Blues Matters 102

RY COODER

THE RETURN OF THE PRODIGAL SON

EDITORIALS …

Interviews with BBC Radio

2’s Blues Show hosts Paul Jones and Cerys Matthews as they embark on their new journeys

Ealing Blues: Robert Hokum

Phenomenal Women in the Blues: Etta Baker

ALBUMS, FESTIVALS AND CONCERTS

The BIGGEST collection of blues reviews including Scarborough Top Secret Festival, Terri’Thouars Blues Festival, and many more …

ANGEL FORREST

BIG BOY BLOATER

LIVE JAK’S

JAMIE THYER & THE WORRIED MEN

GERRY JABLONSKI & THE ELECTRIC BAND

TEED UP (STEVE ROUX)

ANDY GUNN

THE MILKMEN (ADAM NORSWORTHY)

ZOE SCHWARZ & BLUE COMMOTION

ROADHOUSE DANI WILDE

LUCY ZIRINS

DANA GILLESPIE

ROB KORAL & ZOE SCHWATRZ

GEORGE SHOVLIN & GEORGE LAMB

Our Blues MC for the weekend : M.D.Spenser

FROM THE STAGE AT

June 15-17, 2018

Woolton Farm, Bekesbourne, Canterbury, Kent

BAND OF FRIENDS

Celebrating the music of Rory Gallagher

MARTIN BARRE’S BLUES BAND

Grammy winning JETHRO TULL guitarist has assembled a one-off blues band exclusively for Blues On The Farm, playing the early blues of Tull plus some classic blues . Not to be missed!

Dr FEELGOOD * JO HARMAN

CLIMAX BLUES BAND

MIKE SANCHEZ & HIS BAND

REBECCA DOWNES * MARCUS BONFANTI * CATFISH

VINCE LEE & THE BIG COMBO * JACKIE McAULEY BAND

ROBIN BIBI BAND * SPANK THE MONKEY * MACK

COLD FLAME * TOMMY JUSTICE * TOM C WALKER

Editor’s Comment – Issue

Did you know that apparently the record set for holding your breath is twenty-four minutes and three seconds! Amazing, and unbelievable. Never fear, you do not have to hold your breath for that long before a new Blues Matters turns up!

Well, here we are once again folks and what a busy time it has been between issues. We’ve been working on more improvements and changes whilst gathering in the items for this issue. And, what an issue it is! Interviews across the broad board of Blues music. With Paul Jones having vacated his thirty-two year sitting at the Radio 2 Blues table we meet the new lady of the BBC Radio 2 Blues Show, Cerys Matthews. The show now moves to an hour later, at 8 p.m. (well she is younger and can stay up later). We also present you with a rare treat of an interview with slide master, Ry Cooder, as our new Editor Iain catches up with him. We have Scottish stormer Gerry Jablonski and across to Europe for our fi rst chat with Big Boy Bloater. To add even more gorgeousness we also took some time with the lady with great tonsils Bettye Lavette to grace our pages.

I will leave y’all to check out the Contents pages to see what other delights await you in this issue (and delights there are for sure, it’s always exciting reading it again!). Check out the emerging new look inside and let us know what you think.

By the time you read this the Blues Foundation Awards will have been held. Each of the 1,300 attendees will receive a ‘goody bag’ and in this years bag for there will be a copy of our 100th issue.

AND, did you know that our arms are a certain length so that it is easier to hold vinyl LP’s under them!

Finally, R.I.P. Mike Harrison Born 30 September 1942 and passed 25 March 2018 after fighting lung cancer. Mike had one of those distinctive voices in music. Bands included The V.I.Ps (who were asked to be the Jimi Hendrix backing band but declined) the epic Spooky Tooth, Hamburg Blues Band and various solo projects. I had the pleasure to meet Mike many years ago at a Spooky Tooth gig at the L.S.E., London and again at Colne a few years ago, he was one of life’s nice guys. I spoke with Marion recently and our thoughts are with her.

ENJOY and spread the word because ‘our name says it all’.

Alan Pearce Founder, Publisher, Editor-in-Chief

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COVER PHOTOS: Ry Cooder by Paloma Cooder. Angel Forrest by Alex Asprey. Big

Contributing Writers:

Liz Aiken, Tim Arnold (USA), Roy Bainton, Eric Baker (USA), Steve Banks, Adrian Blacklee, Eddy Bonte (Bel), Colin Campbell, Iain Cameron, Norman Darwen, Dave Drury, Carl Dziunka (Aus), Ben Elliott (USA), Barry Fisch (USA), Sybil Gage (USA), Jack Goodall, Mickey Griffiths, Stuart A. Hamilton, Trevor Hodgett, Billy Hutchinson, Rowland Jones, Brian Kramer (Sw), Frank Leigh, John Lindley, Boris Litvintsev (RU), Gian Luca (USA), Mairi Maclennan, Ben McNair, Mercedes Mill (USA), John Mitchell, Toby Ornott, Merv Osborne, David Osler, Iain Patience (Fr), Alan Pearce, Thomas Rankin, Simon Ridley, Darrell Sage (USA), Paromita Saha (USA), Pete Sargeant, Graeme Scott, Andy Snipper, M.D. Spenser, Dave Stone, Suzanne Swanson (Can), Tom Walker, Don Wilcock (USA), Dani Wilde, Steve Yourglivch, Mike Zito (USA).

Contributing Photographers:

Annie Goodman (USA), others credited on page

© 2018 Blues Matters!

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

Boy Bloater by Bob Blackburn.

Issue 102 Contents

REGULARS

Women: Etta Baker

INTERVIEWS

Ry Cooder (USA) ..........................................

26 America’s Prodigal Son returns to his roots with a brand-new Gospel & Blues inspired album, here he talks about his influences and life on the road with his music collaborator, son and drummer Joachim. Cooder is a multi-instrumentalist, songwriter, film score composer and record producer.

Angel Forrest (CA)

32

Canadian songstress Angel has been performing and recording since 1996, in both her native French and English. She is a multi-award-winning singer/songwriter and a successful part of the huge blues music scene in the French-speaking city of Montreal. Here she talks about songwriting, her musician choices and her plans for the future.

Big Boy Bloater (NL)

34

With a career spanning over 20 years and countless albums, BBB is back with yet another solid album, due out in June, called Pills . This is still lyrically based on life and relationships but with a very post-modern twist, here BBB talks about his influences and his preferred gear choices.

Ry Cooder

Angel Forrest

Paul Jones (UK) ...........................................

42

BBC 2’s ‘Blues Show’ man has retired from the mic, but only the radio mic, thankfully. Paul talks to our writer about some of his favourite memories in radio and his plans for the future. Tune in to find out what they are.

Cerys Matthews (UK)

46

BBC 6 Music regular Cerys is set to take over The Blues Show on BBC Radio 2 from Paul Jones, she tells us why she’s the perfect woman for the job and informs us that this will be a live show with regular guests and audience interactions a plenty.

Joan Armatrading (UK) ...............................

50

Grounded in her music and confident in her abilities, Joan has never buckled to current trends and genres in over four decades of superlative music-making. Here she drops in to tell us about the importance of good lyrics, her early days and so much more.

Maggie Bell Pt.1 (UK) ..................................

56

Lead singer with the mighty Stone The Crows and a successful solo artist, Maggie Bell has performed all over the world and shows no signs of slowing down.

Zoot Money Pt. 2 (UK) .................................

60

Part 2 continues the conversation from issue 100 with keyboard ace and unique vocalist Zoot. They talk venues and musicians plus there’s an album review for Zoot Money’s Big Roll Band’s 4 CD-set, Big Time Operator.

Bettye LaVette (USA)

64

Soul Survivor LaVette has just released a new album called Things Have Changed , a compilation of Dylan tunes that have been given her unique spin. She also tells us what it was like having Keith Richards perform on her album.

DeWolff (NL) ................................................

70

With their 6th studio album Thrust due out soon and a recent signing to the Mascot Label Group this band of psychedelic blues rockers from the Netherlands are set to hit the UK soon.

The Zombies Pt. 1 (UK)................................

74

Veteran purveyors of scintillating and haunting music for over 5 decades, drawing on Jazz and Blues influences, sit down with our writer Pete to talk Blues and history with the recently deceased Jim Rodford.

Gerry Jablonski & The Electric Band (UK)

80

This Scottish/Polish band have been busy making waves in the blues scene in both the UK & Europe, here they tell us about what drives them on to greater success plus we hear tales from the road.

84

If you’re looking for some new music then this is the place for you.

118

Scarborough Top Secret Festival and Terri’Thouars Blues Festival.

Gigs

122

Malaya Blue, Matt Schofield, Ben Harper & Charlie Musslewhite, Katie Bradley, The Grahams, Kramers Anniversary, and Ladies of the Blues.

Big Boy Bloater

Ealing Blues: Robert Hokum

Tommy Hare, Lorna Fothergill, Jules Fothergill, Hayden Doyle (drums), an obscured Dobby (bass) and Robert Hokum jamming on Northsyde’s set Sat 22 July 2017

One steady and highly significant home of the Blues for decades has been Ealing in West London, and within it a lynchpin of the Ealing Blues scene is musician Robert Hokum. Robert has been helping to keep the musical side of Ealing as appreciated as its fi lm heritage and that is a challenge because Ealing is hot stuff where movies are concerned.

Wikipedia suggests that Ealing has had a movie industry from 1902, and the studio “is the oldest

continuously working studio facility for fi lm production in the world. It is best known for a series of classic fi lms produced in the post WWII years, including Kind Hearts and Coronets (1949), Passport to Pimlico (1949), The Lavender Hill Mob (1951), and The Ladykillers (1955). Since 2000, Ealing Studios has resumed releasing fi lms under its own name, including the revived St Trinian’s franchise. In more recent times, fi lms shot here include The Importance of Being Earnest (2002) and Shaun of the Dead (2004) as well as The Theory of Everything (2014), The Imitation Game (2014) and Burnt (2015). Interior scenes of the British period drama television series Downton Abbey were shot in Stage 2 of the studios. The Met Film School London operates on the site.”

Quite a list, but Ealing’s musical dimension can put up a showcase of highlights to challenge it. Thirty-one years ago, Robert founded the Ealing Blues Festival on another site, in Walpole Park where it will take place this year on Saturday 21 and Sunday 22 July and be headlined by The Counterfeit Stones and Hayseed Dixie. Long before Bob founded the festival, guitarist Alexis Korner and harmonica player Cyril Davies founded the Ealing Club, whose musical nights accessed via some worryingly steep off -street steps, were in the Red Room, frequented by The Rolling Stones and other world class acts such as The Who. The club is now the subject of a documentary fi lm, featuring Robert, which was premiered in 2017 – Suburban Steps To Rockland: The Story of the Ealing Club.

Robert is conscious of this history and instrumental in its preservation and expansion. “The founding of the Ealing Blues Club by Alexis Korner & Cyril Davies on March 17 1962 was to be the fi rst dedicated electric blues club in the UK. It’s where The Rolling Stones met, where Jack Bruce met Ginger Baker, where The Who fi rst played under that name and Mitch Mitchell gigged every Sunday. Mojo magazine described Ealing as ‘the Cradle of British Rock Music’. For many years the Ealing Blues Festival has been the only local gig celebrating this legacy. We founded the Ealing Club Community Interest Company to promote Ealing’s iconic musical heritage and inspire for new live music opportunities.”

Robert’s youth coincided with famed bands playing in Ealing. “Growing up in Ealing I’d see posters and local paper adverts for bands with

Robert Hokum

names like ‘The Rollin’ Stones’ and ‘Manfred Mann’ at places like The Ealing Club, Blue Triangle, and so on. At school, a cousin of John McVie was in my class, another kid in my class was playing in a band with some local bloke called Rick Wakeman. Everybody had a guitar.”

Robert joined them but as with many musicians who start their own venue or festival as a place to play, it was a setback that led to the birth of the Ealing Blues Festival. “In the early 80s I left the music business to earn a proper living. At the same time, I was also getting more gigs as a musician. When the Ealing Jazz Festival started, I approached the organisers to see if I could perform and was given quite a rude response. So, I thought ‘sod this’ and set about running my own gig. I had to play a lot of politics and fight very hard for it.”

The fight won, Robert got his chance to play but so did others, and they found an audience, with highlights such as, “being applauded by a couple of thousand people for playing some very long and over indulgent guitar solos! But seriously, 1991 when it was still just me and my mates performing, and over a thousand-people turned up, showing that there was really something there. Difficult to single out one act for praise, but Earl Thomas in 2014 was quite exceptional.”

2017 saw the festival headlined by The Blockheads and by the act whose ‘In The Summertime’ is one of the best-selling songs of all time. “I met Ray Dorset [Mungo Jerry] at The Swanage Blues Fest a couple of years back. We got chatting about the Ealing scene of the 60s. He served his musical apprenticeship at many Ealing venues, The Ealing Club, The White Hart in Southall, and many more. He was delighted to come back and re-visit his roots. Diamond geezer.”

Having founded a festival and worked on the heritage of the Ealing Club, a movie followed. “The first project for the Ealing Club Community Interest Company was put up Heritage Plaques at the former premises of the Ealing Blues Club and where the first Marshall Amplifier was built in Hanwell. The next big project became the film about the Ealing Club – Suburban Steps To Rockland We were approached by film maker Giorgio Guernier who had recently moved to Ealing. He knew nothing about the history and was looking for local gigs when he came across our website. He became

interested in the whole story and so got in touch with us. The film sold out its premiere at the Doc’n’Roll Festival at The Barbican and subsequent screening at the Elgar Room of The Royal Albert Hall in December 2017. It’s just sold out two showings as part of the Ealing Music and Film Festival. As it’s only got festival licences at present, we now need to raise the money for general release licences, so we can get it out to a wider audience.” It is certainly a compelling film reflecting a varied and at times very exciting history, featuring an array of people from the manager of the club, Feri Asgari (and his Rolls Royce), to John Mayall, Eric Burdon, John O’Leary, and Pete Townshend.

Robert has been playing his own music while being involved in all of these activities, and his most recent album was Trippin’ Backwards , a live retrospective featuring the late Dorris Henderson from the US, the sitar fronted blues fusion band Blues Sans Frontieres and The Guv’nors. Bob enjoyed the feedback. “I was very pleased with the response; thankfully almost all the reviewers and DJ’s ‘got’ I was trying to make a statement about how I have a very wide-ranging approach to the blues and what it is.”

Robert’s musical career and projects continue. “I’m still gigging, solo and with The Great West Groove. Also playing bass with some Asian Tabla and Veena musicians; it’s somewhere between Modal Jazz and Raga based on Delta Blues themes. For the Ealing Blues Festival we need a younger programmer to get involved. Someone like me when I was in my thirties and started it. I’ll be 67 this year and I feel that the programming needs some younger input. Musically, I want to get more into production. Many of the iconic British blues acts were also into the art of song-writing and don’t think that enough attention is paid to this by many acts. I’d like to become a ‘Brit Blues Nile Rodgers’. I can’t think of an act from the current Brit Blues scene who has ever been nominated for the Mercury Prize. Wouldn’t it be great to find an act on the Brit Blues scene capable of that?”

Robert Hokum’s CD Trippin’ Backwards is only available from him personally or mail order at www. the-ealing-club.myshopify.com/products/roberthokum-live-retrospective-cd. Robert Hokum can also be found every third Wednesday of the month at The Brewery Tap in Brentford.

Phenomenal Blues Women

Etta Baker – It’s never too late to chase your dreams!

Verbals: Dani Wilde

Today, as I cosy down to write my column applauding phenomenal blues women, I am aware that it is a day of celebration – 8 March –International Women’s Day. There are so many trail-blazing women in blues history that I could write about, but for this special day I choose to celebrate the life and work of Piedmont blues guitar wonder Etta Baker. Not only was Etta a hugely influential guitarist, she showed us all that it is never too late to chase your dreams!

Etta Baker didn’t release her debut album until she was seventy-eight years old, and yet her superbly creative guitar technique influenced artists including Taj Mahal and Bob Dylan.

Born Etta Lucille Reid in North Carolina, 1913, Etta’s father, Boone Reid, was a small-time musician who taught her to play the six and twelve string guitars and the five-string banjo. Her Father, who was excited by his daughter’s musical talent, also encouraged her to learn piano, mandolin and violin. Etta often performed the blues, as well as hymns, parlour music, ragtime, and Tin Pan Alley songs with her father and sister at local dances and parties. Etta began learning guitar at the tender age of three. Her daughter explained in a memoir to her mother that Boone “would lay the guitar across her lap and teach her chords. Her fingers were so tiny that she played the guitar like a piano, stretching and straining her fingers so that they struck the chords rapidly, creating an echo of sorts that made it sound like multiple instruments playing at once.”

Although Etta’s father was a gifted musician, he was unable to make ends meet from his music alone, so worked a variety of jobs in factories and shipyards. When Etta was just fourteen

years old, she dropped out of school and joined her parents and siblings working in a tobacco factory.

Etta’s father taught her a unique finger-picking playing style which is now known as Piedmont Blues. The Piedmont style sets itself apart from other acoustic blues styles such as the Mississippi Delta blues because of its ragtime-based rhythms. Etta would play with such emotion and personality, alternating her thumb picking the bass strings whilst her forefingers picked the treble strings. She explained in interviews that this style was used in the Piedmont Plateau region where she was raised. Etta’s playing though was instantaneously recognisable; her secure bass-lines intertwined with such spirited melodies. She was a storyteller who didn’t need words to tell a story – she made her guitar sing. Despite her huge talent and dedication to her craft, Etta didn’t believe that she could be a star. She lived in a community where women were expected to marry and keep house. Family was important to Etta and so, in 1936, she married her boyfriend of six years, a local pianist called Lee Baker. She made the decision to give up performing so she could devote her life to raising their nine children. In Virginia in the 1930s, opportunities for musicians were local rather than national. Skilled musicians could make a little money performing at local dances and in church, but most jobs were in farming and in the mills. In an interview, Etta recalled, “My husband could play piano real wellI believe we could have made it, but as he did not want to leave home, there was nothing I could say.”

Pursuing her dream would have been a huge financial risk, so she found herself a low-paid reliable job at a textile mill and put her dream back on the shelf. Although she wasn’t performing publicly, Etta

continued to play guitar and banjo at home. For decades, only family and friends heard her play. She developed a three-finger signature style that reflected the melting-pot community in which she lived. Her music was a unique and distinctive blend of African-American blues, ragtime, white country picking and English fiddle tunes. Etta’s home, at the foot of the Appalachian Mountains was a musical and racial crossroads. She described herself as a mix of African-American, white and Native American blood, and explained that, “Where we lived was a white section, but everybody was one family. I played with my sister Cora and Daddy at big dances for both whites and blacks.”

In 1956, when Etta was in her 40s, her father, Boone Reid, treated Etta and her family to an outing to Cone Mansion, where they spotted a man carrying a guitar over his shoulder. Being a proud father and keen musician, Boone asked the man if he would like to hear his daughter play. That man happened to be Paul Clayton, a successful song-collector and folklorist.

“I played a song I had put together,” Etta remembered, “‘One Dime Blues’ and Paul was amazed. He got directions to our home and he was over the next day with his tape-recorder.” Paul Clayton recorded Etta and her father performing ‘One Dime Blues’ and ‘Railroad Bill’ and featured the songs on his 1956 compilation album ‘Instrumental Music of the Southern Appalachians.’ It was one of the first

commercially released recordings of African American banjo music, and it also showcased Etta’s unique Piedmont guitar style. At last, Etta’s talent was to be heard by a much larger audience than the sleepy town she grew up in. In fact, her song ‘Railroad Bill’ was to catch the attention of a young Taj Mahal: “That chord in ‘Railroad Bill’ is a very ancient root chord” Taj explained. “It strikes straight through me, every time I hear it played.” Taj was deeply moved by Etta’s magical playing. He reminisced “Those older chords seem like you can see right through them back to the past.”

