celebrating their eleventh year, Maryport continued with their winning formula of fringe venues throughout the town and the main stage marquee on the rugby club ground flanked by the ever growing campsite. Tradition dictates that the festival is opened by the winners of the local Battle Of The Bands competition. This year, Nine Lives held the title, a gutsy fivepiece band with a variety of heavy rock and punk numbers mixed in with Blues covers. Laura And The Tears got off to a nervous start, but soon gained confidence as the set progressed. Verging more on the R&B side of the Blues, with a soulful delivery, Laura looked the part with a Gretsch guitar, but it served as little more than a fashion accessory. However, she was great vocally and well supported by the band. Jethro Tull started life in 1968 as part of the British Blues boom. They journeyed through progressive rock with a cult following, and have come full circle back to the Blues. The Tull fans in the crowd were not disappointed, as the set was liberally sprinkled with classics from their entire anthology. Ian Anderson performed in his inimitable style, playing his flute while standing on one leg. There was many more Tull converts by the end of their performance. The difficult task of following and closing the evening was down to King King Feat. Alan Nimmo, which they achieved admirably - bringing the house down in the process. Alan and Lindsay Coulson dressed in kilts for the occasion, and the marauding Scots took no prisoners. This excellent band is gaining a great reputation on the Blues circuit, and it's easy to see why. Saturday afternoon opened with The WT Feaster Band, a prime example of festival organisers taking notice of the comments from the punters. Last year they played the fringe, and their popularity ensured a place on the main stage this year. A three-piece with a powerful engine room, some great songs and a few soul classics thrown in for good measure. The Deborah Bonham Band are gaining the recognition they deserveand not before time! One of our favourite bands, they played a variety of numbers from both their excellent albums. When Deborah dedicated the story of her own personal tragedy, 'The Old Hyde', to the families of the lost fishermen there wasn't a dry eye in the house. The Rab McCulloch Blues Band satisfied the purists with an admirable set of traditional guitar led Blues classics. Dani Wilde just gets better, and has developed a superb rapport with the audience, and she played some great new songs, inspired by her charitable work in Kenya, along with some old favourites, including 'People Say' and 'I'd Rather Go Blind'. We were familiar with The Blues Band's musical excellence, but on this occasion they gave a fun performance. The crowd thoroughly enjoyed the set, singing along to the familiar and well loved numbers. John Mayall has still got it in abundance, as the delighted audience will testify. A true legend, he provided a great performance of the best of his extensive back catalogue. Sunday opened with American Ryan Shaw, a new name to us, but a superb vocal performance, mixing Blues, soul and gospel, and more than capably backed by great musicians. For many years, a major highlight of Maryport has been their renowned jam session. This year it got its deserved place on the main stage. The Sean Webster Band, complete with fantastic new drummer Phil Wilson, led a two-and-a-half hour extravaganza, joined on stage by Giles King on harmonica, and guitarists Jay Tamkin, Joel Fisk, Stewart Dixon, Jon Amor and Dave Doherty. A blinding set of the best of young British Blues, and without a hint of ego. At 6pm, a minute’s silence was observed in memory of the local fishermen who were tragically lost to the sea. Once again Maryport demonstrated why it is one of Britain’s best festivals.

Tony Winfield & Sue Hickling

photos: Tony Winfield (bluespics.co.uk)

THE STUMBLE

@Millers Snooker Club, Kirkby-in Ashfield. 29/11/09

Sometimes you can clearly get an impression of what sort of a night you’re in for during the first number of the band’s set. The Stumble certainly made it clear with their opening number at Millers - they were ready to blow the joint away with top class music! Moving into their second number, ‘Sugar Don’t Taste So Sweet’, it was apparent to see why The Stumble have become so popular out on the circuit. Paul Melville, with his passion and superb intonation matched to his incredible stage presence, is something in his own right, but add in tight union to high class instrumentals of the rest of the band and if not a match made in heaven, these boys certainly had been to the ‘Crossroads’! The band’s cover of B.B. King’s ‘Ain’t Nobody’s Business’ was top class, with its display of excellent individual and joint guitar work by Colin Black and Jonny Spencer, allied to the soulful tenor sax of Simon Anthony - all held impeccably together by drums and bass matching beautifully Melville’s vocal rendition. The Stumble’s rendition of ‘Bus Stop’, from their latest CD “Houngan”, with its spectacular centrepiece of the saxophone solo, which was full of power, depth and emotions, along with Melville’s vocal gymnastic contribution, had punters on the edge of their seats in pure musical delight. ‘The World Is Tough’ had Millers rockin’ to its foundation. Power driven drums percussive bass, wailing slide guitar, and Melville’s mean vocal pushing the whole to perfection. The band ended their set with the title track of their CD ‘Houngan’, blistering saxophone, harmonica, slide guitar, bass, drums and vocal mixed together for a delightful composition. It had the Millers assembled literally screaming for more. I tell you what, that crowd would have kept The Stumble playing all night given the chance. Why this band is not being given a higher profile by the media in this country is a mystery!