Song-collector Paul Clayton became a link between Etta and New York’s exciting 1960s folk scene. Since Etta didn’t feel able to leave her home, Clayton began treating his New York friends to trips to Carolina to hear her perform. In fact, Bob Dylan spent his 21st birthday listening to Etta. When Dylan returned to New York he wrote his famous song, ‘Don’t Think Twice,’ directly inspired by Etta Baker’s guitar work.

In 1967, Etta’s son was killed in the Vietnam War. That same year, she lost her husband. She was devastated. For a while, she felt unable to play music but eventually picked up her guitar again as a way of expressing her pain, helping her through her mourning. Yet, it wasn’t until the late 1980s when all of her children had grown, that Etta decided it was finally time to chase her childhood dream. She quit her job and began to record her debut solo album One Dime Blues which was released on Rounder records in 1992. Etta was 78 years old!

“I raised a family of nine children and I didn’t travel much in raising a family”, recalled Etta. “I worked at the Buster Brown plant for about 26 years and there was a man came down from Portland, Oregon, and he said you oughta pick up your guitar and quit work. Well I thought about that on a Wednesday, and Friday I quit. Went to the office and told them I was quittin’. And I did. And I’ve enjoyed every day since.”

Following the success of her debut record, in 1995, Etta was introduced to bluesman Taj Mahal. Taj had

been a huge fan of Etta’s since he had fi rst heard her song ‘Railroad Bill’ as a young student in the 1960s. In 2004, the pair recorded the album, Etta Baker with Taj Mahal. Taj spoke to the New York Times, explaining his admiration for Etta: “I came upon that record in the 60s – It didn’t have any pictures so I had no idea who she was until I got to meet her years later. But man, that chord in ‘Railroad Bill’ that was just the chord. It just cut right through me.”

Etta had fi nally realised her dream and found the recognition she deserved. She shared the stage with Taj Mahal, Bob Dylan and B.B. King. She received the North Carolina Folk Heritage Award in 1989, a National Heritage Fellowship in 1991, and the North Carolina Award in 2003. She was nominated for the W. C. Handy Blues Awards in 1987, 1989 and 2000.

Etta was a hardworking and independent soul who sped-up rather than slowed-down as she grew older. Her daughter fondly described how “Mother canned her own vegetables, grown in her garden, which she maintained until she was 91. She worked on her roof until she was 89, when

the family forbade her to crawl up there to make repairs. She loved fast cars and beer; she had three cataract surgeries to make sure she maintained her driver’s license well into her eighties.”

She may have been an old lady by the time she turned professional, but Etta Baker had played the blues for almost ninety years and throughout her lifetime had become the fi nest fi nger-style Piedmont Blues guitarist to come out of North Carolina. Sadly, Etta passed away at the grand age of ninety-three in Fairfax, Virginia. To honour Etta’s legacy, a statue of her was erected in her hometown of Morganton, North Carolina. She was more than a musical role model and pioneer of the Piedmont guitar style; Etta showed us all that it is never too late to chase your dreams!

Recommended listening:

■ One Dime Blues

■ Careless love

■ Railroad Bill – feat. Taj Mahal

Harpin’ on

Harpin’ On is a South Coast based harmonica-led band playing a cooking blend of blues, rock

‘n’ roll and rockabilly swamp rock. The main man is former Backbeats vocalist and harp player Little Dave (Dave Sparkes) who provides the song writing and vintage harp sounds throughout. Recent release ‘How About Tonight’ is creating a few ripples and gaining steady radio recognition that suggest the band are close to wider recognition.

Dave was the driving force behind The Backbeats and they won the BBC talent show, Don’t Give Up Your Day Job, impressing judges Noddy Holder, Linda Nolan and Jim Bowen with the original ‘How About Tonight’, now the title track of the new release. A number of high profile festival appearances and even a show at the Buckingham Palace Xmas Party followed.

In the Autumn of 2017 Dave travelled across the USA with friend Rich Vickers on a pilgrimage to blues and rock ‘n’ roll shrines taking in Graceland, Chess Records, Buddy Guy’s, RCA Studios and others. The culmination of this was the opportunity of a private tour around Sun Studios in Memphis and a unique opportunity to record there. The ensuing recording is now available as Memphis Boogie , a hot mix of covers and originals released 66 years after the first ever Sun Studios release, Drivin’ Slow by Jonny London.

Harpin’ On are an exciting live band who keep alive the spirit and drive of the likes of Slim Harpo and Little Walter mixed with a pulsating rock ‘n’ roll heart guaranteed to get people up on their feet dancing. Check out more about Dave and the band via harpinon.wordpress.com

Verbals: Steve Yourglivch Visuals: Richard Gosler

Joe Colombo

Joe grew up in the Italian-speaking part of Switzerland (Locarno-Ticino). His influences are Freddie King, Johnny Winter and Jimi Hendrix, to name a few, and the title of his first album, released in 2002, sums him up perfectly. Entitled Natural Born Slider, it reflects his own interests and influences, whether on dobro steel guitar or amped up on a Stratocaster, Joe’s slide guitar is just sweet and natural. He covers a range of styles on this first album, from fast driving blues rock tracks like ‘Tequila Shot’ to the slower blues number ‘Sweet Things’ which builds into a fantastic crescendo. The album also pays a visit to Texas with the track ‘Talkin’ About Texas,’ but Joe always lets the guitar do the talking. (This is typical of Joe, who is a talented, but unassuming guy, happiest when playing guitar.) The album is almost exclusively instrumental except for three tracks where the vocals are accompanied by some soaring slide-work. For some reason the album didn’t receive the critical acclaim it deserved. Joe then went Stateside, working in Los Angeles with the late blues artist Terry Evans, before, in 2003 and

2004 respectively, he released Voodoo Crossing and Gypsy Blood , both tributes to Hendrix, where Colombo features alongside other guitar greats such as Robben Ford, Larry Coryell and Steve Luthaker, with versions of ‘Red House’ and ‘Room Full of Mirrors.’ Further releases followed in 2009 and 2011 with his band Deltachrome. 2012 saw the release of Live at Taco’s , with Joe doing what he does best, playing scorching slide guitar with a big emphasis on the bluesy side of rock, and enjoying himself. The most recent release, Stratoslider, is Joe’s finest work to date and yet again covers a range of styles, from rumba to a tribute to Johnny Winter with the track ‘Johnny D.’ Joe is rightly proud of his latest work but as usual prefers to let the guitar do the talking. As Joe says: “I travel a lot and my goal is to keep doing that with music”. Given the recognition he deserves, Joe will hopefully be able to do this for a long time to come.

Verbals: Steve Banks

Visuals: Supplied by Artist

Michele Bondi

Verbals: Matt Cressay Visuals: Yvonne Mercier

The fi rst time I met Michele Biondi was in a wild club in Tuscany, Italy, where I moved ten years ago from England. I liked his guitar playing and singing then we became friends, and this is what he told me about his music:

“I began listening to blues when I was about 14 years old. I fi rst heard a track by John Lee Hooker called ‘Boom Boom’ this got me into blues and I started to teach myself guitar. I had some lessons here in Italy, but the old school blues stuff is what I wanted to sound like, Muddy Waters, Freddie King, Albert King, Albert Collins, and the country blues of Robert Johnson. I was a friend and student for many years of the American singer Bruce Borrini from Chicago, he lived close to me and he started teaching me about blues music and culture and how to use my voice correctly. I’ve always liked to write my own songs, in fact Cotton & Moonshine is my fourth original blues studio album. My fi rst album was with a band called ‘Blues Basket’ in 2005, the second was released in 2012 with a band called ‘Locomotive Breath’, my third was A Better Life with my old band ‘Matt Biondi Crew’ in 2014 on Pocker Records and fi nally Cotton & Moonshine on the Popolo del Blues label and recorded in Italy at Red Room

Studio with the help of some good musicians and friends, Federico Paoli on the bass, Edoardo Vannozzi on drums and Alessandro Solenni on Hammond. As for live performances, I played in France with the Italian ‘European Big Band’ for several years. We played in Lyon, Nice and other cities, I’ve played with the bands ‘The Dinosaurs’ and ‘Locomotive Breath’ in Switzerland at the Lugano Blues Night and touring clubs. In Italy I’ve played in many blues festivals, such as Blues in Town, British Blues Festival in Bergamo, Bluesacco, Lucca Blues Festival, Trend & Blues in Puglia and many, many bars and clubs across Italy. In 2005 in Clarsksdale, Mississippi, I met bluesman Ray Cashman and harp player and singer Stan Street, and we started playing together in Italy and Spain, then a bunch of months ago, we played our fi rst tour

together in America working in Mississippi and Texas. My dream is to travel around the world sharing life, music and stories together with people.”

Mississippi Macdonald & The Soul Fixers

The Soul Fixers, formed in 2017, have genuine Delta credentials ... the Thames Delta that is, as they all hail from south of the river! The band comprises Mississippi MacDonald (guitar and vocals), Phil Dearing (guitar and vocals), Peter Miles (drums) and Glynn Evans (bass). Between them they have an extensive list of gig and session credits; Phil is an award-winning producer, the owner of L Sound Studios in London and runs The Icarus Club, South London’s premier original acoustic night. Peter counts appearances with The Jo Ann Kelly Band, Alexis Corner, Jack Bruce and US artists Lightning Slim, JB Hutto and Eddie Guitar Burns. Glynn has made more than 7,500 live appearances over a 40-year career including with Ray Davies and Pete Townsend. Mississippi himself is a British Blues Awards nominee, has had three top three albums in the IBBA Charts and has travelled extensively on the US Blues Trail. In 2010 he was part of the team that purchased a memorial stone for the unmarked grave of legendary southern soul artist OV Wright.

In 2017, the band released their fi rst record Mississippi MacDonald and Steve Bailey: With The Soul Fixers , recorded in London and Seattle. The album received critical acclaim and international airplay - it was one of the IBBA top picks

of 2017, Saint FM’s Blues Is Back Show, album of the year, and had airplay on BBC Radio 2’s The Paul Jones Show. The album featured Steve Bailey from Seattle, USA on harmonica, a Washington State Blues Society Hall of Famer who backed Albert Collins, Junior Wells and John Lee Hooker, as well as playing with the legendary Isaac Scott Band from 1978–1987. Mississippi and Steve are partnering on a number of projects – the Atlantic Ocean is no barrier! The acoustic album Shake ‘Em On Down was released in March 2018, as well as A Tribute To Sonny Boy Williamson due out in summer 2018 that will feature the whole band.

The Soul Fixers will be playing in and around the London area throughout 2018, including shows at the Oval Tavern, Croydon on June 16th September 22nd and December 8th and opening for Larry Garner (USA) on May 18th in Chelmsford. Their ambition is simple – to get out and there and play. So, what will you hear at one of their gigs? Maybe some Albert Collins guitar, some Texas twang, some deep soul and some rock and roll – something for everyone who likes well played original music mixed with a few carefully chosen covers. You can fi nd out more about the band, including gig listings, pics, video, tracks and how to get in touch with them directly at www.mississippimacdonald.com

Verbals: Mississippi MacDonald with John Mitchell Visuals: John Bull, Rockrpix

Rob Picazzo

Gaining a place in the time honoured tradition of playing roots music is much like learning how to piece a series of jigsaws together to get the desired picture fans are familiar with, there really is only one way to go about it. Yet such is the malleability of the ‘roots’ picture that countless artists over the years have and continue to change a piece there, add a section here, and still end up with a finished article that is fresh, wellformed and pleasing to the eye (or ear in our case). Rob Picazo is very much among those artists.

Born in Madrid, Spain to British/Spanish parents, Rob has charted a musical course that has led him ever deeper into the old territories of blues, soul and rhythm and blues, and seen him gain in originality, ingenuity and style all the while. A performer since his late teens, he has played all around the south of the UK, extensively in London, most notably several sell out shows at the Green Note in Camden and journeyed to gig in Madrid. He has supported some of the big and well-respected names of the modern circuit, such as Dom Pipkin, Martin Harley and Gwyn Ashton, and released his debut album Spanish Moss at the end of last year to very favourable reviews in blues publications, including this venerable magazine.

Rob is an adept and versatile songwriter and it is this element for me that is the stand out attraction of an album that reveals many a jewel glinting among the moss. Songs like ‘I Need a Woman (Who Doesn’t Need a Man)’ would comfortably sit among the 50/60s canon of Southern Soul, and ‘Why Do I Cry?’ could easily be a New Orleans staple. Slap-in-the-middle of the record is the song ‘Sleeping on the Floor’ an emotive track that muses on Rob’s time travelling the Southern States of America. During a two-month period, Rob was the focus of a documentary on Roots music in the U.S. ‘Road To Roots’ and here he puts the audience’s focus on the plight of the homeless. All

proceeds from downloads of ‘Sleeping’ on any digital platform will go to ‘Porchlight’ a charity for the homeless working in Kent and Croydon.

Rob Picazo has made in Spanish Moss a strong, consistent and varied first offering, and one knows that here we have a fine young artist in the tradition of his craft but very much in control of his own destiny.

Verbals: Henry Baroch Visuals: Miguel Picazo

The return of the prodigal son Ry Cooder

When one of the world’s most accomplished, admired and revered guitarists tells you that how he plays is: “…nothing special. It’s just music. All music’s the same, all that folk stuff. You just play what you know. You listen to the other guys and try to complement them,” you know you’re dealing with a master of understatement. And with Ry Cooder, the humility continues in a similar vein as he looks back over half a century at the absolute peak of musical genius.

From his sideman work with the Rolling Stones – Cooder’s the stinging slide-picker on ‘Sister Morphine’ on the Sticky Fingers album – in the 1960s to his remarkable emergence as a movie music score writer twenty years later, Cooder has always been a guy with a passion for music, performance and unexpected twists and turns. Always ready to play out his socio-political beliefs and hopes in musical form, Cooder never shuns controversy when he feels the time is right, or there’s a need to push back against convention or authority.

Take his work with the Buena Vista Social Club, for example, an album and a band

Verbals: Iain Patience Visuals: Joachim Cooder

that he championed at considerable personal expense in the late 1980s, when the USA operated an absolute embargo on all things Cuban. Cooder, in typically resourceful, committed mode, hooked up with a bunch of aging Cuban musicians and brought their sheer, shining brilliance to the global stage, picking up a Grammy in the process and a personal $25,000 fine for breaching the trade embargo back home Stateside.

He warmly recalls his time with those guys as being a real ‘learning curve,’ and one he shared with

Ry Cooder The Prodigal Son

Fantasy Records

After a break of around six years from recording, Ry Cooder returns to the fray with a simply wonderful offering, full of his trademark slide-work and nimble, assured fretwork. Always nuanced, original and riveting, Cooder is a guy who seems to live to surprise listeners and fans with his delightful musical skirmishes. Here supported by his touring and studio best-buddy, son, Joachim, on drums/percussion, the overall beauty of this release ensures the wait has been worthwhile. It has always been so with this guy. Cooder, of course, shuffles around musical genres with an open mind and ear in the normal run of things. With Prodigal Son, he has returned more to his musical roots, where a love of stirring Gospel and blues music always filters through the mix. As might be expected, he turns his hand to some Blind Willie Johnson, a personal favourite influence at all times, with a superb take on Nobody’s Fault But Mine, plus a touch of Lead Belly, and some simply stonking gospel-inspired tracks that feature his voice and experimental, unique at times, guitar picking. Whatever he does, Cooder does with class, evident quality and ricocheting slide, zipping through the eleven tracks here with a sharp ear for just what makes a good, not to say, great recording. This is almost certainly bound to be one of those albums that garner countless plaudits and generates enormous global interest, with a Grammy nomination a very likely additional outcome.

Iain Patience

his now principal musical collaborator, his drummer son, Joachim. “I remember telling Joachim to watch and listen to this. It was so great, and he had a chance to learn so much so fast from those guys. It was a real steep learning curve sort of thing,” he says. Describing the initial connection with them as being ‘…. a real long story,’ he laughs, and adds: “It was almost by accident. Fate took a hand and it played out as one of those things that just had to be. And it was a masterclass.”

Cooder has long been a guy with a foot in any number of musical camps. For him, music is pretty much a pick and mix affair as he’s never been prepared to sit snugly in any one musical-box. From his early work with the Rolling Stones where his delicious slide-work features on tracks on both ‘Let It Bleed’ and ‘Sticky Fingers,’ to his close, seemingly seamless fit with Taj Mahal and the Rising Sons, he has consistently surprised with his unexpected twists and turns. His stunning and eclectic acoustic release in 1972, Into the Purple Valley, was truly a breakthrough release which brought him to world attention and may well remain his greatest solo effort. Others, including Paradise and Lunch, again featured his backward glance at straight-on, traditional-tinged acoustic blues. In many ways, he then went on to confound his fans and critics with the stand-alone Jazz album. Others then included a much more rocky and even popularmusic vibe with Bop Till You Drop, before again spinning off in yet another direction with his work with squeeze-box wonder, Flaco Jiminez, and his Chicken Skin Music and Showtime explorations. And, as if that wasn’t enough, he slipped off to Cuba to chase up and rediscover many elderly Havana music giants such as pianist, Ruben Gonzales, singer, Ibrahim Ferrar, and bassist, Puntillilta, to play, arrange, produce and record the Buena Vista Social Club offering in the late 1980s/early 1990s, a band he took to New York’s Carnegie Hall to great acclaim, a collaboration that picked up a Grammy. In addition, he has found the time to become involved with the highly competitive world of film, where his stinging slide work, Paris, Texas , remains immensely popular and immediately distinctive. Asked about the movie-end of his career, Cooder shrugs and says: “It was never expected. It just kinda happened. It was like it was meant to be. Cool fun. It means I can sit at home with a guitar and work without the hassle

of life on the road. It was all really an accident.”

However, whatever he touches, he invariably returns to his blues roots, recalling his early love for the music of the late Blind Willie Johnson, an interest that plays through even now, on his latest release, Prodigal Son , with a hauntingly gripping cover of ‘Nobody’s Fault But Mine.’ “Johnson is still one of those guys, a real wonderful player who can always grab my interest. I return to his stuff again and again without ever getting bored by it,” he says. “When I was a kid I’d pick up an album, say, an old LP of Johnson’s, or maybe a compilation LP, where he featured. I was much younger back then, of course, but the music spoke to me. Back then, some of the stuff could only be found at specialist stores or outlets, or from blues music collectors who had old 78s. It was difficult at times, and some of the albums and 78s were tricky to handle.”

Looking back over his career, now over half a century at the top, Cooder confirms: “African American music has always been a favourite of mine. There is always that wonderful rhythmic sense and a versatility, a freedom with it that just sings out. Blues music has that at its heart.”

Cooder also singles out the music of another two, late US blues masters, mandolinist Yank Rachel, as a tried and trusted favourite who has influenced his approach: “Rachel was wonderful, he really knew what he was doing. He had a feeling that was irresistible. Rachel and Sleepy John Estes were both remarkable musicians. I knew them both briefly. They were very different kinds of guys. When I was first interested in the music, I’d get their LPs as well as Willie Johnson’s, slow them down, listen and try to learn their stuff. They were huge influences on me over the years.”

From the early age of around three, Cooder became hooked on music, picking up and largely teaching himself guitar and mandolin. And as a West Coast kid, he found his exposure to the folkrevival extremely limited. The rediscovery of US bluesmen being mostly focussed on the New York,

East Coast end of the country, Cooder worked hard making connections with occasional musicians as they passed through on tour. “I’d hang out, turn out at gigs and talk to the guys afterwards, get them to show me what they were doing, how they were playing the stuff. There’d be Bill Monroe, Doc Watson, all those guys. I was still in High School at the time.”

Connections at the time included the extraordinary blind, Appalachian acoustic picker, Doc Watson, a guy who worked both country and country-blues music as part of his normal delivery. Cooder confirms picking up tips about guitar from Watson, but also singles out another notable old-timer, the late Tom Paley, for his help over those important years while his own style and skill was still evolving:

“Tom used to pass through from time to time. He was with the New Lost City Ramblers back then, and I caught him whenever possible. He was always helpful, friendly and patient. Back then, I didn’t know about open tunings really. Tom introduced me to, and taught me a lot about using, open tunings. Still a style that is central to my playing.” A few years ago, Cooder and Paley reconnected in London – where Paley lived for many years prior to passing in 2017 – when Cooder attended the BBC Radio 2 Folk Show annual awards to receive a lifetime achievement award.

These days Cooder frequently works with his son, Joachim, as a drummer/percussionist. “He was listening to music in the womb, I guess. It’s always been part of him, of his life,” he quips, when I ask if Joachim has never been tempted to pick up on guitar, given his father’s reputation. “No, he never really had an interest in picking guitar. He has a wonderful sense of rhythm, is almost a natural drummer. He’s always been happiest as a drummer.”

With a new album behind him, Prodigal Son , Cooder laughs when I ask where the title comes from: “It’s just one of those things, nothing should be read into it. You know, you write a load of stuff, put it together in the studio and at some

African American music has always been a favourite of mine. There is always that wonderful rhythmic sense and a versatility, a freedom with it that just sings out. Blues music has that at its heart.

point, have to give the album a title, a name. I just picked that track title for the album. It’s a release with gospel and blues at its core, music that is timeless, that reflects a tradition, a way of life.”

We both express our mutual sadness at the recent death of his old blues buddy, vocalist Terry Evans, before Cooder adds that he’s going to take the new album out on the road with a North Carolina vocal outfit, The Hamiltones, who will, in effect, be replacements for Evans. “I thought it would be near impossible to fi nd anybody to replace Terry, then I came across The Hamiltones, looked and listened, and knew they were great. They work well with what I’m trying to do with this album.”

“I wasn’t too keen on touring, promoting the new album, but Joachim persuaded me to give it another go. A while back, we went out on a tour with Ricky Skaggs and the Whites. Joachim reminded me of how much I’d enjoyed it, how much fun we’d both had. So, I thought, sure, let’s try it again. Joachim’s real pleased, we’re looking forward to it.”

However, he then hints that the time is approaching when he will happily retire from the touring life: “The road’s just too hard on me now,” he says. “It’s hard to manage, can be hard to make a buck, make it worthwhile. You spend, lay-out, say, two-dollars to get a return of twenty-five cents. I enjoy the fi lm score writing and can see myself settling down into that sort of thing in future, working from home without the need to take to the road.”

Discography

The Prodigal Son – 2018

Election Special – 2012

Pull Up Some Dust and Sit Down – 2011

I, Flathead – 2008

My Name Is Buddy – 2007

Chávez Ravine – 2005

Get Rhythm – 1987

The Slide Area – 1982

Borderline – 1980

Big blues festival —

Fri 12 — Sat 13

october ‘18

Dr Feelgood

Ian Siegal

Sam Kelly’s Station House

Xander and the Peace Pirates

Rebecca Downes

Tom C Walker

Little Blues

Acoustic Stage

Early bird £40

Festival ticket £48 (from 1 Aug)

Saturday ticket £35

To Book

Online:

theatkinson.co.uk

Box Office: 01704 533333

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A ngEL FoRREST

Angel Forrest is a seriously successful part of the huge blues music scene that occupies space in the French-speaking Canadian city of Montreal. Regular readers will know that our annual review of the Montreal Jazz Festival centres on the large contingent of blues musicians who play the event – as Angel and her band have done previously, to considerable acclaim. Blues Matters’ Andy Hughes started his conversation with Angel, as the tour bus headed for the first of a series of recent UK live dates. The best place to start tends to be the beginning …

Verbals: Andy Hughes Visuals: Alex Asprey and Al Stuart

About thirty years ago I attended a party at a friend’s place, there was a camp fire outside and a good-looking guy was there playing guitar. He got better looking as the wine slipped down, and I started singing along with him, which went down OK because I had enjoyed a drink. He called me up and asked me to join his band and sing a set, they had a regular bar gig. I sang with the band, they fired half of the musicians, got new people in and called the band Angel And The Bad Boys. I married the guitar player and we had a child together.

The Quebec blues scene is huge but is it insular? Is it hard to break out into a wider audience?

Quebec is huge on Led Zeppelin, The Doors, Janis Joplin, so we started out covering their material, and then wrote our own songs. That’s what the songs on the Mother Tongue album, are about, the French-speaking Quebecois don’t understand all of the lyrics, but they understand the fire and the passion that deliver them. I have more support in the French-speaking blues fans than the English-speaking fans, they are massive on it.

You are also enjoying success in the European blues scene which again we know is huge. That’s right, we have played in France, Italy and Switzerland. We have done some big European festivals, but we really want to do a couple of weeks of our own gigs like we are doing in England. We used to be chance-takers but we are a little more cautious now, but the Best Album Of The Year Award in Canada and the Best Singer Award for five years means that we are starting to get a reputation, which is wonderful.

Tell me about song-writing.

I have won awards as Best Songwriter which shocks me because I consider myself more of a performer

than a writer. When we have a deadline for a release, I get together with my husband and we work out what we have got. I do the lyrics and the initial melodies, and he works them up into proper songs, and then we polish them up and get the band round and start rehearsing. I can’t do sitting down and writing for three hours a day, but I get odd ideas all the time and jot them down in odd places, restaurant napkins, bits of paper. Then when it’s time to write I have to go around the house collecting up all these scraps and finding out what has got potential as a proper song idea, and we go from there.

All the musicians on your new album are amazing – where do you find them?

I have been very lucky, my first husband, who has played on five of my albums is a phenomenal player, and I think that attracts other high-calibre players. I have had the same bass guitarist for about twenty years off and on. I was with my husband for ten years and he acts as band leader and producer. For the Angel’s Eleven album, we thought about all the really amazing guitar players that we know, and we contacted the ones I really like a lot, and checked out if they were available, and then wrote a set of songs with each of them in mind. On my website there is a collection of individual videos

showing how we got together, and then recording the songs. It’s such a wonderful reminder of what fabulous times I have had playing with these guys. Paul Deslauriers is one of the guitarists, I know he has been featured in your magazine. I toured with Paul and we had such a great time together. He is a wonderful musician and a really really great guy and I was so pleased to have him on the record.

Because the players are such high-class musicians, do you direct them in terms of what you want in the studio?

I don’t think that directing musicians like that would work. If you are bringing a guest into a session, it’s because you want them to bring what they do, and do it for you, for your record. I find the best way is to give the player the song, and let him do his thing, and then appreciate what you get. There’s no point bringing in someone whose playing, you love and admire, and then telling him how and what to play! As I said, the individual songs were written with the individual players in mind, so the idea was to give them a structure that would suit what they do, give them a musical bed to lie on, to use Keith Richards’ expression. So, for Paul Deslauriers, for example, I know Paul is a huge Zeppelin fan, so I wrote a song with a Gallows Pole feel to it, because I figured that would suit him, and of course, it did. These guys know what they are doing, you just let them go, and they do it for you, which is wonderful.

It’s a difficult, if not impossible question, but we’ll run it anyway – what is the secret to a great blues song?

I think everyone has their own individual answer to that question. I believe it depends on what you start out looking for when you write a song, even if you have no idea what that actually is! I think the not knowing is a vital part of song writing, because it is the search, the exploration, that makes song writing such a wonderful craft. I think one of the secrets is not to over-think it. If you try to apply too much craft, too much artifice, too much thought, the original feeling gets lost. Real connection comes from the core of you. If you get in touch with your core and let out what’s there and don’t mess with it, then you will connect with other people in your audience. As I said, I never really think of myself as a writer, I just do what I do and make music with

some wonderful people. If you can deliver your song with most of what you felt when you wrote it still in there, you put something of yourself out there, and people will find it and understand it. When I started writing, the same as when I started performing, I was not confident. I had no self-belief that what I was doing was actually any good at all, never mind being good enough. But writing and performing are crafts, and they improve with experience. You learn to use your instincts, to follow what feels natural because that feels right. If you work on it too much, that will show, and audiences will know, you can’t fool people. That’s what made Janis Joplin such a wonderful, mesmerising performer. She was so fragile and damaged as a person, and she just let all that out on stage. A lot of people feel scared of losing control over what is going on, and that’s natural, that’s human. The great performers are the ones who can get past that, and simply do what they feel.

Do

you get emotional when you sing?

Absolutely! It’s the only thing that keeps me sane! Being on stage is my doctor and my psychiatrist. It’s good for my health and well-being. Sometimes I go for weeks without singing, either on stage or in the studio and I can feel the tensions building up inside me, and I need that release, and when it comes it feels wonderful. You have to bury feelings sometimes because that is life, you have to be OK for your family, and the people around you, but having found the release that singing gives me, I find I do really enjoy having it.

Do you think that blues music as a genre gives you more respect as a musician and as a woman – people see you for what you are, and not what you look like?

Absolutely, I do. I have been called a tree-hugger, which is fine, I don’t wear shoes on stage, not because I am a hippy chick but because shoes hinder dancing! I remember seeing Etta James on stage in Montreal. She was a big lady, three- hundredpounds-plus and she was shakin’ and shimmyin’ and the crowd really connected with her, there was an attraction because she was being who she was, and everyone could understand and appreciate that. That taught me a lot about stage craft. You have to make sure that people get the real you, and not some artifice, and blues music is really good for that because it doesn’t go in for fancy costumes and lights and

whistles and bangs, it’s about feeling the emotion and connecting the band and the audience together. It’s how you are, not how you appear. That was what I thought when I saw Zeppelin, and watched Robert Plant, and I knew then that I wanted that feeling, I wanted to make people feel like that. I didn’t know then that I wanted to sing, but it was the start.

Do you have a career plan?

Well, I am looking at making an indie country album in September, so I am excited about that, it will be something fresh and different. I hope it will appeal to the fans I already have, and bring in some new ones as well, which is what any musician wants to do I think. I’d love another collaboration album because I was so pleased with how the fi rst one came out. I’d like this time to work with eleven guitarists I have not actually played with, but that I am, for want of a better expression, star-struck by. I have my names ready, and I am contacting them and seeing who is up for it, and what their availability is, so hopefully that will come together. The other thing I want to do is more travelling, now I don’t have small children any more. I want to go and see Central America, I adore travelling, it’s one of my

favourite aspects of what I do, I just love seeing new places and meeting new people. Apart from that, just playing more and more shows, that is what it’s all about for me. If I can be on stage singing my songs, that’s honestly all I want from life. I am easy to please!

Discography

Electric Love – 2018

Angel’s 11 – 2016

Live Love – 2014

Mother Tongue Blues – 2013

Come Alive – 2010

Wonderland – 2009

Angel Sings Janis Live – 2007

Here For You – 2005

Angle Sings Janis – 1997

Secondhand Blues – 1996

Take it to the The Limits one more time

Big Boy Bloater

He’s lost count of how many albums he has released over the last 20 years. But Big Boy Bloater is back in June with another CD’s worth of hardcore Southern Gothic whammy bar mayhem, complete with Hammer horror film inspired lyrics, he tells David Osler.

Verbals: David Osler Visuals: Bob Blackburn

Calling a blues artist ‘clever’ can be more of an accusation than a commendation these days. But that adjective is certainly applicable to Big Boy Bloater.

No common-or-garden 12 bar chord progressions, extended Stevie Ray Vaughan impersonations or ‘without your love, baby’ lyrics for this guy.

Yes, the music is still very much blues-based, but there’s so much else in the mix besides. You get everything from rockabilly and even psychobilly and classic Stax soul, through to glam, power pop and Southern Gothic.

The words, too, remained focused on being skint and on relationship woes, but often take interesting twists to reflect twenty-first century life.

But – as he told Blues Matters! in a recent phone interview – his story starts in the early 1980s, when being a cool kid in Surrey required having an extremely silly haircut and listening to Human League and Heaven 17.

“I don’t know, I never got into that sort of thing. I always wanted something with a bit more substance to it, I suppose. I found all early 1980s music a bit too flouncy, maybe,” he relates.

As is often the way, parental taste had a hand in that. Bloater’s dad listened to a wide range of blues and rock vinyl, and some of it seems to have seeped under the schoolboy’s skin. He also benefited from exposure to some of the greats in the flesh.

“There was an arts center nearby that had quite a lot of blues guys coming through,

like Big Joe Duskin and Slim Gaillard. I was taken along to see them, and I thought, this is pretty cool and I just stuck with it.”

As a result, he gave the synth a miss, and badgered his father into buying a guitar from a bloke down the pub.

It cost a fiver, he recalls, and a jolly fine instrument it must have been. Why, it had even been tastefully refinished with a leopard skin paint job rendered in household emulsions, and its tremolo arm seems to have been a bicycle brake lever.

“But it was an electric guitar,” enthuses Bloater. “And I plugged it into an amplifier and it was like, yeah! This is what I want to do!”

It didn’t take him long to get his first song down, in the shape of the Bo Diddley classic ‘Hey Bo Diddley’, with its patent ‘dum de dum dum … dum dum’ rhythm, tricky enough even for those with a bit of experience.

After that, he soon had a teenage blues band together, banging out numbers by the likes of Elmore James and Tarheel Slim, even as electro-pop continued to dominate the charts.

His recording debut came in 1998, with an album called Jumpin’ Rhythm and Blues , released under the moniker Big Boy Bloater

and His Southside Stompers.

The Stompers were a six-piece R&B band, including a couple of saxes and a piano. Sonically, their recordings stuck to straightforward 1950s and 1960s R&B territory, albeit even then more on the American side of things than the British.

Nothing wrong with that. It is a triedand-tested format, and many of us can’t get enough. But eventually, Bloater decided he had taken that direction as far as it could go.

“I spent a long time listening to a certain period of blues, really getting into that. But you can only do so many 12 bars, in both playing and listening,” he explains.

“After a while, you feel like you want to get out of that cycle and put the fourth chord in there.”

Ultimately, the big R&B set-up proved to be musically constraining.

“It makes you play a certain way. It’s like a big, big comfy armchair you can sit right back in and groove a little. You play when you want to, and step back when you don’t want to play.

“That’s probably why I am more of a riff player than a 10-minute solo player. I just got that drilled into me. I guess that comes from working with horns in a band like that.”

Indeed, BBB does like to keep things crisp and tasty. While he admits to having dabbled in the extended breakneck speed fretboard workouts in the past, it’s not really his thing.

“A lot of that comes from what I was listening to when I was coming up. The 1940s and 1950s blues guys, they didn’t do long solos because they only had three minutes. That was all you could fit on vinyl.

“A lot of blues players these days have this idea for a solo and fit a song around it. It’s almost as if the song is secondary to the guitar solo.

“To be honest, I find all that boring. I’ve been around awhile, I’ve heard it all before, and yeah, OK. But the song needs to be concentrated on a little bit more, maybe.”

Perhaps the guitarist who had most impact on Big Boy Bloater’s development is Ike Turner. Turner, of course, has gone down in history with a well-deserved reputation for being a truly shitty human being, not least for beating up on Tina.

But leave that out of the equation if you can. Looked at purely from a technical point of view, there is no denying that the man was

possessed of innovative tremolo technique, and it is one that Bloater has lapped up.

“One of my big influences was 1950s Ike Turner. He was my whole inspiration for the whammy bar thing,” he confesses.

“He got his hands on a Fender Strat and went to town on the whammy bar and I picked up on it straight away. I love that sound.”

That brings us to the issue of Bloater’s equipment. He has moved on from the five-quid number purchased by his father all those years ago.

After dalliances with Telecasters and Gretsch, his working axe these days is a

Stratocaster, the same model as his hero’s. Somehow it looks kind of odd in his hands.

If you’ve never seen him live, Bloater is as big as you would imagine from his stage name. His sheer size makes the Strat look small, as if it were a three-quarter size version or something.

What’s more, it has been retrofitted with humbuckers. That will come as blasphemy to some. For the purist, if you want twin coils, you should get yourself a Gibson. So, what’s that all about?

“It’s the whammy bar. You can really give that abuse. That’s how I ended up with a Strat. But with the single coils, I was getting loads of interference

and noise. It was just doing my head in.

“So, I found a set of humbuckers, chucked them in there, and it’s cool. At the time as well, I was looking to get a bit more of a heavier sound as well. So that worked out perfectly.

Guitar geeks might like to note that it is a Japanese rather than American model, shipped in specially. Other mods include a denser block in the tremolo unit, for added sustain, and the removal of one of the tone pots, which Bloater felt was only getting in the way.

“For me, guitars are like tools. I’m not a big guitar collector, I’ve only got a couple.

I spent a long time listening to a certain period of blues, really getting into that. But you can only do so many 12 bars, in both playing and listening.

I don’t really get into the whole geekery thing, I haven’t got the head for it.

“I’m thinking about making a change, but I dunno,” he adds. “There’ll be something custom eventually.”

When it comes to songwriting, Bloater steps away from the lyrical clichés that frequently dog the blues scene. The subject matter is still life and relationships, but it is all done with a postmodernist twist.

Kitsch paperbacks would be an obvious primary source material here, but this turns out not to be the case. It is instead schlock celluloid that floats Bloater’s boat.

“I’m more of a movies guy, to be honest. I’m big into the British horror fi lms like Hammer and Amicus.”

Back in the days when there were only three TV stations, fi lms of this type were a staple of Saturday night late telly, and the young Bloater was allowed to stay up to watch. That must have had some sort of psychological effect, he laughs.

“They say you should write about what you know,” Bloater observes. “Around half of my lyrics are from direct experience and around half are completely made up imagination stuff. I’m not going to tell you which half is which.”

Fine, although I think it is safe to guess that he has never actually dated the robot girlfriend described on one track from his 2016 album, Luxury Hobo

A popular discography website lists a total of seven Big Boy Bloater albums, but the man himself seems not entirely certain that tally is correct.

“It might be a few more than that, I can’t remember. You know what? I haven’t even counted. I might be up to ten maybe, I’m not sure.”

Bloater’s last two albums have been with The Limits, a basic three-piece with just guitar, bass and drums, sometimes augmented with keys. There is an irony in that name. The configuration was chosen essentially to get away from the earlier outfit’s limits.

“When I started The Limits up, it was a planned thing to say, right, I can do anything. I can have any style of music, any chord structure.”

The counterargument here is that the power trio line-up brings

implied musical structures that are themselves difficult to transcend. But as the live shows testify, The Limits have lived up to the founder’s hopes, effectively giving him free range as band leader.

Finally, I ask about the new album, due for release in June under the title Pills. It will include a dozen tracks, all originals, he says.

Interestingly, pub rock and power pop legend Nick Lowe – a musician, songwriter and producer who may rank as one of the most under-rated figures in British music history –was asked to do the production honours.

Sadly, Basher – as Lowe was once nicknamed –declined the offer, insisting that he did not wish to be dragged out of retirement to sit behind a mixing desk one last time. Even so, Bloater feels that Pills is one of his strongest efforts yet.

“It picks up where Luxury Hobo left off, but it definitely moves on. There’s still a grounding in the blues there, but there’s all sorts of other bits and pieces as well. My other influences do come through.

“I think we’ve come up with things that

no-one else is doing, and I’m pleased about that. There’s a lot of great blues players doing great blues, I don’t need to be another one of those and I can go off and do something else.

“There are some surprises, and there’s some plastic Bloater. On one of the songs, I even play a ukulele.

“There are no covers and we couldn’t afford any guests. We just went in the studio and bashed it out, with a week to do it. We just got on with it.”

Don’t make the mistake of thinking that the title track is anything to do with the Ellas McDaniel-penned ditty of the same name, as subsequently retailed by the New York Dolls in their overly made-up stack-heeled hey-day, either.

“When I was writing ‘Pills’, at the back of my mind I thought, somebody’s done a song about pills. After I wrote it, I realised it was Bo Diddley.

“I had to go back and listen to his to make sure I hadn’t subconsciously rewritten the song. But luckily enough, we’re far apart, so that’s cool.”

And cool it no doubt will be. Many blues fans will be looking forward to getting pilled up.

I’m on the road again

Paul Jones

After thirty-two years as BBC Radio’s face and voice of the blues, veteran bluesman, Paul Jones has handed over the reins to the flagship Blues Show programme to Cerys Matthews. Catching up with Paul at home in Surrey, he is relaxed, amusing and evidently happy to be looking ahead with the odd glance over his shoulder.