Carol Borrington

BASSEKOU KOUYATE & NGONI BA

@Jazz Cafe, London. 21/10/09

The ngoni maestro Bassekou Kouyate and his crack band delivered their brand of Malian music to a delighted Jazz Cafe crowd, and kicked up a storm. For the duration of their set, they took the audience into their world, and it’s a world of joy and musical craftsmanship. Whether it’s got much to do with Blues is another question, and one

best left to the experts (or best ignored). They cooked up strange (to Western ears) rhythms and song structures that don’t fit into our familiar patterns. At the same time, there’s something compelling about the vibe they create that appeals strongly to the Blues/roots fan. Stunningly attired in gleaming robes, they wafted onto the stage to the accompaniment of their leader playing solo. The seven-piece consists of four ngonis of various sizes, Bassekou’s wife Amy on lead vocals and two percussionists with mesmerising skills. Bassekou is the lead player, and he strutted his stuff in the best possible way. He plays the smallest of the ngonis, and it seemed incredible that so many notes, and such varied and fluid playing, could come from an instrument with such a short neck. His picking style is based on heavy thumb action, and the two forefingers acting in unison like a kind of plectrum. What he does bears some resemblance to full-blown lead guitar solos, but it’s much more inventive and exciting than lots of things perpetrated by electric guitar players. He even used a wah-wah pedal to great effect. The band had a powerful dignity about them, and they exuded infectious joy, too; moving with their music and smiling at the pleasure of creating it. They’re very, very cool, but it’s a different kind of cool from the standard Western kind, with huge grins instead of grimaces and pouts. The music was light and airy, but it packed a punch, and the audience lapped up the feel good vibe. The one blight on proceedings was the constant unbilled and unwelcome intrusion of a smirking Damon Albarn, who kept gate crashing the stage to demonstrate his inability to play the melodica. Clearly very pleased with himself, he came and went as he wished, his contribution being merely to distract from the music of the fine musicians in the band who people had actually come to see. This shameful and patronising exercise in a “celebrity” imposing themselves for their own gratification was an insult to those fine musicians on stage. They were obliged to grin and bear it, and when he finally slunk away, they were able to continue with what was otherwise a magical gig.

Mark Harrison

PHILIP SAYCE

@Dingwalls, London. 18/10/09

This rescheduled first London appearance was attended by around one-hundred-and-fifty people – a reasonable crowd for a Sunday evening to see someone relatively unknown in the UK. With Ryan MacMillan on drums and a particularly energetic Joel Gottschalk on bass providing a solid foundation for Sayce to showcase his extrovert playing, this is a fine power trio. Opening with ‘One Foot In The Grave’, the first track on “Peace Machine”, with its pounding bass line, it was clear Sayce is a high energy performer, as the sweat glistened on his forehead. By the end of the second song, ‘Powerful Thing’, a funky number from the same album, one began to wonder how long Sayce could maintain this pace. ‘Over My Head’, a song contemplating suicide, provided an immediate answer and a brief respite from the volume that bludgeoned the ears and masked Sayce’s superb voice. Two numbers from Sayce’s next album, scheduled for release in April 2010, were warmly received: ‘Changes’, a tour de force with its lengthy sustain; and the slow ballad, ‘It’s Over Now’, with its waltz beat, promise good things to come. The Hendrix influenced Blues of ‘Dream Away’ gave Sayce a chance to show his superb voice and wide vocal range, before the song morphed into the gritty electric Blues of ‘Angels Live Inside’. More Blues with ‘Slip Away’ saw Sayce make an excursion through the enraptured audience, with his lengthy solo taking on an ethereal quality, as he moved away from the stage and the PA stacks. The set drew to a close with Sayce’s version of Neil Young’s ‘Cinnamon Girl’, featuring the bass line from The Beatles’ ‘She’s So Heavy’, before the band returned for an encore of the SRV style Blues instrumental ‘Alchemy’, and the controlled chaos of ‘All I Want’. Using the lighting rig on the fretboard, and playing chords like his life depended on it, it’s no wonder Sayce’s ’63 Stratocaster looks battered and abused. There’s no doubting, however, that Sayce is a very talented guitarist, singer and entertainer, with the “wow factor” by the bucketful.