“People have asked me how I’m going to fill up my time, since finishing with the programme. But I haven’t noticed I’m having any spare time. It’s all fullon really,” he jokes, before moving on to explain he had been struggling to find some time for himself and his on-the-road music projects for some time before the option to move on from the show arose.

“I’d been thinking for some years, how can I simplify my life. The old adage, ‘juggling plates’ comes to mind, with too many in the air one’s always going to fall to ground at some time. I was working with the Blues Band and still with the Manfreds. For some reason, I don’t know why, I never seriously considered dropping the programme. But for years I was asking myself, how can I thin this down? When the opportunity came along, I took it.”

“I think 32 years is enough. It was actually closer to about 33 years. I did the original pilots in 1985. At that time, I’d already worked with the BBC’s World Service, then Radio London, and 14 years with Jazz FM.”

Jones recalls a meeting with another veteran musician and former BBC Radio 2 presenter, Humphrey

Lyttelton, at a UK music festival, a meeting that appears to mirror and reflect his own current thinking and position: “There was a rumour doing the rounds that Humph had given up his programme so he could get out and spend more time playing and performing. I met him backstage and asked if this was true. He confirmed it was indeed the case. I watched his set, a really good band and music, and as he came off-stage told him he’d made the right decision,” he recalls with pleasure.

Of course, it’s too easy to overlook Paul Jones and his remarkable, personal music career, thinking too often of him as a radio presenter, albeit one with an enormous, encyclopaedic knowledge of the blues. However, since his early days in the 1960s, Jones has been immersed in music. He is noted for turning down the chance to join a band being put together by the late Brian Jones and a mister Keith Richards but is content to let that slip: “It wasn’t the Stones, not then. It was just a band that Brian was putting together. He asked if I would join as singer but it only became the Stones when Mick joined. Who knows what it might have been with me,” he quips, almost dismissively.

Jones famously went on to front another

Verbals: Iain Patience Visuals: Judy Totton

I’d been thinking for years, how can I simplify my life

major sixties outfit, Manfred Mann, a band whose spirit remains as strong today with the much-admired Manfreds: “I was asked if I knew Manfred Mann. And I did, as a writer with Jazz Journal . I was told he was getting a band together with Mike Hugg. It was going to be an R&B band. That was very much my cup of tea.”

Jones adds that he can’t recall ever ‘wanting’ to be a singer. It just happened. His father played violin, his mother piano and his brother was a flautist. The family didn’t have a television but they did have a radio, he says about his childhood: “My brother and I were made to sing from an early age.”

When I ask the inevitable question, does he have a favourite, stand-out show guest, he takes time, mulling it over, looking back through his memory before confirming a few outstanding, memorable live studio guests and interviews: “With Jazz FM I did a threehour show, the middle hour was an interview. I got most from that format. I remember Charlie Watts, and Cassandra Wilson. Now she’s worth checking out, wonderful voice, jazzy but with blues, sort of Robert Johnson in parts. At the BBC, I remember a programme with Eric Bibb, a trio featuring a great drummer whose name I just can’t remember right now, and Danny Thomson on upright bass. Another was the wonderful Heritage Blues Orchestra, brilliant musicians. A band I was sure would go on to great fame. They didn’t, of course,” he laughs.

Eventually after a few further minutes ruminating, Jones adds another session recorded live before an audience at BBC Maida Vale Studio 3, with Paul Long as producer: “Joe Bonamassa is always great. I remember after he’d played for a bit, he said he’d take any questions from the audience. A young boy, no more than about 17, in the front row asked some technical questions about the kit, the guitar, the pedals and the sounds produced. Joe asked if he could play guitar and then got the boy to join him, put his guitar over his shoulders and let him try out the various pedals and see for

himself how it sounded. It is something that boy will never forget. And it’s just so typical of Joe Bonamassa, always generous and warm-hearted.”

Interestingly, perhaps, for the last Paul Jones’ Blues Show a few weeks ago in late April, his studio guest was again Eric Bibb, a guy Jones has known for many years: “Eric is a wonderful musician, always enjoyable. I thought he’d be the perfect guest for my final programme.”

At this point, I mention knowing Eric and his Swedish life and connections, reminding Jones that he himself had a Swedish link too. Many years ago he had a solo album of Greatest Hits that was a huge success in Sweden. Jones laughs at the recollection: “Yes, that’s true. I remember that. The strangest thing was the Swedes seemed to think I was actually Swedish. I don’t know why, with a name like Jones. I was told it might have been because I looked Swedish, whatever a Swede’s supposed to look like.”

“Another stand-out was Chuck Leavell. Paul Long, my producer, told me to ask Chuck about the Allman Brothers song, ‘Melissa.’ Chuck then began by playing the Duane Allman part before adding all the other layers on top. It was amazing, truly amazing.”

With such an extraordinary musical journey behind him, Jones can look back with pleasure at the events he has created and participated in. But, while many might be more than content to sit back, relax and rest on their laurels, he remains an itinerant musician at heart. A new Blues Band album is about to launch in May to coincide with a UK tour by the band, his soulmates of many years: “I still enjoy the travelling,” he says. “I’m completely peaceful about travelling, I have a nice car, so it is comfortable. I can relax, listen to music with no real problem, arriving at the gig to meet up with the rest of the band. In the early days with Manfred Mann, I remember, we were all cramped in a Bedford Dormobile van. And the rows were constant.”

“I’m looking forward to being back on the

I’m looking forward to being back on the road with the Blues Band and the Manfreds. I know we’re in Scotland at the end of May with the Blues Band and the new album

road with the Blues Band and the Manfreds. I know we’re in Scotland at the end of May with the Blues Band and the new album. We recorded it last summer but it made more sense to hold it back until we were on tour and can promote it. It’s taken a lot of discussion – none of it heated –but always intense about things like the balance, the cover, the sleeve-notes, all that sort of stuff. But it’s ready and we are all pleased with it.”

As a fi nale, I ask for his thoughts on the music these days and what he thinks about it going forward. Jones is quick to echo the feelings of many blues-lovers: “I don’t think it will surprise you when I say that at times the blues is just too much like rock. I don’t mind it when rock becomes blues or even pop and blues sort of merge. But at times it can be hard to distinguish between them.”

He obviously wishes Cerys Matthews, with whom he chatted – ‘too briefly’ – at the recent Jazz FM awards ceremony in London, the best

of luck with the programme but sounds a word of caution about relying on the BBC archives for material: “The BBC is infamous for destroying material. It destroyed almost all of its Jimi Hendrix archives. At times, I found the archive might only have something that actually came from my own programme. It can be very hit or miss.”

So, what will he do with his Monday evenings now he is free from the BBC radio studio, I ask: “I’ll maybe have time to put my record collection in order on Mondays. It’s really a bit of a mess,” he jokes.

As I thank Mister Jones for many years of excellent music, I tell him that Carlos Santana, whom I had spoken with the day before, thanks him for the song he co-wrote with Jack Bruce many moons ago, ‘Sonny Boy Williamson,’ recorded by Santana on the Live Adventures with Bloomfield and Kooper album where Santana features on guitar. Jones laughs at the thought.

Cerys Matthews

BBC Six Music regular Cerys Matthews is set to take over The Blues Show on BBC Radio 2, from legendary UK bluesman Paul Jones. The media announced the appointment in a piece about ‘diversity,’ hinting that Cerys is taking the show more because of her gender than any knowledge of blues music she may have. As this interview shows, Cerys is more than a match for any male broadcaster in terms of her knowledge and experience, both as a professional musician and as a blues fan with deep knowledge and depthless enthusiasm for the genre. Our conversation starts with Cerys’s shining enthusiasm for a chance to play, talk about, and interview musicians who play blues music. First off, let Cerys get that pointless ‘tokenism’ nonsense buried deep and out of the way.

“I have been collecting blues albums since I was a child, and I have thousands of blues albums in my collection. I have absolutely no idea why music from thousands of miles away should touch the heart and soul of a little girl from South Wales, but it absolutely did, and always has done. I programme all the music and guests for my Six Music show on Sundays and the BBC recognised that I have a passion for blues music, I’ve been listening to it and collecting it for decades, that’s the reason they offered me the show.”

It must feel as though all of your birthdays have come at once.

I am absolutely thrilled to be honest with you. To have an hour-long show on the BBC where I have access to such massively varied music is so wonderful, and I am really looking forward to getting into it. As a musician and as a blues fan I have been very lucky to have some direct experience of the locations of the music I love so much. I have lived in America, in the South, and I travelled extensively when I lived there. I have played music with David Honeyboy Edwards, interviewed BB King, been on the search for the Hell Hounds and the Crossroads, visited the three Robert Johnson graves, visited Memphis Minnie’s grave, and during that time I listened to a huge amount of American radio. The joy for me is playing music commercial free and playing music that doesn’t have to follow a set format. There are no restrictions in terms of playing a playlist for sponsors, some of it is challenging because of the time it was made, and the

technology used to record it. That is the pleasure, no agenda, no remit, I can let the music and guests take me where we go, I am so excited!

You are taking over a well-established show but, of course, you need to be yourself, and bring your own personality and taste in blues to the programme. The great thing I know from being a radio DJ is that people get to know you, they get to know your tastes, and hopefully fi nd where my taste overlaps with theirs. I have favourite DJ’s,

Verbals: Andy Hughes Visuals: Paul Williamson

everyone does, and I love listening to the radio whatever I am doing, and I know listeners-to-be will feel the same. I hope they will let me know what they think about what I do, because that is important.

are you going to have time to fit in the preparation for The Blues Show?

Are you bringing your existing producer with you?

No, I have met the production team I will be working with for the show. I am proud to be taking over from Paul Jones, he is leaving a fantastic legacy, and I respect the dedication he has, and the work he has done. I am looking forward to walking in his footsteps. I can’t do the same as him. I hope people appreciate the differences and enjoy the music going forward.

You have access to the BBC archive, which is beyond massive – is that at all intimidating?

Oh no, not at all! I already have access to it from Six Music , and I have been working with a guy I call the DI, the Detective Inspector, who knows his way around those endless archive corridors. I will have someone on The Blues Show who will help me with the archive, and I am really excited about exploring it for this show and seeing what I can bring out and play for the audience. I already have a list of interviews I want to bring out and play over the coming weeks, months, and hopefully years, because I access the archive for my Six Music programmes, and I do play a fair mix of blues music there, so I know some of the material that is available. Now I’ll be able to check it with a specific remit for blues material, which I am looking forward to immensely. It feels like being seated in front of a meal cooked by your favourite chef, and an invitation to go ahead and taste it. For me, interviews with musicians are far more personal, you get a feel for the individual, and it’s so much more of a connection than just a photograph. I think interviews really put listeners in touch with the people behind the music they love. It’s another dimension to the enjoyment of blues music.

You have your Six Music show every week, and your show on the World Service once a month,

It’s time very well spent don’t you think? I am looking forward to making sure that I have ample time to build the programmes properly. As I mentioned, I do all the music programming for my Six Music show, and for the World Service programme that I do, so I am used to choosing music and other material for a regular show, and what is involved. For instance, I have access to the entire Decca catalogue, I played some Sister Rosetta music today, she was signed to Decca, so that’s another area to explore and work out what I want to play on The Blues Show.

One major difference is that The Blues Show will now be going out ‘live’ and not recorded, why do you want to do the show that way?

To me, there is no substitute for live radio. I do all my radio shows ‘live’ except for the World Service one, that is a little bit different, and I adore live radio. The instant reaction and the excitement that comes from communicating to people in real time is something you can’t beat. It comes from my days as a performing musician – you always want that instant response, that feedback, that answer to what you are doing there in the moment, there is such a thrill in that. Because The Blues Show will be going out live, I can get that reaction. People can contact the show directly and respond about the music I am playing, the guests, the archive material. I think that interaction really helps to build the community that is a radio audience. People can hear something I play, or a conversation with a musician, and they can dial in and say, ‘I saw that person play live in 1958 …’ and the conversations build. I am very aware that there is a massive established audience out there and I really want to get to know them, and for them to get to know me as well.

Have you got your first studio guest lined up?

I have, but I’m not allowed to tell you who it is! What I can say, though, is that I am busy contacting musicians I want to come onto the show, aligning diaries and seeing who is available and when, and getting appointments made for conversations. Really exciting! I think guests make a radio show.

Who would be your ideal guest, alive or dead?

Oh, where to start! Snooks Eaglin is a big favourite of mine, Lead Belly, Lightnin’ Hopkins, John

To me, there is no substitute for live radio

Lee Hooker. Any of those would make me really happy. I love talking to musicians because you can delve beneath the surface and explore personalities and lives and histories. Playing music is fantastic, but the whole picture emerges if you can talk to the people making the music, what motivates, them, have a chat about their record collections, because I think that is really revealing. You can tell a lot about someone from their record collection.

Have you got long-term plans for the show?

Oh yes, I am looking to get the very best guests and players I can get to feature on the show, I am going to be providing some live sessions as well, some new young players who will shock people with their modern takes on classic songs, so I am very excited about that as well. I know that blues music has a fantastic heritage, and it has a massive influence on all sorts of modern music, so I want to explore some of those influences, and the connections between historical blues music and some of the new, young musicians who are making their versions of blues music today.

Do you have a message for the Blues Matters! readers?

Indeed, I do. Thank you. I am looking forward to getting to know you. Please let me know ideas for what you would like to hear. I am very open to suggestions. The other thing is, being a live show, we have immediate access to give out information about performances, so if there are any gig bookers, promoters, festival curators, anyone putting on shows, please let me know so I can pass details on to the blues community.

On behalf of Blues Matters! magazine, Cerys, can I wish you every success with The Blues Show, and maybe we can chat again further down the line when you have settled in, and we can talk about how it’s all going. Let’s do that!

The Blues Show remains broadcast on a Monday night but moves an hour later to 8–9 p.m.

Joan Armatrading

Verbals: Stephen Harrison

Visuals: Jude Totton

How long did it take to write and record the album Not Too Far Away?

You know somebody asked me that question and I couldn’t answer it because it was over a period of time but if you condensed it all, it was probably a couple of months because I had other things to do in the middle of it. So probably not that long really.

Is that usual? Do you normally record in such a quick time?

Yes, all through my career, once I start I carry on but there have been gaps like I might have done some recording for a month but I did other things as well. I couldn’t just sit down and record and not do other things.

How do you approach it? Do you write the lyrics first or the music or is it a combination? Well, for all of my career up until 2003, I’ve always written whatever came into my head. I’ll have a blues song or a jazz song, a reggae song and I’ve always played everything on my demos myself, and at some point, I’m going to play everything on my album myself, so in 2003, I decided I’d play everything on the album apart from drums. Then in 2007, I brought out an album called Into the Blues , and on that album I wanted to do a trilogy of blues, rock and jazz. I did the blues album, the rock album (This Charming Life) and the jazz album (Starlight). Then on these albums, I thought, I’m going to write the words first and until I had written all the words I wouldn’t write the music, so, that’s how I went about writing this album. Excuse me for saying this but I pride myself on writing really good words anyway and I wanted to get as much emotion and feeling into this one.

What’s your favourite track off the album?

It’s really difficult for a writer to say I prefer this one or this one because I love ‘Not Too Far Away’ and I love ‘This Is Not That’ and I love ‘Loving What You Hate’. The first track, ‘I Like It When We’re Together’, I wrote it knowing it would be a single. I kinda thought it would be the first single but I didn’t tell the record company, I just left it up to them. I remember when I recorded ‘Love and Affection’ I said to the

Joan Armatrading

Not Too Far Away

‘I Like It When We Are Together’ is the opening track on the album. What immediately springs to mind is just how good her voice is. It seems to have an earthier feel to it nowadays. Not that I’m complaining. This is a nice easy introduction with the obligatory superb lyrics. For me the greatest thing about her is the seemingly effortless way in which she delivers each song. I suppose it helps when you do all the writing arranging and playing of instruments except the drums. ‘No More Pain’ has a more bluesy feel too it. Almost a song that any number of female blues singers around today could be associated with. The sheer power of her voice is amazing. ‘Invisible (Blue Light)’ is for me the standout track of the album. Dynamic sound going on a different tangent than the first few numbers. A wonderful funky guitar solo running through the last part of this song just puts the cherry

on top of the cake. Folk/blues at its absolute best. The title track ‘Not Too Far Away’ reminds me of the first time I heard Joan Armatrading. The delivery of the story within the song is effortless. With a really nice acoustic guitar accompaniment this is a worthy title track. ‘Always in My Dreams’ is a very mellow love song. Just a voice and piano. Great lyrics, but you shouldn’t be surprised at that. ‘This Is Not That’ keeps the fl ow of wonderful lyrics and arrangement flowing like a twig on the shoulder of a stream. Sitting listening to It you can almost feel her presence running right through if. ‘Loving What You Hate’ is a nice way to finish a really good album. Having not heard Joan’s studio albums for a few years it’s like reacquainting with an old friend. A very welcome old friend. Nice too meet you again Joan.

Stephen Harrison

A lot of musicians come to music as a calling.

Your first performance was for your brother at school? Yes, to this day I don’t know why but he had something to do with putting something on at the university, he wasn’t at university, so I’m not sure what that was about but he asked me to do something there, and the only songs I knew were the songs I wrote because I didn’t really sing other peoples songs. I only sang my songs and he said people won’t know your songs so you’d better have something they know so I think it was ‘The Sound Of Silence’ that I sang.

record company that I wanted that as a single and they said, well remember Joan you asked for it.

Well, you obviously got that one right. Yeah, I defi nitely got that one right.

Did you always want to be a musician?

I think I was born to be a musician this is what I was born to do. It’s really nice knowing why you are here. I’m here to write songs and put expression into people when they can’t fi nd the things to say. They know what they want to say but they can’t fi nd the words. I and other writers can help them to fi nd that kind of expression which is a great thing because you have it lyrically and musically and when you put the two together you have a really strong, emotional connection. That’s the beauty of being a songwriter.

So, did that prove a sort of catalyst for what you wanted to do in the future? No, I hadn’t decided at that point what I wanted to do. I’ll tell you what did make me decide that I was going to have a future in music, it was after I’d recorded my second album Back to The Night which was in 1975, that’s when I decided that this was going to be what I was doing. I knew that I had a calling to music but I didn’t know that it would be my career, so after I made Back to The Night , I had to decide if this was going to be my career or would I fi nd another job, but this was the only thing I really wanted to do and the thing I had an unstoppable interest in. And, I love to be able to say that I have a career in music. That’s something I’ve always had, a really big belief in my music and what I was doing, because, I’m really one of the shyest people I’ve ever known but I’ve always been very confident in my music.

Who has had the biggest influence on your career?

My mother. My father used to play the guitar and he’d sometimes play in front of me but he never wanted me to touch the guitar and he would usually

hide it, then one day I saw a guitar in a pawn shop and I asked my mum if I could have it and she said, well, it costs £3.00 and we don’t have that but if they’ll swap it for these two prams then you can have it, so that’s how I got my first guitar. And then she bought a piano and put it in the front room just as a piece of furniture but as soon as the piano arrived in the room I started playing and writing songs. The piano is very visual so you can see exactly what you are doing and playing as well as hearing more so than the guitar really, so I taught myself how to play the guitar and piano by myself and started from there.

In 2007 you recorded

Into the Blues which went straight to number one in the Billboard Blues chart. Has blues always been a big influence in your life? All music is. I love classical music, Bach and Vivaldi. My mum’s favourite singer was Jim Reeves I really love all music, rock, blues, reggae, bluegrass, there isn’t anything I don’t like. Maybe there will be a part of the music that I don’t like but there will be a large part that I do like, so like blues, it’s original and not copied, so when I sat down and did the blues album I knew what I wanted it to sound like, the blues to how I was playing the blues, it was my take on it. When I did the album, I expected it to do well but I didn’t expect it to debut at number one in the blues chart.

Has travelling and touring changed over the years? It has changed, yeah, but for me, not too drastically because I never had loads of people around me all the time. In the earlier years we had the big trucks and such with all the gear in and tour buses but over the years I’ve made that less

and less but I do have a few people with me but not a whole entourage because I don’t go out a lot or mix that much, so really, it’s not changed that much for me. In the style of business, it’s changed because people tour a lot more than they used to because the record business has changed that much, that’s how musicians make a living now.