Philip Woodford

photo: Brian O'Connor (imagesofjazz.com)

photo: Tony Winfield

CHANTEL McGREGOR

@The Queens Hall, Edinburgh, 24/10/2009

If you ever need a lesson in how to make friends and influence people, Chantel McGregor is a fine tutor. Appearing as a support artist in front of an unknown audience of Wishbone Ash fans, wowing them with her fine vocals and superb guitar prowess, her onstage banter and her willingness to meet and greet many of the audience afterwards, she provided a great example. There was a decent crowd there when her bass player Alex Jeffrey and drummer Martin Rushworth took to the stage and started a groove. McGregor then appeared barefooted, and started the instantly recognisable riff of ‘Had To Cry Today’. Her interpretation was not unlike Bonamassa’s version of this song, but with enough variation to keep it from being a copy. Her guitar playing was impressive, and, as a fine demonstration, she followed up with Joe Satriani’s ‘Up In The Sky’. She triumphed in adversity, too, combining her impressive guitar licks with bass lines, when Jeffrey paused to help Rushworth reset his bass drum mid-song. Likewise a broken string caused a switch of guitar midway through a playful version of Sonny Boy Williamson’s ‘Help Me’. Despite these minor hitches, McGregor was unshaken, and performed the song strongly. Her pleasant vocals on the song made it an enjoyable number. Next up was a melodic ‘High’, a song by Richie Kotzen, before McGregor announced

she would play a song by Stevie Ray Vaughan. The reaction to his name was muted; however, the applause at the end of the song – ‘Lenny’ - was overwhelming (she played the track beautifully). McGregor liked to move near to the edge of the stage, so that the crowd could get a close look at her immaculate playing. The final song she played was a great interpretation of Robin Trower’s ‘Daydream’, slowly building up the guitar solo to a crescendo. McGregor mouthed “wow” as she left the stage, and the feeling from the crowd was very much mutual.

Duncan Beattie

GEOFF ACHISON & THE UK SOULDIGGERS

@The Black Market, Warsop. 08/10/09

Geoff opened his gig with a few acoustic numbers, which from the first few notes gave you that implicit feeling that you were in for something special that evening. Looking like a wild colonial boy from the outback, Geoff proved yet again that Australians have an impressive and talented Blues scene to offer to us ‘Poms’. His vocal was sonorous, raw, gritty, jampacked, with passion and good inflection. His electro-acoustic guitar work, while not dominating his vocal and lyrics, not only provided the rhythm, but seemed to subtly underline the text of the song. Geoff was then joined on stage by his band, the UK Souldiggers, who consisted of Sam Kelly on drums, Spy Austin on bass and Paul Jobson on keyboards. They commenced with a number called ‘Beggin Bowl’, a song about being down-and-out. This was a stunning Blues ballad, with wellcrafted lyrics, matched and portrayed to perfection by vocal and instrumentals. ‘My Little Plastic Bag’, a protest song on environmental issues, was portrayed with cleverly constructed words, Spy’s funky bass, Paul’s creative keyboard riffs, Sam’s impeccable drumming and Geoff’s almost talking guitar riffs. Geoff ranks highly among the highly technically proficient guitar players, but there was more than that evident throughout the gig. There was also a complex musical psychology revealing itself in both his technique and feeling. In a very fluid way, Geoff managed to turn his guitar into almost anoth-

photo: Martin Lewis

er musician on the stage - the guitar was part of him, but almost had a thought process of its own. The Souldiggers were musically tight (with Sam Kelly on board this was no surprise), and had an almost telepathic connection. Spy and Sam provided masterclass percussion throughout. Paul Jobson is not only a good keyboard player; his level of creativity and innovation throughout was amazing. Put this all together, and something musically special happened on that stage at The Black Market.