Do you prefer playing live or recording? Well, it comes in the perfect order for me because I love writing that’s the number one thing, then I record it and play it. You can’t play it live if you

don’t have it. So, it comes in exactly the right order, writing, arranging, recording then playing live. That’s when you can feel the reaction of the audience and the emotion of seeing people react to the songs close up. Then, after the show, you get people telling you how they feel about the songs, which is great.

Are you going out on tour soon?

Yeah, I go to America at the end of this month for about a month then come back to England in September.

Are there plans for another album after the tour? Well, I’ll never retire, so, there will be plans for another album until the day I die.

Brilliant. That shows the level of enthusiasm that you have always portrayed. Long may it continue.

Discography

Not Too Far Away – 2018

Tempest Songs – 2016

Starlight – 2012

This Charming Life – 2010

Into The Blues – 2007

Lovers Speak – 2003

Whats Inside – 1995

Square The Circle – 1992

Hearts And Flowers – 1990

The Shouting Stage – 1988

Rocking the Blues Maggie Bell

The lead singer of the mighty Stone The Crows and successful solo artist has performed all over the world and shows no sign of slowing down. We meet the UK’s first lady of rock, blues and soul in deepest Fulham for a bite and a chat about … well, everything and everybody …

Verbals: Pete Sargeant Visuals: Laurence Harvey

Iremember seeing you and the late Les (Harvey) with Stone The Crows at the Lyceum in London … three act bill, revolving stage.

Och yes! I remember the revolving stage well, we had one also at the Locarno, in Glasgow in Sauchiehall Street. And I remember that gig you mention, I was waiting for a taxi with Les outside the Lyceum and somebody stole my bag with all my stuff in it, a shopping bag anyway, we had Colin Allen on drums, John McGuinness and Jimmy Dewar.

Was John any relation to Tom? No, I met Tom though, when I did the Manfreds Tour.

Absolute legend to me, Jimmy Dewar … (Warmly) Yes! Just fabulous, an unsung hero.

Robin (Trower) credits all their US success to Dewar’s singing.

It was me that told Jimmy to strike out, I knew he could hold a band together, no doubt about it.

His voice and yours … incredible. (Laughs) A Glasgow thing, Pete –survival of the fittest!

He was in Lulu & the Luvvers?

That’s right – with Alec Bell. Lulu used to come down to watch Alex Harvey Les’ brother.

I saw Alex do a solo gig in a Soho basement, just him and a Telecaster … ‘Don’t Put Lights on The Xmas Tree, Warden – They’re Burning Big Louis Tonight.’

I knew him all my life, from when I was fifteen. He had a great band back in the day, The Alex Harvey Band, a soul band doing all covers, Isley Bros, Josh White numbers, all like that. A group to be reckoned with, George McGovern on drums. After I’d finished working evenings at the Locarno I would go down to the Cave to see them play.

Were you singing at the Locarno?

Oh yes – and Dave Mattacks was the drummer.

Fairport! I last ran into Dave on tour with Mary Chapin Carpenter.

That’s how we all met, cos of the Locarno gig. Alex and the band were going to Hamburg to play The Top Ten Club and I said I’d love to come along. My parents wouldn’t allow me, too young. And Alex said, well my young brothers got a band and that’s how it all started, Stone the Crows. It was called The Kinning Park Ramblers! That became STC.

It was a whole group of stars coming together, really?

Yes – Frankie Miller was involved; Jeff Allen and he went on to play drums with … err

East of Eden.

Yes! East of Eden. All kids coming out of Glasgow.

Your contemporaries then would have been Grace with the Airplane, Janis … etc.

I met Grace Slick when she came to see us, at the Fillmore West, she was very straight, she had straightened herself out a bit by then. Absolutely charming, she was a fan of mine, knew the records, we sat and talked for hours. Good woman, good egg.

So, when you do a song by someone else, what are you aiming at, Maggie?

To try to make it my own. Put my own interpretation on it. I don’t play an instrument, so I have to do that with my voice.

One of the cuts on these STC albums is Hollis Brown, the Dylan song?

I still do that song, I do it with Dave Kelly, I’ve always loved Dylan. First album I ever bought! I was working as a window dresser in the daytime and someone tried to rob me, and I was taking eighty quid somewhere when I was working at a bank, a lot of money in those days, then this chap

with a car engine running outside the bank tried to hold me up for the money. There was blood everywhere, including HIS blood, kicking me down. I was thinking if he gets away with this, they’ll think I’m in cahoots with him. So I started beating hell out of him. He cleared off. The boss gave me the afternoon off work and 29 pounds 19 shillings! I put a deposit on a radiogram and with the money left I got Bob Dylan’s Freewheeling LP.

Which female singers have influenced you? I always wondered whether you liked Nina Simone? Oh yes! I met Nina we did the Montreux Festival.

For Claud Nobs?

Claud, God love him, and she was standing at the front of the stage. I think she’d not long had a brain operation then. She was just standing looking up at me. When I came off, she came by, didn’t say a word. Just looked at me, one of those long stares, y’know. I said can I get you a drink? are you OK? She said where did you learn to sing like a black woman? That was her opening line. I said you don’t learn to sing the way I do, I was a Salvation Army girl, I started singing there. Oh and another person did that to me, a few years later. A black man who sings Country & Western.

my friend Robert with Elkie.

Vinegar Joe – that’s right! Funnily enough we never met them, never played on the same bill anywhere. And I would have liked to meet them, for sure. I have a lot of respect for Elkie, she’s still doing it. She’s become a big star and can sell out places.

‘Touch of Your Loving Hand’ – a gospel feel? Well we hadn’t been writing songs before, before all this. We were signed to Polydor in Germany, they backed us and said go to a rehearsal room and get writing. That then was one of the fi rst songs we ever wrote. The thing with Jimmy is, the voices blend beautifully … it’s very hard to get people to harmonise, it’s an old-fashioned thing, do you understand? (do I?! – PS) it’s like an extra instrument.

‘Freedom Road’ – it’s almost like a prog rock suite, then in comes this roaring vocal, about five minutes in. Colosseum stuff but you also had that soul/rock thing!

(Sighs) I know, I could cry thinking about it, sometimes. It just wasn’t meant to be. One of those things.

… In Part Two, more on Stone The Crows, America, Jimmy Page and more.

Charley Pride?

Yep – he asked what is a Scottish woman doing singing the blues like that? I said excuse me, Mr Pride – how is it YOU are singing Country & Western? We both started laughing then. He was charming to me. Told me I had a big future but should watch out for the sharks!

Nina had an awful lot of bad experiences and moved to Paris eventually. Has the music business overall been kind to Maggie Bell?

Yep. Do you know why? I had a manager called Peter Grant who told everyone to eff off ! If you don’t like it, eff off ! The people that were most important to him were the artists he was looking after, he was the fi rst man I ever heard who’d deal with promoters who were saying 80/20 in their own favour, he was the man who changed all that around.

On the Radio Sessions record here, ‘Raining in Your Heart’ has two versions, Dewar singing then you come in. Kind of Delaney & Bonnie territory, the only other act with that two-voice power was

Discography

War Horses! – 2012

Live in no Mean City – 2011

Best of Maggie Bell – 2006

The River Sessions – 2004

Coming on Strong – 2004

Live Boston USA 1975 – 2003

Crimes of the Heart – 1988

Suicide Sal – 1975

Queen of the Night – 1974

Live at the Rainbow – 1974

Ontinuous Performance – 1972

Teenage Licks – 1971

Ode to John Law – 1970

this chap with a car engine running outside the bank tried to hold me up for the money. There was blood everywhere, including HIS blood, kicking me down

Steve Roux · Steve Browning · Bernie Fox · Ray Drury

His own account – Part II

zoot Money

Continuing the Hammersmith alehouse summit conversation by Pete with keyboard ace and unique vocalist Zoot, it’s the coldest Sunday morning of the year outside, countered by PG Tips and coffee inside. We move on this time to

Verbals: Pete Sargeant Visuals: Alan Robinson PR and Zoot

Let’s talk about some people, back in the eighties I found myself at Richard Branson’s overpriced drinks The Venue, by Victoria. I’m watching an American guitarist called James Blood Ulmer, who’s playing a weird jazz style using something called Harmolodics. I was figuring out what he was doing and the guy next to me was doing the same. Short bloke, blonde hair, we got talking and it was … Andy Summers!

(Laughs) Ah! Always at the forefront, that man! It was inevitable that, long after Dantalians Chariot, Andy would be where he is now. We always said ‘He’s going to be a star’. Not meaning that he would sort of go showbiz or anything like that, but rather Andy would never be going backwards. He would play for six hours a day, even back then!

There was a huge dose of blues and jazz in his guitar playing, you could hear Wes, Kenny Burrell …

Yeah! all those people – they were all the artists he was first listening to and listening closely. He wasn’t listening to the rock players, he was part of a group, a trio in Bournemouth called The Poll Losers Trio, y’know because of the pop and jazz music polls going on! So, Joe Pass, Grant Green – they were his heroes. (Laughs) If anything, I brought his standards down! By asking him to play with me, but

The first time I heard Andy play, I just thought he sounds very in control and focussed but he’s heard of Wes Montgomery, he’s making that work in R&B …

He was completely into that, yes. From the first day as a music student, picking up a guitar. I would get a record of a song that I thought we could and play it to him and just say or confess really that I wasn’t too sure exactly what the guitarist is doing on this. Andy would usually take the disc home and just figure out the mechanics of what was there in the playing, then take it up a step. He was the first guitarist down in Bournemouth – cos I go back a long way – able to analyse these riffs and motifs and work out how to reproduce it, then go from there. You would know this Pete, you had to keep taking your hand off the guitar and lift the record player stylus back to replay bits

I used to play 45 discs at 33 to work out runs then go up the neck to the key I wanted Ah, that was one of the ways of doing it! We used all tricks like that, to figure things out. I would do that for lyrics, too. I did get some lyrics wrong, but they sounded right.

Sax players – Clive Burrows? Johnny Almond, who played with Mayall

Both gone now and recently Nick Newall.

Zoot Money’s Big Roll Band

Big Time Operator – 4 CD Set

Repertoire Records

A few Christmases have arrived here in one hit, for all Rollers, as fans of this act have come to be termed. The four-disc set comes in a neat box cover and supplies every track you would ever want to own, every cut you would ever remember AND radio sessions complete with intro’s by the late wireless great Brian Matthew AND extra tracks found here and there, from varied sources. These even include the never-heard version of Phil Upchurch’s ‘You Can’t Sit Down’. The box has loads of contemporary images and photo’s and there is even an autographed message card from Money himself. Our issue #100 included the first part of my detailed chat with Zoot about these recordings and the personnel and the good times that produced this rich and rooted set of songs. The chunky guitar riffs, the grainy horn figures, the pumping basslines, jazzy and refined drumming, that sandpapered and ebullient voice, the throaty Hammond … it’s all here and there’s plenty of it. The ultimate Follower’s Feast, this will be a Limited Edition so I suggest you jump in quickly on this one!

Pete Sargeant

How did you get to these songs first? Did you have a source for Solomon Burke discs or whatever?

Hmm, I don’t know if this person is still alive, so I had better be a little careful here. There was a young lady that I was seeing, who worked in a shop that was three or four doors from my house. So she would order these obscure Brunswick label, Black Cat Records.

London and Atlantic labels?

Exactly. All those obscure singles by people like Ernie K Doe, Jerry Butler, she hadn’t heard them, but she sent for them. The boss would ask ‘Who’s going to buy this stuff ?’ But I would go in there and have a listen and try to remember them all!

I couldn’t take a tape recorder in there, just my head. I would memorise as much as I could, I never bought the records. She was making up all these names of customers who had ordered these records, but not collected them!

You talk to Gary Brooker or Robin Trower and they’ll tell you very similar tales. George Harrison on tour packages would lug a portable player to The Paramounts’ dressing room and play them Tamla singles …

Oh yeah ! I’ve met and worked with Gary actually on a Richard Desmond show.

This Paul Williams – is this the chap I know who was in Juicy Lucy and is a Robert Johnson expert? Yes, that’s Paul. The very same. Paul can do those songs, those ballad-type soul numbers, he’s got that full, masculine voice that can carry such songs. A good, mature sound to him.

Well still the best Robert Johnson tribute album is the one by Paul and Glenn Ross Campbell, the steel player in Juicy Lucy, The Misunderstood He still has Blue Thunder as his band. When I told him about the compilation was coming out he was asking where his cheque would be!

I’ve done some sleeve note bits for the Repertoire label – it’s like they’re an art gallery determined to keep quality material live and available. Tell me about Colin Allen

The drum king – he’s just sent me an email with two pictures that were taken of the band. In Sheffield! Me looking like a child. The booklet on the compilation has lots of pictures, some by Jeremy Fletcher. Who has his own book on The 60s out. We really got on with him and to contact him, he lives in Australia now. He’s allowed us to use the images, which is great. The publicity shots, some of them silly.

Were you a fan of Jimmy Smith?

Yeah! I loved all that. By that time I was getting records by John Patton, Phil Upchurch.

You Can’t Sit Down?

Yes. And when we found the recording of that –wow! Never realised we actually had that song on record, our version! We delayed the record, so we could use that in the box. ‘The Long Way Home’ is one I liked a lot. Someone had taped off the radio us doing ‘Think’ – James Brown (at this point we spontaneously sing the horn riff together, in the bar – PS).

I closed a jazz jam the other night with Your Mind Is On Vacation. Did you like Mose Allison? Loved it. Such great songs. I did tend to steer clear of it though as that was really Georgie’s domain. Now I would perhaps do songs by artists that Fame liked BUT we’d go for different titles. So, no crossing of swords ever, no cross-pollination, musically. The only one we both might do live was ‘Get On The Right Track Baby’ and he still does that number. There’s a way of singing Mose that does favour Georgie I always felt.

When you perform music, you are often taking your act sort of behind enemy lines, to a fresh audience, do you still like playing to a fresh bunch of faces?

I do. Because yes, it’s another world. ‘I wonder how they’ll react to this?’ you think.

It’s a great feeling to just go ‘Let’s just see what happens now,’ isn’t it? You’re meeting new people all the time as a writer and you don’t ever know exactly how it will go.

I want to talk about Dantalians Chariot as I have here the splendid new album of the recorded tracks. Madman Running along with The Pretty Things S F Sorrow just defines that era And that’s why the song keeps getting played still! Not so much in this country, but in other territories it’s been on various compilations. A Spanish label came to me and asked me to put this out on vinyl. Why? Because a whole lot of their young kids loved the single and loved the whole concept of that as it explains how they’re feeling now. Since then, Cherry Red has got onto it, as many people kept enquiring. Young people of two generations, turned on by the sound. Maybe three.

There’s bands in Sweden like The Hellacopters who understand this music and make it themselves. Please tell me about the song Four Firemen?

(Warmly) I was just going to come to that! You know David Bowie said he got words on pieces of paper and mixed them up to create a song lyric?

The random thing. That was long after this, though Quite so, the random route. Andy and I, we saw in the newspaper this straight story about a fi re. What you hear on there, the lyrics are an article in a newspaper about the incident. Four fi remen being called to rescue people. It’s an actual story. We just put music to the account of the event.

‘Coffee Song’ – it’s on a Cream record I have Tony Colton and Ray Smith came up with that. They were at that time spewing out songs all over the place. That and another song we recorded didn’t really fit the Big Roll Band thing BUT in this new situation things were different and we could experiment quite a bit. Both songs had stories, you see. ‘Coffee Song’ is about a guy who keeps going into a café hoping to see the bird that he saw once. Inevitably, almost his whole life he’ll be going into this place, in the hope …

Discography

As Zoot’s discography is so long with all the albums and artists he has appeared with here is one section for his solo work

The Book of Life ... I’ve Read It – 2016

Full Circle – 2007

A Big Time Operator – 2005

As & Bs Scrapbook – 2003

Full Clothed & Naked – 2000

Were You There Live – 1999

Mr. Money – 1980

Zoot Money – 1970

Welcome to My Head Capitol – 1969

Transition – 1968

It Should Have Been Me – 1966

Bettye LaVette

Blues Matters caught up with Soul Survivor Bettye LaVette at her Detroit home via telephone link. A very interesting chat ensued encompassing her musical background, her vocals and new release. The new album is a Bob Dylan cover release, Things Have Changed. She has taken a batch of Dylan’s tunes, shook them around and put her own inimitable signature to them.

Thanks for taking time out to talk to Blues Matters! Magazine. Did you think when you started out that you would have such a long music career?

I don’t think that’s what I thought when I started out. The thing that’s hit me most is I’ve gotten old. I’ve been twenty-five all my life. It’s not something I think about. My career started at age sixteen, I didn’t even think I would reach seventy-two!

How has the music scene changed since you started out? And what is still the same?

Oh, wow it’s changed drastically, and I am so glad I’ve so much hope now because I have no idea what they are talking about any more. It’s just, I do my songs, record them in the studio, do a show with my band and leave all the counting and technology – and which way does the luggage go? To my road-manager, my husband and other people who are getting percentages off me. My personal habits and things have not changed but the things all around me have changed.

How would you define your music and singing?

I’m a Rhythm and Blues artist. The whole Soul thing is just a euphemism to me. Anyone who sings soulfully can be called a soul singer. I am a Rhythm and Blues singer. Mariah Carey is not! To label everyone who is black, R&B, is just not the way.

Who are some of the more memorable people you have met along the way?

In my early career nobody is memorable to me now, just people who I met when I first started, say, Clyde McPhatter and the Drifters, Ben E King, Otis Redding, Solomon Burke. Those are the people most memorable to me. I was sixteen and three weeks before I met them I was dancing to their music, then I was out on the road with them. It was very exciting, I was a groupie, not the star.

How do things look for a seventy-two-year old woman looking back at that sixteen-year old girl, would you change anything?

I could stand a little more energy. I think that I enjoy being old more than I enjoyed being young. I was so confused when I was young. I think I have now mastered my career and me. It’s a more comfortable place than when I was young. I can still fit into a six and wear very high heels and sing as loud as anybody else, so I’m cool, reasonably healthy, no ongoing illnesses and neither has my husband. We are up to the task!

Is it true Otis Redding wanted to marry you when you were younger?

No truth! Everyone thought it would be a good idea if we were married because our voices matched, and we were on Atlantic Records. When he went

Verbals: Colin Campbell Visuals: Mark Seliger and Aoife Doherty

on to be a huge star and I went on home, for one of many times, it came out easier from my mouth, he wanted to marry me. He did say he loved me …

You have had plenty of lows in your life, what keeps you motivated?

I am becoming more proficient the longer I do it. I don’t know, all I can do is get angry and get my newspaper out! I never did anything before I was in the ninth grade. It’s not as if I can say I’ll go back, I didn’t go to school. My manager told me early on, “Learn a lot of songs and learn them well, that way you’ll be able to sing all your life, star or not”.

Talk about growing up in Detroit and life on the road. You signed for Atlantic Records, did Motown Records ever call you?

It was 1962 and no one knew what Motown was! It was an unusual occurrence, I just happened to be a groupie for two weeks riding with this young

lady who knew everyone who went on the stage. That time you had to do record hops to get your record played on the air. I started to go to see this woman called ‘Ginger’ who knew everybody, I adored her, my mother didn’t! I never thought I could be a singer, I knew I could sing but knew no one personally who sang. No one in my family had ever done anything like that so I didn’t envisage being on stage. My career started out a little more unusual than most, I was pursuing the artists!

So, it was kind of fate that your career started?

Yes, my mother always said she didn’t know what else I could have been!

I luckily ended up in my own category because all of the accoutrements you need to be in show business will also get you in trouble to those who are not! So, I had that personality and was lucky, I could have just as easy fallen into any other gang!

How would you define what the blues means to you? Would you call it a feeling, or what?

Well I’m not a blues singer, I don’t interpret it like that, it’s just the way I sound. When I sing, it comes out. I haven’t investigated what I do!

How do you feel about the British blues scene, as on your album The British Rock Songbook?

How important was your stunning version of ‘Love Reign O’er Me’ sung at The Kennedy Centre Honours Ceremony?

The Kennedy Centre Honours gave me more opportunity to see more people. It sounded perfect, it looked awesome. My husband, who is Irish, saw his idol, Pete Townsend crying. In front of me was Aretha Franklin, who I’d watched become a star while I starved. There was Barbara Streisand, Beyoncé was to my right, I called it my ‘Three Stooges Slap’. The interpretation I did was purely for revenge. When the British invasion started getting a black record played on a crossover station, if you hadn’t already made it like Aretha or Wilson

Pickett, then you were going to have a hard time because only so many records can be played on any show. Blacks became ‘the other’ then the Brits became ‘the other’. I don’t think the people whose tunes they covered got the same exposure, not a fair battle. I don’t hold it against any of them personally, it’s just the way the industry spewed it out. I just wanted people to know they’re just songs! Words on a piece of paper. If someone black sung them they would not be the world icons, they became. The resentment I have is towards the industry.

Have you any favourite venues you like playing? Do you prefer a large audience or small one? I prefer smaller, I can’t see everyone’s faces in a large audience. Seeing people’s faces is very important to me, I like the sounds and lights to be flawless. I used to like night clubs.

What’s the song that you most enjoy singing and why?

None, when I’m in the song, that’s the moment. I choose all my songs because I like them. When I sing ‘Your Turn To Cry,’ I’m right back in that moment. When I sing ‘Reign O’er Me’ I’m in that moment.

Let’s talk about your new album. When did you first become aware of Bob Dylan? He first started singing when I did! When I was younger I listened to music, now I don’t. Now I listen through it, it’s not what I do for entertainment.

You’ve covered Bob Dylan before. What motivated you to make a whole album of his songs? The Executive Producer, Carol Freedman is a very good friend and a big Bob Dylan and Bettye LaVette fan, it’s always been a dream of hers. I said if you can get someone to pay for it I’ll share the dream with you! The company loved the idea. There is no doubt the man can play a song. He just won a Peace Prize for song writing with the biggest record company in the world. There was nothing not to like. They’re just songs. If he had written them and given them to me, this is the way I would have sung them. I wrote the words down, did the melody and went to my

keyboard player. He played it the way I was singing it. Carol Freedman had it all in her head, what she wanted. They gave me the choices of a band, I chose Steve Jordan for one thing, because he was black. I thought there was no way he would hear Bob Dylan the way some other Producer would. I knew he would hear as much James Brown as I did! He heard me sing and it clicked, it was done in three days. On the interpretation side I knew everyone had heard these songs all their lives. Take the notes from the songs and follow me! That is what we did, I am very, very pleased with the results.

You got any favourites on the new album?

I didn’t like any of the songs. My husband went through hundreds of songs and got down to the ones I wanted to do. On the last days of recording Carol sent me ‘Things Have Changed’ I chose it, I wanted it to be the headline song. Up until then I had not been cooperative at all! The company wanted me to do two signature songs, I didn’t like them! But when I saw ‘Times They Are A Changin’ I said to Steve if you could help me flip this around so when we start playing it, I don’t want Bob Dylan to recognise it! Same with ‘It Ain’t Me Babe’ I was thinking about singing it like a drunk Jimmy Reed. I thought about the time he slept on stage during a song. I wanted to do it like ‘Big Boss Man.’ Each one of the songs I had to understand what Bob Dylan meant, then I could say it the way it was. I didn’t know he was telling someone to jump off a

ledge on ‘It Ain’t Me Babe’ I thought, this is mean. He’s always arguing but he won’t go all the way with it. I just finished the argument! If you argue with a black woman, it’s a whole different thing! I wanted ‘What Was It You Wanted’ to be jazzy and cool so got Trombone Shorty to play solo on it. It’s so cool. I’d never heard Bob Dylan being cool. I love it!

I knew I could sing but knew no one personally who sang. No one in my family had ever done anything like that so I didn’t envisage being on stage.

You have spoken in the past about how close The Rolling Stones got to the Blues. How does it feel to have Keith Richards on your new album and how did that come about?

Steve Jordan plays in his band. I felt grateful he could do this for me. He was fun, we were both able to say that if we’d known each other in the early sixties we would have got into some serious trouble. We are very alike. Eleven o’clock in the morning we arrive at the Studio with drink in hand. I adored him.

What was the best advice you got in your music career and what advice would you give to young musicians?

Shut up and go to bed! Because I sing really hard and talk a lot and when I fi rst started singing I wanted to stay up so as people could see me! I didn’t stop losing my voice until seeking that good advice and taking it. My advice would be to practice and know it’s a job. Show up on time and learn your craft.

What are your plans for the future?

As they have always been, to make some money! Critical acclaim is good. I’ve met everybody alive I want to meet. If I could make some money at this point in life I would say, wow, I’ve been successful. I still feel as though I have made a mark! The only thing that hasn’t treated me well has been this industry. I have to sneak away to be sad. The people who really, really believed in

me count. People who drove me miles to gigs and gave me a place to rest count. I’m glad the industry is still here and can look at me and say they were wrong! “You know what’s done happened, but you don’t know what’s going to happen,” my mom said! My career continues to prove that!

What has been your proudest moment in your career?

When I walked out on the Inaugural stage to sing for Barack Obama. I felt like I was walking on the shoulders of those who were not able to see. I was the embodiment of so many that went before, and so was he. That is the proudest moment of my entire life. He thanked everyone. The family was so gracious. I was so excited. I held Michelle Obama’s hand and I told her, “You know.” “I know,” she said. “I know you know, you know I know.” I felt so stupid, but they were the words we said. I relish it. It’s hard to gobsmack me. I was overwhelmed.

Been great speaking to you!

Bye baby, thank you!

For more info see website: www.bettyelavette.com

Discography

Things Have Changed – 2018

Worthy – 2015

More Thankful, More Thoughtful – 2012

Thankful N’Thoughtful – 2012

Interpretations: The British Rock Songbook – 2010

The Scene of the Crime – 2007

Child of the Seventies – 2006

I’ve Got My Own Hell to raise – 2005

A Woman Like Me – 2002

Souvenirs – 2000

Let Me Down Easy – 2000

Not Gonna Happen Twice – 1991

Tell Me A Lie – 1982

VANJA SKY MIKE ZITO BERNARD ALLISON VANJA SKY MIKE ZITO

On Tour in the UK:

BERNARD ALLISON

September 24 Milton Keynes The Stables

September 25 Manchester Band On The Wall

September 26 Edinburgh Stramash

www.propermusicgroup.com www.rufrecords.de

DeWolff

The Dutch pack are coming this way!

DeWolff might be relatively unknown in the UK but this classic sounding three-piece line up are really hitting their stride now having just signed to Mascot Records and are about to release their new album Thrust. Although the band members are all in their mid-twenties they have been together for ten years and have already released five studio albums, they have their own analogue studio in Utrecht and a home fan base to envy. Named after Pulp Fiction character Winston Wolfe, as you would expect the bands influences and experiences over the ensuing years are now coming to the fore. I was able to fix up a chat with Pablo Van de Poel, the singer, guitarist of the band and whose brother Luka is the drummer. The line-up is completed by Robin Piso on Hammond organ.

Verbals: Steve Yourglivch Visuals: Satalite June

Hi there Pablo, thanks for making time for this.

No problem, it’s my pleasure.

I know these are very busy times for you. Yes, I’m just finishing work on my solo album and of course the DeWolff album is about to come out. I’m also mixing another band’s record and recording another different band. On top of that I’m playing a show tonight with another band too!

I hadn’t realised that you recorded as a solo artist too.

Normally I don’t, but this is a one off. It just happens to be going on at the same time as everything else.

You’ve just signed to Mascot Records, so I guess we’ll be hearing more about you here in the UK. Yeah, definitely, we’re currently doing lots of interviews with magazines and blogs from the UK. Like a thousand times more than ever before!

We should talk a little about your back story. You guys, although you’re still really young, have been together for ten years now. Yeah, we have. Almost eleven years now, I think. I’m in the band with my brother Luka, but it feels like we’re all brothers musically too onstage.

And this is your fifth or sixth studio album? Yes, this will be our sixth. For us it just feels natural, we just get up in the morning and go to bed at night with music. It’s what we do all day, recording music, making music. So, for us it doesn’t feel like a lot of output releasing a record, every 18 months or so. It just feels normal.

Do you feel the band has evolved over that time? Oh yeah, for sure, when we started out we were basically just copying things we listened to, which back then was The Doors, Deep Purple and Pink Floyd. We jammed and when I wrote lyrics I didn’t have any real experience of life. You know I was 16, so I was just writing about the same stuff that these guys from the sixties were writing about. People heard us and went wow, they sound like they’re from the sixties or seventies. That music is part of our DNA so it’s still there, but a lot has changed especially in our songwriting and the way we approach the music.

On a couple of the tracks from Thrust I still detect a Deep Purple vibe going on. Maybe because of the Hammond sound. Yeah, probably. If you play rock music and that Hammond sound is prominent, that’s a big part of what Deep Purple is. Made In Japan is still one of the best live records ever made, I think the musicianship

on that is just insane, it’s out there. We’ve listened to them so much, like I said, it’s part of our DNA.

With Thrust though it feels like you’re finding more of a blues/rock, Southern rock feel. You know Southern rock to me is a combination of country, soul, rock ‘n’ roll, and blues. Those are exactly the types of music that we listen to now. When we play it, between the three of us, it translates into what we make.

On this album I enjoy the fact that alongside the out and out rock tracks you’ve interspersed them with tracks like ‘Once In A Blue Moon’ and ‘Tragedy’? Not Today, that are a bit more thoughtful perhaps, they come from a different place. Yes, that’s right. To my mind the opening track ‘Big Talk’ has a Bad Weather feel going on, very modern and very energetic. Almost like a Rage Against The Machine track played by a rock ‘n’ roll band!

That’s a good point because you haven’t shied away from including political messages and observations about the world today.

Yes, in the beginning we just wrote in this kinda rock ‘n’ roll language, like you hear something bluesy so that’s what pops up in your head, you know like ‘Woke Up This Morning’. There was a moment a couple of years ago when we thought, why would we write like this? I want to be able to listen back on our records in the future and think this was 2018, clearly, because this or that was happening and that’s what we wrote about, or it’s what we were going through at that moment. I think the music and the message that comes out of that is way more relevant.

It always seems to me that what really separates the very successful bands from the rest is the song-writing.

Yes true. What you’re playing has to have some context. Otherwise it’s just noise.

We’ve already touched on some of your influences Pablo, but I noticed in your press release you talked about meeting Robert Plant for instance. Over ten years of playing big festivals etc. you must have lots of special moments and experiences that have impacted on your development. In that period of ten years so much stuff has happened. You go through so much stuff together as a band it’s almost like a marriage. It’s a cool thing because we know so well what the others mean and what they do on their instrument. It also determines the way you write together. It changes, and it has changed because you know what the others can do and what they’re good at.

It’s interesting that you mention the writing. How does that work? As the vocalist do you write all the lyrics?

I used to write all the lyrics but what we’ve done now, for the fi rst time really, is we’ve had a period of two weeks where we went into the studio to write the new album. This is the only time we didn’t have anything prepared, no riff s, no lyrics, nothing. We just got together, kinda nervous, wondering, is this gonna work. We started playing with mics connected and the plan was when we felt we had something we’d start singing to it as quickly as possible, so that something emerges. So often I’d start with a riff or a chord progression and Luka would start singing to it. Just random words and some of these lines we thought were great, so we remembered them. Others, we continued writing around just with vocal sounds. Then we recorded that and made the lyrics better, but it all happened together. All the lyric writing we did together. So, it was a team effort really this time.

You guys have your own studio too?

Yeah, we do, we recorded our previous album there too. In the meantime, I’ve recorded so many

bands there that I’ve got way better at recording and producing in general, so I think that soundwise you can hear this record is a big step forward compared to our previous records. Last year we put out a compilation album of all bands that had recorded in our place. It was pretty successful and a lot of people in Holland are writing about a new scene we helped to get started and that’s really an honour. To inspire other people and get them to come together to make music is so cool.

You’ve played at some very big festivals and alongside many top names in Europe, is the plan to come and start playing in the UK soon? Defi nitely! We’ve played two or three small shows, but we will be doing much more. Mascot have such a strong base in the UK. The level of interest from Britain is building all the time, so we’re looking forward to playing there.

Before signing with Mascot were you with another label or just working independently?

We were signed to a label until about four years ago. Then we started our own label. So, the previous record was on that, but we could only do so much with it. It was a cool way to release our own stuff, but in the end, we want our music to reach a bigger audience, not just in Holland. Mascot have some artists with very large audiences.

Thanks, so much Pablo, I look forward to meeting you in the UK. Awesome, thanks for talking to me about the band.

Discography

Thrust – 2018

Roux Ga Roux – 2016

Live N Outta Sight – 2015

Grand Southern Electric – 2014

IV – 2012

Orchards / Luplne – 2011

Strange Fruits and Undiscovered Plants – 2009

On the blues – Part one

The zombies

Verbals: Pete Sargeant Visuals: John Bull

The Zombies – veteran purveyors of scintillating and haunting music for over five decades, drawing on jazz, rock and blues influences at every turn but scoring durable chart hits all over the world, even gifting Carlos Santana with one of his biggest hits and spurring The Byrds to explore psychedelia … in Part One of this series, Pete talks blues and history with dear Jim Rodford, not long before his tragic passing after a fall at home. A true gentleman and a born raconteur, and this then becomes our tribute to a family man, a Zombie, a Kink, a star of Argent and much more …

Cheers, Jim – the idea of this piece, I was talking to Rod Argent over tea and cakes last week about everything and we incorporated his thoughts on The Blues and his favourite recordings. Along with discussing my review of the latest Zombies album which to be candid I consider to be the band’s best… (firmly) Personally, Pete – I agree. For various reasons, I might add, but yours?

It’s got skill and technical stuff, but the tunes are out of this world, the singing is glorious PLUS there’s so much warmth. I’m right with you on that. It’s down to the songwriting of course. And we arranged a lot of it between us, including the harmonies you picked up on. Chris Potter’s production I think is masterful.

Yes, at times there is a touch of the classic West Coast sound, like say The Notorious Byrd Brothers. I fell in love with that song about New York, that Rod explained to me. Ha! That’s a true story, it’s great isn’t it? So many excellent songs on that set, I think we are all proud of its sound as a record and also the ground it covers, but staying characteristically Zombie music, as you stressed.

And a neighbour of one of my guitar pals, Colin, lived next door to him. Really!? Wow . ..and I did a tour with Champion Jack Dupree, back in the Sixties. Jimmy Witherspoon at The Marquee. So, that was my early blues experience as such. Then there was a really great blues band around in the Seventies, The GB Blues Company. Then I was with the John Slaughter Blues Band for a long time in the Eighties and Nineties.

I used to see him in Chris Barber’s band … fantastic player! weren’t you in The Bluetones? Yes, that was our local group. We started off playing skiffle in that boom, in the Fifties. I had a tea-chest bass. Washboard, the whole bit. We gradually bought amps and guitars, like everybody else. Including the Quarrymen. We started playing a bit of Chuck Berry and stuff like that. Rod used to come along and watch. Come 1961, he said ‘I want to form a group,’ I said I wouldn’t be in the band, BUT I would help him get started. That was the beginning of The Zombies and that is how all that came about. The Bluetones, we were a bluesy pop-rock outfit doing covers.

He signed The Zombies Collection for me and on there we have Mojo, Roadrunner, all numbers that I started playing in the wave behind, as it were.

(Laughs) And you can still get those sometimes in the live set. We do Ray Charles’ ‘Sticks and Stones’. That was on their first album.

Well that sets the scene, which songs would be on your own R&B Jukebox?

As this is for the Blues Matters! readership, which includes many Zombies fans, what I seek – given your history! – is your favourite blues recordings, please.

Great idea! Well as you will know, I have played with quite a few blues acts myself. When I was touring with The Kinks, I did a jam one time with Junior Wells in Chicago.

I hate you.

Haha! You don’t turn that down, do you? I did a lot of gigs with Mick Abrahams who was in Jethro Tull, Blodwyn Pig and all.

They’re maybe quite obvious ones. I do particularly like Albert King, ‘Born Under A Bad Sign’. Booker T Jones and William Bell came up with that, I think. I’ve never actually counted the bars, it skips around a bit, I have played it a few times in shows with Mick Abrahams a lot, he likes the number. Then ‘I Need Your Love So Bad’.

Ah, Little Willie John.

Yes, Peter Green’s version was the one that really got me, no Kinks pun intended.

I thought the strings added to that was quite a brave move, for the time.

Yes, whoever arranged the strings, it was, what’s the

It’s down to the songwriting of course. And we arranged a lot of it between us, including the harmonies you picked up on.

word? It suited the feel of the piece, put it that way. Gary Moore did a version on one of his records.

David Coverdale did a very cool take of it, his vocal is superb. In the Sixties, I was in a band called The Mike Cotton Sound, a very popular soul and R&B band. David Coverdale nearly joined us. We did a lot of blues with Mike Cotton so that’s what got me into a lot of it. Right, ‘Spoonful’, who did that?

Howlin’ Wolf. Saw him sing it, at Tolworth. It was the version by Cream that really impressed me, what they did with it, how they made it build up. I did really like the playing and writing of Willie Dixon, in and around all that. Another one I’d pick is ‘Every Day I Have the Blues’. I sing that a lot myself.

B. B. King?

Yes, that’s a good version. Also, I am choosing ‘Rock Me, Baby’ – also B. B. King.

I had a feeling you might pick Freddie King?

Ah! Yes, I do one of his with our little family band … an instrumental, top ten hit in America.

Hideaway?

Yes! that’s very definitely one of my favourites, too.

I think we’ll allow you six! I saw Freddie once, he was backed by Killing Floor, do you remember them?

Oh yes … another good guitar player in that time was Mick Moody, he was in the Mike Cotton Sound before he got involved with Juicy Lucy.

Thinking of John Slaughter, Barber used to feature the core power trio during the sets then bring the horns back. He was telling me once about his band going out to play at Muddy Waters’ club in Chicago.

(Enthused) Yes! America is great, they get it, they’re open-minded and totally eager to hear anything fresh.

They so respected Muddy that any guest was treated well … great food, no gear got stolen. Barber couldn’t say enough good things. Chris Barber and The Stones are directly responsible for a lot of those talented black artists having a career! Playing with Lonnie Donegan, we would play Lonnie’s songs but really, they were based upon jug band blues. I’m doing my memoir at the moment and I’m up to the time that, The Mike Cotton Sound were on tour with a big name American star and his group. This is 1966 and the Hammersmith Odeon. He really liked what we were doing, he was most complimentary, so we were all chuffed. Then we were doing what was the Brixton ABC. At a soundcheck, his bass player was not around so he calls ‘C’mon up man – you play!’ I couldn’t believe he was asking me, but I obliged. So, I’m playing along with these two drummers, the old Hammond chugging away … I am on a cloud somewhere. But, I’m thinking, no-one is going to believe me – I am playing with James Brown & The Famous Flames!

Man – my favourite of his is ‘There Was A Time’ – relentless, driving, the two guitars chattering away.

We had a residency at The Marquee and one night Eric Burdon came and sang ‘Night Time Is The Right Time’ with us, magical!

He was ahead of the world, his multi-racial band War were way ahead of their time, could do no wrong for me.

Absolutely! Early 1970, Argent are playing at the Whisky A GoGo and Eric comes along. Out in the audience are Jimi Hendrix, Frank Zappa, The Monkees, guys … it’s like an exam! Eric says later he’s having a party at his house, to launch his new band, come on up. That was War, with Lee Oskar. Jimi was there too, it was one of those days you’ll never forget, ever.

Well thanks, amigo – see you at the next Zombies gig, no doubt. Take care, Pete I’ll be interested to see what Mr Argent chooses for his five!