Carol Borrington

WALTER TROUT AND THE RADICALS

@The Rescue Rooms, Nottingham. 21/10/09

Walter’s opening gambit to the night’s events initiated the beginning of a musically superb and lively gig. He walked on the stage, played a few riffs, then turned to the audience with a wicked smile and said: “Thank you and goodnight!” That packed Rescue Rooms audience were not going to let him get out of town that easily, though, and tossing his head back with a belly laugh; he fired in his opening number to massive cheers, and displayed what the Fender was really designed for in the hands of a master craftsman. The Radicals also showed that individually and collectively they were masters of their craft, and fitted Walter and his music like a glove. Sammy Avila providing definitive keyboards and vocal, while Roger Knapp’s percussive bass riffs and Michael Leasure on drums held them all together with precision. Although every song was greeted with rapturous applause, the roof was raised with Walter’s new single, ‘They Call Us The Working Class, But We Ain’t Working Anymore’. With its damning lyrics about the plight of the worker in the current recession, it was a song that meant as much to that Nottingham crowd as to those of its writer’s origins in the state of New Jersey! The record version has already got musical praise, but live that night in the Rescue Rooms, with Walter’s accusatorial vocal, it was clear that the age and popularity of the protest song is not dead. Walter’s cover of John Lee Hooker’s ‘Catfish’ underlined what a great guitarist he is, not just technically but through that essential element that marks out the best – passion!

Carol Borrington

Remember, if you are attending live shows/events, to send a report into Blues Matters! for use in the magazine or on the upcoming brand new companion website. Contact darren@bluesmatters.com for details and submission guidelines. Remember for all your latest gig and festival information, head to bluesmatters.com, where we have a dedicated gig guide, and so much more (including additional live reports).

Walter Trout

photo: Marco van Rooijen

SOMETHING OLD, SOMETHING NEW

Courtesy Decca, we have 5 copies of Robben Ford’s latest album, “Soul On Ten”, to giveaway. The collection distills Ford’s roots in jazz, Blues, and rock on a mostly live set recorded over two nights at San Francisco's Independent. Featuring new versions of favourites ‘Supernatural’ and ‘There’ll Never Be Another You’, as well as covers of songs by Willie Dixon and Elmore James and three new numbers. “This excellent CD offers the punter something old, something new, something borrowed - but most of all, something Blues!” For your chance to win a copy, tell us:

With which band did Robben record the album “Discovering The Blues”?

COMING UP

Courtesy Blix Street, we have 3 copies of “Coming Up For Air” to giveaway. The second album from British guitar whizz Davy Knowles features eleven brand new studio recordings, comprising nine Davy Knowles compositions and a compelling cover of George Harrison’s ‘Hear Me Lord’. To be in with a chance of winning, tell us: What’s the name of the first album Davy released?

LOVE & WAR

Courtesy Telarc, we have 3 copies of Otis Taylor’s critically acclaimed album “Pentatonic Wars And Love Songs” up for grabs. This new collection throws a light on the complexities of love in all of its forms, and features Taylor’s trademark haunting vocals and simple but stirring guitar riffs. For your chance to win a copy, tell us:

Which guitar legend features on this new collection?

TO ENTER...

For your chance to win any of these great prizes, send your answer(s) to: comps@bluesmatters.com* Closing date: 5th February 2010

*Alternatively, post to the usual PO Box address.

hat happened to Blind Blake? He was the Chicago Blues scene’s undisputed ‘king of the string’ when he simply disappeared in 1932. Mystery number one! Bluesmen over the generations have wondered at Blind Blake’s prodigious fingerstyle technique and asked, “How on earth did he do that?”

Mystery number two!

Little is known about Arthur (Blind) Blake except that he was one of the most mysterious Bluesmen in the history of the genre. His story is exclusively revealed by his exceptional body of work recorded in the six years leading up to his disappearance in 1932. It reveals a Blues genius!

Blind Blake was probably born in 1895 in Jacksonville Florida, and is a figure of enormous importance in American music. Not only was he one of the greatest ever Blues guitarists, Blake is credited to have been the inventor of "fingerstyle" ragtime, the guitar equivalent to playing ragtime on the piano. Blind Blake mastered this form so completely that few ragtime guitarists who have learned to play in this style since have been able to match Blake’s quite singular achievements.