(It’s been rather sad, typing this up … love and respect to you, Jim – Pete)

Discography

Still Got That Hunger – 2015

Breath In, Breath Out – 2011

As Far As I Can See – 2004

New World – 1991

Odessey and Oracle – 1968

Begin Here – 1965

The Zombies – 1964 (EP)

SOUTHERN PAVILION

OLI BROWN

FRIDAY 6TH JULY • Doors - 7pm

THE FAMILY STONE

MONDAY 6TH AUGUST • Doors - 7pm

HAMILTON LOOMIS

MONDAY 3RD SEPTEMBER • Doors - 7pm

5TH UK BLUES CHALLENGE

SATURDAY 8TH SEPTEMBER • Doors - 6.45pm

DANA FUCHS

THURS 20TH SEPTEMBER • Doors - 7pm

KAZ HAWKINS

SUNDAY 30TH SEPTEMBER • Doors - 7pm

Worthing Pier

SOUTHERN PAVILION, Worthing BN11 3PX (at the end of the Pier)

Tickets available from www.worthingpier.co.uk facebook.com/worthingpiersouthernpavilion twitter - @WorthingPierPav

RUDY WARMAN

SATURDAY 6TH OCTOBER • Doors - 7pm

HARRY MANX

THURSDAY 25TH OCTOBER • Doors - 7pm

LIANE CARROLL

WEDNESDAY 7TH NOVEMBER • Doors - 7pm

AYNSLEY LISTER

THURSDAY 8TH NOVEMBER • Doors - 7pm

GENO WASHINGTON

& THE HEAVY WEATHER AND FRIENDS AND BAND & THE RAM JAM BAND

SATURDAY,17TH NOVEMBER• Doors - 7pm

ALVIN YOUNGBLOOD HART

FRIDAY 23RD NOVEMBER • Doors - 7pm

Other new releases this month include the new album from Sharks - ‘Ready Set Go’ featuring original members Steve ‘Snips’ Parsons on vocals & Chris Spedding on guitar.

‘A quality product with a classic feel, kicked up a notch with some truly modern flourishes’

‘They don’t just play Roots – they play the whole damn tree’.

3Ms Music is a boutique record label specialising in Limited Edition Vinyl releases as well as CD’s & digital releases

gerry Jablonski and the Electric Band

Who could resist the chance to sit in conversation with Gerry Jablonski and the Electric Band, the phenomenal Scottish/Polish band making waves in the blues scene in both Europe and United Kingdom? What turned out was an interesting reach into the band’s psyche and what drives them to greater success. An overall light-hearted discussion included references to Alex Harvey and life on the road. Those chatting were Gerry Jablonski, lead singer and guitarist, Peter Narojczyk, an amazing harmonica player, and Grigor Leslie, bass player. Only one missing was drummer Lewis Fraser.

Verbals: Colin Campbell

Visuals: Colin Campbell

You’ve been nominated for Blues Band of the Year and Blues Act of the Year in this year’s UK Blues Awards. Congratulations. Why are you such a good band?

Gerry: It was all a mistake; it was someone else’s idea. It was Dave’s (David Innes original drummer.)

Grigor: He tricked us into playing a local jam, it felt right straight away, there was an extra energy there, so we went with it. Every time we play we get that special buzz.

What makes a good band?

Peter: The sound has to be unique. You have to have originality and I believe you can never mistake Gerry Jablonski and the Electric Band for anyone else, we have a distinctive style. You know, like B.B. King and Led Zep when they play, just as say Arctic Monkeys, if you know what I mean. You recognise them by their sound. So many bands and guitarists sound the same.

Grigor: Maybe part of the sound is the sum of the parts taking part. It is a mix of all of us producing that sound.

Gerry: Individually we all like different music but there is a common thread as well. There’s always been a blues influence in anything I’ve come across. Peter: We all look for the same thing in music regardless of what we listen to.

When writing a song do the lyrics come first, or the tune?

Gerry: The good stuff is usually both together! I take it to the guys and play to them, they go, okay, we’ll structure it.

Grigor: The key is we all get to play what we want. We play from our heart, each and every one of us mixed together, somehow it sounds like us. It’s the sum of all the parts.

You have a very unique sound of your own but if pushed there sounds a bit of Alex Harvey when Gerry sings and tells a story.

Grigor: Yeah people have said that before. It’s the theatre and the way the lyrics tell a story. Gerry’s a structured songwriter. It works as a narrative.

Gerry: I grew up with The Sensational Alex Harvey Band in my record collection. Zal Cleminson, I wouldn’t say he was an alternate influence but…

Grigor: He was Scottish. That was a role model in itself.

You have an amazing chemistry on stage. You’ve played big festivals and village halls and all in between how important is the audience?

Gerry: 100%, as far as I’m concerned. It is a pointer to if I am doing the job right or the band is.

Grigor: We go with them and they go with us. It’s about how we get together on stage. They give us the energy. It’s a big soup and it always works. Can’t think of a concert we haven’t had the Voodoo in the room. We craft stuff and have ideas of how a set is going. Playing with Gerry you never know where you’ll end up, though.

Talking about the band do you have a front man as such? Gerry and Peter seem to share the role.

Gerry: I’m the unknown frontman of the band and I like that. It means I might do an Alex Harvey and disappear! I’m getting on, nothing lasts forever!

Grigor: He (Gerry) is just starting up. I saw him twenty years ago and he’s playing with the same energy and threatening guitar and he’s a better player. With Gerry’s guitar sound you hear the whole history of blues guitarists. You’ll hear Jimi Hendrix, Buddy Guy, Robert Johnson, and John Lee Hooker. He soaks it all up and lets it all go. That is the secret – it is honest.

Peter: The other thing that maybe sets us aside from other bands. We are not a one man show. I don’t know any other band on the British or European circuit that has two guys doing a front stand and a drummer who comes to the front and sings a ballad. We are slightly different in that sense too.

Gerry: It’s a band thing.

Grigor: The secret is we all get paid the same! Zero!

Tell us about how the new double A sided single ‘Heavy Water’ came to be. It seems a new direction for you. Is there a message in the song?

Gerry: Musically the whole thing is a change. Like a whole lot of things with the band, it just happened. When I wrote it, it was the usual; put amp on full. I wanted to do something with a more dramatic theme. At the time I wrote it there was bad flooding in Ballater. I was seeing caravans coming down rivers and that’s where red sky above me came, so I wrote it down. Weather is a global thing, so I thought, why not. Shit, we all have to watch out! I gave it to the guys. Next problem was – where to record it.

Peter: The unique opportunity arose with us. We were playing the Troubadour in London and a guy,

Gerry Jablonski and the Electric Band Heavy Water

Independent

Double A sided singles would not normally sit naturally alongside full album reviews, but Heavy Water is the exception because of the title track’s intrinsic merits as an inspirational piece of music. Jablonski wrote it after witnessing devastating floods in his native Scotland which clearly had a profound emotional impact upon him. Gerry’s spoken introduction is pure poetry and sets the scene for the unfolding tragedy, the complementary quiet, intricate guitar and harmonica suddenly shattered by anguish and fear as the vocals explode into full scale panic. The haunting, wailing harp of Peter Narojczyk intensifies the tragedy whilst the pulsating bass and drums add to the drama by conveying the full horror of floods as they reach their peak in a crescendo of albeit controlled noise and confusion expertly choreographed. The American Grammy Award winning musician and producer, Stacy Parrish invited the band to Sweden to record the single after being impressed with their sound and raw energy during a gig in London and what a great call he made. Parrish works his magic equally well on ‘Soul Sister’ the driving rhythm and blues tribute to the 1960s soul icons. Dynamic drummer Lewis Fraser and dexterous bassist Grigor Leslie provide the perfect platform for Gerry and Pete’s innovative instrumental interludes. Parrish brings the production skills honed on Jimmy Page and Alison Krauss to the benefit of the Scottish crew to make this a short but perfectly memorable experience.

The Bishop

grabbed Grigor and went – Holy Shit!

Peter: This is when we felt the pressure, it was unexpected.

Gerry: He didn’t say anything about it, didn’t mention any names.

Peter: The guys he’s worked with, it’s an incredible list. What an experience it was having him do this. It felt like he was the fifth member of the band. It was like a dream come true.

Gerry: We also wanted to do something quick and simple and a single was the idea. Not many do singles nowadays.

What keeps you going in the music business and what keeps you interested in music?

Peter: For me personally, every next show. I enjoy playing for people and with the band. We’ve been on the go for nearly ten years. We’ve been through some tough times, especially with the death of our drummer, Dave. Most people would just split, but we didn’t.

Dave wanted you to stay together though.

Gerry: Yes, that’s how we got Lewis involved.

Peter: We’ve always got little projects together on the go. We have new video and new tunes. I can’t remember a time when we didn’t have anything on the go. That’s what keeps us going. We’re getting better at it and the audiences are growing. We just played the Oran Mor in Glasgow, we almost sold it out, it’s a hard gig to play.

About your audiences. Do you see a difference in European and British audiences?

Stacy Parrish, saw us, loved the show, loved the song ‘Heavy Water’ and gave us a chance to come to his studio in Sweden. We said we would think about it, we didn’t know he was a Grammy winning Producer. Gerry: We had a gig in Norway and met in Stockholm. We went to this cottage in the middle of nowhere, this was a huge studio. I

Gerry: European audiences are more enthusiastic because it’s all pretty new for them. A lot of places had no rock and roll. They are very clued up. Grigor: They value the music more, especially in Eastern Europe. Peter: Main difference is they are a younger audience than in Britain. In a recent Polish show an eighteenyear old girl asked Gerry what he thought of the new Buddy Guy album. Gerry went what? You are eighteen. People are going out to soak up the culture. We’ve played Festivals in Britain that turn into hell after ten o’clock at night. You notice younger people into blues or blues rock. We are starting to get mixed audiences in Britain, blues lovers, but also kids looking for “underground music”, kids who don’t want spoon-fed by main stream media.

Our music appeals to a young audience. They probably don’t know what the blues is, but they enjoy our shows for the energy, music and entertainment.

Gerry: More younger people come to see us in Scotland than England. We played Aberdeen recently, the front four rows were all young people. Grigor: The venue has to be right.

What’s been your favourite gig, do you have favoured venues, and there was a particular one in Poland you have mentioned before?

Gerry: They all are all good. Band and a crowd, that’s all you need and a halfdecent rig and a stage of some sort.

Grigor: There was the time in the seventies we played to three people in a hut in a forest in Silesia, way down South. A great room. The feel and sound of a room is very important. Oran Mor is a good room, a real buzz there. Also, Voodoo Rooms in Edinburgh.

What’s the funniest thing that’s happened at one of your gigs?

Grigor: We did one in Poland at Przeworsk Blues Festival. Dana Fuchs headlined. We went on and did our show. Gerry came out and his lead started crackling and his guitar cut out. His lead later fell out, he was dancing so much. He jumped off the stage at one point. It was an outdoor stage, so we were high up. He landed on the ground. He tripped over a guy rope of an advertising balloon. He summersaulted and ended up on his feet still playing, it was a highlight of the show. After the show we were talking to Dana Fuchs who asked how we choreographed that, she thought it was part of the act! It’s a good reflection of what we do. Anything can happen.

What bands presently interest or excite you?

Peter: I’ve seen Temperance Movement, like them, bought their albums. I have been having difficulty hooking on to a band that has influence. I have heard Greta Von Fleet, don’t know if they are manufactured or what but I like their sound, very Led Zeppelin, its three Polish brothers. Grigor: They have found a sound like Led Zeppelin and I don’t know how they will get away from that. They have a natural sound though. Coolest thing I’ve heard for a while.

Gerry: Trying to do your own thing and playing in bands, I feel it’s best not to listen to other

bands. I’m easily influenced. That could endanger what I do or want the band to do. Eric Gales is my hero at the moment. I try not to be too influenced. When I fi rst heard Stevie Ray Vaughan it wasn’t a big surprise. I knew where he was coming from. I could hear Freddie King and Guitar Slim.

What advice would you give to up and coming new bands?

Gerry: Get a bank account and an accountant; make it proper from the start.

Grigor: Musicians traditionally don’t have a clue about the business side of things. They need to do things step by step. Do it for the right reason, you do music because you love doing it. Take it seriously and be dedicated. Peter: You’ll always have people complaining about not getting shows, offers, etc. I think you should ask the question – what have I done to make myself a better musician? Did I practice today? With hard-work, talent and education you’ll get somewhere, just like other things in life. No magic formula – you have to make your own luck. “Find something you love and let it kill you,” a great quote by Charles Bukowski that is the secret to making it as a musician.

Well it’s been great talking to you. Gerry, Peter, Grigor, Cheers!

For more info visit: www.gerryjablonskiband.com

Discography

Heavy Water/Soul Sister CD Single – 2018

Live Trouble – 2016

Trouble with The Blues – 2015

Twist of Fate – 2013

Life at Captain Tom’s – 2011

Gerry Jablonski And the Electric Band – 2009

01 SONNY BOY WILLIAMSON COMPLETE TRUMPET, ACE & CHECKER SINGLES 1951–62

Acrobat 2CD

02 JOHN MAYALL THREE FOR THE ROAD Forty Below CD

03 NICK MOSS BAND, FEATURING DENNIS GRUENLING THE HIGH COST OF LOW LOVING Alligator CD

04 LOUISIANA SWAMP BLUES VOL 2 JSP 4CD

05 PIANO RED ROCKIN’ WITH RED – SINGLES AS & BS 1950–1962

Jasmine 2CD

06 ROGER HUBBARD FIFTY MILLION MILES Deep Mud CD

07 WALTER ‘FURRY’ LEWIS THE COLLECTION 1927–1961

Acrobat 2CD

Red Lick Records, PO Box 55, Cardiff CF11 1JT sales@redlick.com www.redlick.com

08 CHAMPION JACK DUPREE ROCKS Bear Family CD

14 DANIELLE NICOLE CRY NO MORE Concord CD

09

SHARON JONES & THE DAP-KINGS SOUL OF A WOMAN Daptone CD

10 JOHN COLTRANE CHASING TRANE – THE JOHN COLTRANE DOCUMENTARY Decca DVD

11 IAN SIEGAL ALL THE RAGE Nugene CD

12 ZOE SHWARZ BLUES COMMOTION THE BLUES AND I SHOULD HAVE A PARTY

33 Jazz CD

13

Z.Z. HILL THAT’S IT! THE COMPLETE KENT RECORDINGS 1964–68

Kent 2CD

15

THE BEST COUNTRY BLUES YOU’VE NEVER HEARD World Music Network CD

16 CAREY BELL HARPSLINGER JSP CD

17

JIMI HENDRIX BOTH SIDES OF THE SKY Legacy CD

18

AMERICAN EPIC – THE COLLECTION Columbia 5CD

19 MEMPHIS RENT PARTY Fat Possum LP

20 SONNY STITT ORIGINAL ALBUMS

Documents 10CD

Albums & dVds

The big blues reviews guide — accept no substitute!

Michael Bloomfi eld San Francisco Nights –Live At The Old Waldorf Rockbeat Records

Recorded live at Mike’s home town San Francisco’s Old Waldorf music venue in 1977, the first fi ve tracks are solo acoustic while the remaining seven feature the full band of friends including keyboard players Barry Goldberg and Mark Naftalin, with Nick Gravenites on guitar. Recorded by legendary producer Norman Dayron, this previously unreleased album opens with the instrumental, Greatest Gifts From Heaven, and the gospel sounding Lo, Thou I Am With You. It is Kansas City Blues which is the first reminder that Bloomfi eld was first and foremost an outstanding blues musician rooted in the history of the genre and sounding as authentic as any of his heroes. Mike’s vocals are strong throughout the acoustic sessions, notably on I’m Glad I’m Jewish, his intricate finger picking guitar work an inspiration. The low-key approach continues with the band on Eyesight To The Blind, prior to Bloomfi eld

letting rip on Uncle Bob’s Barrelhouse Blues. Pure boogie follows with Jockey Blues from the I’m With You Always album released in 1977, after which comes the popular Linda Lou and the epic, Between A Hard Place And The Ground. The instrumental Vamp In C, (Soul Serenade) breezes along charmingly as a precursor to the finale, Chuck Berry’s Wee, Wee

3hattrio Lord Of The Desert

Okehdokeh

I have heard 3hattrio a few times in the past and it must be said that their music is never less than intriguing and involving. This album though takes them a step further and its hypnotic qualities are really quite chilling. I won’t be the first to suggest that there are resonances of Tamikrest and Tinariwen in the music on show here but there is also a very natural Americana feel to the music and it goes to places that I didn’t think they were capable of. These aren’t ‘songs’ in the ordinary sense – rather, they create aural images of the world of the Zion desert, recreating the rhythms of the desert and its inhabitants and

Hours. The latter is worth the price of this CD alone, an iconic version with piano and guitar dueling magnificently, Bloomfi eld’s staccato notes complementing the fluidity of the keys. Although there are several Live At The Old Waldorf releases, blues and Bloomfi eld fans won’t hesitate to add this one to their collections. The Bishop

creating music that is breathtakingly lovely to inhabit. The core of their music is generated by virtuoso bass player and percussionist Greg Istok and the aural paintings by guitar & banjo player Hal Cannon. Add to that Eli Wrankle’s violin soaring high above the rest like an eagle soaring on updrafts and the three draw you in closely to the music and feed you the desert warmth and intricacy. There is no point in detailing tracks or performances here as the album should be imbibed at a single stroke and then savored at leisure. One of the most intriguing and exciting albums I’ve heard this year.

Andy Snipper

Chris Henry & The Close Run Thing Ship Of Strife

Independent/WOW Records

This is the fi rst solo release by Chris Henry, a Scottish singer songwriter and multi-instrumentalist but mainly acoustic guitar driven. Previously, he was in a blues band called the Souped Up Fords, but he decided to go it alone, a brave decision. He has written all eight songs here of differing quality and musicianship. Differing infl uences fl ow through this release, there are folky styles and bluesy tones. His vocals are overall raspy, and a bit forced at times but effective nonetheless. Life In Skin Pictures, is the opener and has glimpses into his sharp lyrics and good storytelling. His guitar skills are undoubtedly classy on such intricate fret work on the title track Ship Of Strife. Another

Sweet Bourbon Night Turned Into Day Independent

This Dutch band has produced a pleasing album of modern electric blues, based largely on guitar and organ. Ten of the eleven songs are originals. There’s not a clunker in the bunch. Sweet Bourbon was formed in 2014 as a duo comprised of guitarist Chris Janssen (the primary songwriter) and drummer Martijn Cuypers. It expanded into an octet with the addition of a bassist, a keyboard player, a lead singer, René van Onna, and three back-up singers. Now the sound’s perfectly balanced, offering just the right combination of vocals, instruments and backing singers. The lyrics

highlight is On A Night Like This, again he displays intricate guitar technique which is very melodic, vocals reminiscent of Roger McGuinn, with fine harmonies. Big Sound is the most upbeat track with a catchy chorus. We Are All The Same bounces about again with clever lyrics with more than a doffed cap to Bob Dylan. Goodbye Checked Shirt has a fast paced country twang with some fine sliding motion. White Line To Heaven is the closest thing to a real overall blues tone with slower tempo and overtones of fine bottleneck slide guitar notes. Probably the best song with a stomp and swagger. Finally, If I Were You brings the release to a vocally snarling fi nish. An interesting mixed collection of songs by a fine craftsman who is a real talent.

Colin Campbell

and is driven throughout by a rhythmic guitar riff. This Year’s Destination, is a keyboard-driven swinging blues. The only cover is Cool Down, done 25 years ago by a band called A Syntax Error. It opens with a bass-led leadin until organ and guitar take over. It features an excellent piano solo. ‘Cool down, don’t worry,’ the lyrics urge. ‘ease up, don’t hurry.’ Blinded is a jazz-infl ected song about a woman who has sex with the singer and then makes off with all the money in his wallet. ‘Oh Lord, how could I have been so blind,’ the singer moans. The band says its music is influenced by not only jazz but also rock, soul and pop. Make no mistake: This is the blues. And it’s a fine blues album!