As Blake had family in the area of Jacksonville, it is assumed that he was born there. He may have grown up in Georgia, but was first seen in Chicago in the mid-20s. His birth date is assumed to be sometime between 1895-1897. The evidence for this is sketchy, and based on the only photo of Blind Blake, taken at his first Paramount session in August 1926. In this, he looks like a man of about thirty. Most of

the musicians personally acquainted with Blake reveal that he had an inexhaustible appetite for alcohol, so his appearance in that photo may well be deceptive indeed!

Like many Bluesmen of the time, Blake was regionally well known, if not legendary, before he began making records. His repertoire for the audiences of the Southeast and Midwest included everything from Blues to rags to music hall novelties.

He teamed with Paramount in 1926, where his first recording was a finger buster called ‘West Coast Blues’. Blake turned into the most frequently recorded Blues guitarist in Paramount Records’ race catalogue, and through the late20s performed and recorded with banjoists

Papa Charlie Jackson and Gus Cannon, vocalists Ma Rainey and Ida Cox, and a host of others. Indeed, he was first call guitarist on the studio’s A-Team, and, eventually, their best-selling artist. His best playing was reserved for his solo outings like ‘Diddie-Wah-Diddie’ and ‘Police Dog Blues’. On these recordings, he spun such dense sounding guitar magic that the record company labelled him as ‘piano sounding’.

Blake spent most of 1930 and 1931 touring with the vaudeville show “Happy Go Lucky”. He returned to Paramount for his final session in 1932, and by the time the label folded in late 1932, Blake had recorded an amazing seventynine known sides for them under his own name, and had contributed accompaniments to recordings by a host of other artists. After his last session, Blind Blake simply disappeared!

There is no reliable account of what happened to him after his last Paramount session in June 1932. One story was that Blake was murdered in Chicago, but this did not hold up after an intensive search of local police records. Another theory is that as the Depression knocked the bottom out of the race record industry, he drifted back to Jacksonville and lived a few years more, with

1937 suggested as a possible date of death. In 1935, Mary Elizabeth Barnicle led an “Archive Of Folk Song” expedition into the area where Blake was thought to have resettled and canvassed it for black musicians, yet never encountered him. I suppose Blind Blake’s disappearance will always remain a mystery.

Blake’s influence, especially in the folk and Blues revival, was of massive significance. His brilliant picking was touted by such Godfathers as the Rev. Gary Davis and Josh White. His songs were covered by contemporary luminaries such as Ry Cooder, Dave Van Ronk and Leon Rathbone. On guitar, it is widely accepted that Blind Blake is the one to beat. Given Blake's importance, popularity and impressive recorded output, it would be reasonable to assume that we would know something about the man. Sadly, after more than fifty years of research and searching conducted by fans and experts alike, we still don't know anything verifiable about Blake which isn’t revealed on his records. Given the man’s obvious genius, it is frustrating to admit that practically all we know about Blind Blake outside his recordings consists of conjecture, rumour and nonsense. For example, at one time a theory was advanced that Blake’s true name was Arthur Phelps and, in fact, Blake's entry is filed in Sheldon Harris' “Blues Who's Who” under this name. This is proved nonsense by Blake himself, who states on his 1929 recording ‘Blind Arthur's Breakdown’ that his name is “Arthur Blake.” He uses the Geechee dialect during his recording of ‘Southern Rag’. This is related to the Sea Islands of South Carolina and Northern Georgia and this led to the theory that Blake was born in the Georgia Sea Islands and spoke Geechee as a first language. This was extrapo

lated to account for his reportedly “uncomfortable negro dialect” on recordings like ‘Early Morning Blues’. Blake's genuine negro dialect disproved this ridiculous theory.

Many of Blind Blake’s recordings are classic early Blues performances, including ‘Early Morning Blues’, ‘Skeedle Loo Doo Blues’, ‘That Will Never Happen No More’, and ‘Southern Rag’. Several of his original tunes are now country Blues standards. Anyone who hears Blind Blake can't help but be struck by his sincerity, his gentle humour and the mastery with which he plays some of the most treacherously complex finger-work in the history of the guitar.

The definitive compilation of his work is to be found on “Ragtime Guitar’s Foremost Fingerpicker” (Yazoo 1990), which delights with twenty-eight prime tracks, alternating between solo numbers and songs recorded with a string band. Document also published a four volume “Complete Recorded Works” in 1991, and there was a good compilation released by Indigo in 1996, “The Master Of Ragtime Guitar: The Essential Recordings”. KW