M.D. Spenser

are sometimes inscrutable, but the music is terrifi c. These songs have a groove. The lead-off track, 2nd Wall Street, is an organ-driven blues that involves an arrest for driving without a licence. But the accused escapes when police are distracted by an unrelated fi ght. He walks home, looks out the window and sees the police drive away. Whatever, it’s the music that counts! Texas Woman, a guitar-driven blues, involves an infatuation with the music of Stevie Ray Vaughan, not to mention an infatuation with a Texas woman that results in the dissolution of the singer’s band. Got To Say Goodbye To You, is a slow blues to die for, with a moving guitar solo. I Don’t Care begins with lovely slide guitar

Billy Walton Band Soul Of A Man

No Fret Records

Hold onto your hat here comes another slice of Jersey Shore stomping action from the ever improving, Billy Walton Band, now in their tenth year together. If you’ve ever been to one of their concerts you know you can’t stop your feet from dancing that is how good they are, very refreshing. There are tones, of Southside Johnny but he did use to be in with that crowd but add to that a phenomenal horn section and you have the real deal. This has eleven originals by the band and two covers, John Fogarty’s Green River and the band’s interpretation of Noah Lewis’ Minglewood. The shuffling opener is Save The Last Dance, which sets the pace, a real favourite.

I Don’t Know has a New Orleans feel with horn section stealing the show. Hell N’ Highwater, has a grinding guitar and smoky vocals. Another soulful shuffl e hits you on Something Better, about second chance love. My Little Bird is a smooth slow blues ballad with melancholic guitar riffs interpreting the heartfelt lyrics. Let Go, comes at you like a steam train a great upbeat soul tilt. Similarly, It Ain’t True, drips with soul and testifying. Shine The Light, is an interesting ballad with fine drumming by Johnny D’Angelo mixing with a meaty bass line from William Paris. Poison Pill cools tones down to a slow burner on this sweet guitar licks. Can’t Keep A Good Man Down has an upbeat feel, horn driven perfection. Finishing off with the acoustic Days Like These with snappy harmonica lead by Jack Gist, this is a release of high distinction from a hard rocking band.

Colin Campbell

Get Loose Get Loose

Independent

Get Loose make the kind of late 1960s blues infused rock n’ roll with a heaviness that brings to mind Deep Purple, though the young Oxfordshire trio very much belong to a different generation. On this, their debut album, the band deliver sleazy tales of wild nights out with utter conviction and vocalist/guitarist Lee Castle has a strong and rough rock voice. Their cover of King Bee has a completely different quality to the Slim Harpo original with Dom Allen’s bass guitar steam-rolling through the song presumably stood legs akimbo. It works well for them. In their take on Black Night (the Charles Brown song not the Deep Purple one) they reveal a real feel for the blues and their no-nonsense approach is their

identity. The harmonising guitar parts are a good touch. Still, it would have made more sense if they’d changed the line ‘My brother’s in Vietnam’ to something more recent. The rest of the tracks are self-penned, the standout being Who’s To Blame, which has a lot of live energy and sounds like a good club show in full swing, both rambunctious and expressive.

Jack Goodall

Barbara Dane, who fi rst developed her reputation in San Francisco in the 1950s, is terrifi c as a singer of blues, of jazz, of gospel and of folk. She’s also almost as renowned for her commitment to social justice as she is for her singing and sure enough this marvellous double CD compilation includes tracks that suggest her political consciousness such as Working People’s Blues, Ballad Of Richard Campos, a righteously angry song about the Vietnam War, and Working-Class Woman.

Hot Jazz, Cool Blues & Hard-Hitting Songs

Smithsonian Folkways

Cliff Stevens Live In Germany

Red Flagg

The guitarist, singersongwriter and band leader Cliff Stevens leads his talented and very tight trio through eleven of his own compositions on his latest release. Recorded live in concert, the recording has a good, full sound, with the dynamic range of the three players produced and captured to a high standard. With a bluesy guitar tone, taking inspiration from such players as Stevie Ray Vaughan, Eric Clapton, and Freddie King, and the drums of Dan Dyson and bass of Serge Dionne, driving the songs along, there is high quality music on this

I Don’t Want Your Millions, Mister, on which she is accompanied by her own handclapping and foot stomping, and by her son Pablo Menéndez’s harmonica, this was written by Jim Garland, a blacklisted miner, and is a gripping performance. There is also an exemplary version of Bob Dylan’s Only A Pawn In Their Game, which, we’re told in the liner

album throughout. Although it is all blues, there is plenty of range and variety from the two jazz instrumentals of Finger Swinging and Finger Express, to the deep blues of Crying my Heart out, the radio friendly funk of Running, to the melodic reverie of Don’t Walk Away, showing Steven’s prowess as a slide guitarist to good effect, whilst the jokey closer of I Said the Wrong Thing is a classic slice of blues rock. Although there is nothing here that is surprising or new you get a live album with studio quality, some fine singing and playing, and eleven new songs to listen to.

Ben Macnair

Barbara Dane

Darren Watson Too Many Millionaires

Beluga Records

Anyone who thinks only Americans can authentically sing the blues should listen to this album by the New Zealander Darren Watson. It’s outstanding from beginning to end, the fi nest acoustic blues CD this reviewer has heard in quite some time. It’s built around Watson’s guitar, voice and songwriting, though harmonica, double bass, percussion, piano and the requisite foot-stomping are often added to the mix. In particular, it’s Watson’s guitar, finger-picked, rhythmic, and insistent, that makes this CD what it is. His playing is as authentic as it comes. And so is his singing. Watson wrote seven of the eight songs here, all but the title track. As you might gather from the album’s title, he has little use for the rich people whom he views as taking from society without giving back. If that’s not blues material, I don’t know what is. This sentiment is evident right from the opening track, Hallelujah (Rich Man’s War).

‘Hallelujah, I’m going to war,’ Watson sings. ‘Gonna fight till the rich man

notes, she learnt directly from Dylan before he recorded it himself. The Chamber Brothers perform with Dane on uplifting gospel songs such as Study War No More; there are wonderful duets with Doc Watson and Lightnin’ Hopkins, such as Salty Dog Blues and Let Me Be Your Rag Doll (Southern Blues) respectively; and there are jazz tunes performed persuasively with notable musicians like bassist Pops Foster and pianist Don Ewell, such as Trouble In Mind.

wins.’ That worldview emerges again in Mean Me Right Blues, a moving slow blues accented by terrific harmonica. ‘Well, some folks got it so easy/Some people have all the luck/But we just seem to end up/Where we always ended up,’ Watson sings. And he’s versatile on the guitar: the song Pilgrim features slide the way it’s supposed to be played. The title cut is a toetapper. ‘Too many millionaires/They don’t really care,’ Watson sings. ‘All they really care about/Is getting more than their share.’ This being the blues, there has to be a breakup song, of course, and on this album it’s Un-Love Me: ‘Un-love me baby/ Take back what you have done,’ Watson sings. The album ends with a love song called Past Tense, about weighing the inevitable annoyances against the deeper gifts love has to offer. A love song’s a fi tting end, as this entire album is a love song to the blues. If you’re reading this, presumably you’re into the blues. So let me tell you, these blues are deep.

M.D. Spenser

on the twelve songs that make up his new release. He covers many bases, from the humour of the title track, and No Man’s Land, with its’ tongue firmly in its cheek, to the pathos of the closing country tinged, pedal steel laced My Future Lies Behind Me Now. The bluesy rocking of album opener Put The Chairs In The Wagon is nicely offset by Ben Ferrell’s light reggae guitar on Time To Go Home. Ferrell’s playing is a study in style and technique, from wah-wah drenched SRV like workouts, to jazzy fills, and accomplished riff writing, whilst a strong rhythm section of bassist Ed Swann and percussionist Bob Damm are more than able to navigate the many moods on this fine release. Let Me Bleed is a slow blues, using the Help Me/Green Onions riff, and Pool Hall Red is another slow blues song, but also provides a workout for Shelton’s Little Walter like harmonica style. Although there is nothing new or original here, the songs all bear repeated listening, none of them outstay their welcome, and there is enough here to keep the blues purists happy, whilst also offering something to the more casual listener.

Ben Macnair

Dane herself, now in her nineties, contributes graceful liner notes.

Trevor Hodgett

Big Joe Shelton And The Black Prairie Blues Ambassadors

Ridin’ A Chicken Alt

46 Records

The singer/songwriter and harmonica player Big Joe Shelton has corralled around him a fine band to put the fl esh

Julian Sas

2000 to 2005 (7CD Box Set)

Cavalier Recording

Where does the time go? This is the second box set covering all of the bands recordings from 2000 to 2005 and the set comprises seven CDs, Although fans of the band will probably have most of these records, the issue is clever enough to put out stuff

that was previously only available as limited editions, and the CDs are as follows; Ragin River, first issue of the expanded band in its second incarnation. Acoustic which is a five-track acoustic only album previously only ever released as a limited-edition album with the first pressing of Ragin River. Delivered, parts one and two are a complete recording of a live concert showcasing extended versions of many of the studio recordings. Twilight Skies Of Life, was another studio recording and then Dedication, parts one and two is another live recording, notable for a 15-minute version of Hey Joe! If you like Julian and you think that you haven’t got all of his back catalogue, this would be a great place to start as you’ve got five years of recording. The set comes in a sturdy, well produced card box with twelve-page booklet with words from Julian. Phenomenal musicianship from a greatly under rated band.

Dave Stone

Knut Reiersrud Band Heat

Jazzland

Norwegian guitarist Knut Reiersrud draws on blues, but only incidentally, to create an album of wide-ranging contemporary jazz and progressive rock. The result is about as far away as one could stray from the spirit of a Mississippi juke joint and still have credible claim to be reviewed in this magazine. You couldn’t dance to this CD if you wanted to, so settle back in a comfy armchair with a large scotch and give it repeated listens to best appreciate its manifold subtleties and interesting textures. Of most interest is the title track, build around the Hey Joe chord progression, just not the way Jimi played the changes. And if you have ever wondered how an

Iranian folk song would sound in Scandinavian hands, Monstermaster, will give you the answer. Cantata 147 reworks a Johann Sebastian Bach ditty you will instantly recognise. It goes without saying that the musicianship is impeccable throughout, with David Wallumrød’s keyboard work the perfect foil to the band leader’s fretboard efforts. The rhythm section and a second guitarist and understated

and on point throughout. Reiersrud’s vocals are softly spoken, and lyrically his environmental concerns are often to the fore. Not one for the good time Saturday night mainstream blues crowd, I have to say. But if you dig the sort of acts associated with German jazz label ECM, or maybe In A Silent Way era Miles Davis stuff, you may care to check this guy out.

David Osler

George Shovlin And The Radars Nothing To Lose Independent

Having pursued a distinguished career as a teacher whilst also establishing a reputation as the award-winning Godfather of North East Blues, George Shovlin in his retirement is proving that he is a major UK talent following a successful national tour and this ground breaking album of original blues songs. The jaunty opener, Don’t You Just Love The Blues, with its barrelhouse piano groove, appropriately traces George and the band’s love of the blues and main influences. Got Home This Morning has a haunting infectious bass riff overlaid by Shovlin’s seriously dark, gravelly vocals. By contrast, Cruisin’ Come Sundown is optimistic and upbeat with superb dueling between George Lamb on guitar and Paul Wilson’s keys. The first real indication that this a very special album comes with the emotional tribute to Billy Gibbons, William Frederick (A Homage) followed by I Don’t Mind, the track which propels Nothing To Lose into the magnum opus category. The latter together with Lord Hear My Prayer are reminiscent of

Bowie’s and Cohen’s final works in terms of emotional intensity, anguish and lament as Shovlin proclaims in a voice at breaking point, ‘Whatever may be Lord, I Don’t Mind.” The equally atmospheric ‘prayer’ builds up to a crescendo courtesy of Jim Bullock’s brilliant harp interludes and Kev Scott’s precise drumming. However, the sadness is balanced by joy on Just Wanna Have A Good Time with Mick Cantwell excelling on saxophone. Scott’s funky rhythm and Stu Burlison’s pulsating bass are the driving force behind She’s So Fine with Lamb delivering classy guitar solos. The swirling Hammond organ and harmonica on the closing track, You Know Who’s Gonna Win make this a fi tting finale to a highly memorable CD. Not only did the youthful, effervescent George have nothing to lose when he entered the recording studio with his talented musicians, he has gained even further respect for his lifetime achievements including induction into the American Heritage Blues Hall Of Fame.

The Bishop

BLUES Top 50

Laurie Morvan Gravity

Screaming Lizard Records Gravity is the 6th release from Blues Foundation Award winner Laurie Morvan. Hailing from Long Beach, California Morvan is so much more than just a wailin’ guitar slinger, having written all twelve songs on the album her songwriting has a fresh perspective and takes the listener through an appealing range of human emotions. Produced by Tony Braunagel who also plays drums and percussion, the album also includes noted blues musicians Mike Finnigan, Jim Pugh and Barry Goldberg on keys with Bob Glaub on bass. Also featured are Lisa Morvan, Maxayn Lewis, Kudisan Kai, Leslie Smith and Ricky Nelson on backing vocals. Beginning with My Moderation, a up tempo boogie that has some nice interplay between guitar and b3 organ by Finnigan, there’s some more fine guitar on Twice The Trouble, before the Magic Sam inspired slow bluesy Stay With Me, Goldberg plays some good piano on the wry shuffl e, Money Talks, where Morvan bemoans, “money talks but mine waves bye-bye, can’t get a conversation going know matter how hard I try”, the southern funky groove of The Extra Mile, leaves room for some explosive wah-wah guitar, taking us to the title track Gravity, were Morvan testifi es to the power of love, Dancing In The Rain, has an uplifting groove with another big solo. A deep pulsing beat gives Gonna Dig Deep, a slower cool bluesy feel. Next, is my stand out track The Man Who Left Me, a dark haunting, aching, fi eld holler made by the four backing vocalists wailing a lament over Morvan playing slide guitar with bluesy undertones as she mourns about that man, while transcending

pain into acceptance and forgiveness. Shake Your Tail Feathers, is a RnB inspired number about beating the blues with some B.B. King guitar vibes. I Want Answers, with its gritty guitar takes us to album closer, Too Dumb To Quit, a funky number with some good swampy guitar and a bit more wah wah, a fine closer. A solid backing band leaving Morvan to shine with some very good songs and assured blues guitar playing.

Shirl

Long Tall Deb And Colin John Dragonfly

Vizztone

Long Tall Deb has a strong voice, expressive and almost strident. She is well matched with Colin John’s guitars, lap steel and baby sitar. Musically they seem to caper across all of the ‘underground’ Americana styles with nods to surfing music, psychobilly, westerns (spaghetti & classic) and even crossing over to soul and jazz. In shorth, this is an utterly original mélange of all the music that we have enjoyed for around 80 years, it is also compelling as all. Opening track, On The Way Down (Intro) sets a scene with Colin John’s resonator to the fore and disembodied vocals from Deb & Colin; eerie and really sets the hairs on the back of your neck to attention. That leads into the main track which couldn’t be more different as the drums of Jimmy Castoe set a martial and thumping beat and the vocals

become intermeshed with the power and fury of the guitar riff. So far, I’m loving the music and the way that they set out to deliver music straight to your deepest memories. The title track has a completely different feel as they seem to move into western story telling mode, all angularity in the riff and Deb’s vocals to the fore, faintly reminiscent of Ghost Riders In The Sky but only faintly. Almost suddenly they get down and soft on Lungs; Colin’s vocal is dark and melodic while Deb’s vocal is softer than before and has a sense of care and wonderment about it, Chris Stephenson’s organ is superb. And, so the album goes, every track has a different identity and seems to come from a different musical heritage and every song has something to grab the ear and linger awhile in the auditory memory. They are good, very good, and more importantly they are making music for themselves that happens to appeal, rather than just trying to appeal to the listener. Lovely album and well worth a few listens.

Andy Snipper

Suzie Vinnick Shake The Love Around

Suzie Vinnick Music

Ok we’re back on Canadian soil again for this new release from JUNO Award nominee and 10 x Maple Blues Award winner Suzie Vinnick. The album title is a reference to a pre-dinner custom of Saskatoon residents doing a kind of good will greeting. Happy As Hell kicks us off with a bit of a funk groove

Greg Sover Jubilee

Grounded Soul Records

Greg Sover was born in Brooklyn, N.Y. to Haitian immigrant parents, the family moved to Philadelphia when he was ten. A concert by Bob Marley teaches Greg the power of making music. How music can connect. This had a huge influence on the young Sover. At thirteen his father taught him to play La Maladie D’Amour. Realising he had a talent, he taught himself to play. In 2015, Greg won the Hard Rock Rising competition held at the Hard Rock Cafe in Philadelphia. In 2016, he released his debut album Songs Of A Renegade co-produced by bassist Garry Lee who assembled the band which includes his long-time band mates in the Deb Callahan Band, Allen James guitar, and Tom Walling drums, with Wally Smith on keyboards. 2018, see’s the release of the new EP Jubilee, an eclectic sound of music about heartache and overcoming heartache. The disc opens with Emotional, a mix of ‘80’s rock and blues, before moving on to title track Jubilee, a more traditional blues with a Delta feel, with Gary &

and she sure sounds like she is in a good place in her life. However, once we move on into Golden Rule there are a lot more questions than answers in Suzie’s world, ‘Is it right that day and night we must fi ght for what is right?’ Pounding drums and a solid bass sit well under the heavier drive of Lean Into The Light, where the vocals are searching for a way out of the morass of life’s travails. I liked that cut a lot. Throughout the album most of the guitar and bass

Tom setting down a solid rhythm for experienced harmonica player Mikey Junior to play some mean dirty harp alongside Greg’s dobro slide guitar. Hand On My Heart, a ballad, see’s Greg pour out the emotions over an acoustic guitar while Wally Smith adds some fine piano to go with Yoni Draiblate cello, and Joseph Arnold violin, giving the track an orchestral touch. A cover of the Don D Robey song As The Years Go Passing By see’s Greg dripping soulful vocals on top of some stinging guitar riffs on this fi ne interpretation. Greg’s Haitian roots come through on I Give My Love, a danceable up-tempo song made by the wonderful percussion of Francois Zayas. Next up, and recorded live, is Temptation a 12-bar rhythm held tight by Garry and Tom allowing Greg to express himself with some blistering guitar riffs closing the EP is a shortened radio edit of Hand On My Heart. I would have liked a few more tracks to see where else he would go, keep an open mind and have a listen Shirl

the brilliant cover of Percy Mayfi eld’s Danger Zone, and you find the core of this fine album. The latter most unusually just vocal and bass guitar before she slides into the Gospel infused Find Some Freedom. I hope she finds what she is searching for. I liked the questions asked and the album.

Graeme Scott

Victor Wainwright Victor Wainwright And The Train

Ruf Records

lines are handled by Suzie and I’m sure that were she to have had the desire to do so, this could truly have been a solo album. Keys and co-production duties fall to Mark Lalama, drums Gary Craig and horns by Johnny Johnson. There is a very tasty smouldering cover of John Fogerty’s, A Hundred And Ten In The Shade, which transports you to the Deep South cotton fi elds. Couple that along with the emotional turmoil found in Crying A River For You, and

Wainwright is a US bluesman, a recognised and admired producer and performer with a string of US blues awards to his name, and a presence that comes across as big, big, big, here. Wainwright’s voice is truly excellent, like a male version of Janis Joplin, at times raw, powerful, strong and stellar. He hammers the keys with a rattling, melodic, driving pulse, holding shades of Louisiana great, Doctor John, and the ever-wonderful Marcia Ball, both comfortably contained in the mix. At times, he turns his hand to towering, soaring B3 before again returning to vocals and keys. There is also some very fine fretwork from Pat Harrington, and horns that deliver down and dirty growls when needed. The songwriting here is lyrically strong, and the undertones of blasting gospel and pure blues-passion, are clear, evident and always paced and pitched near-on perfectly. Wainwright includes a song dedicated to B.B. King’s old Gibson guitar, Lucille. Overall, this 12-track release absolutely roars and rips along, full-tilt, balls to the wall stuff with assured ability and purpose. Boogie-woogie, barrel-house keyboards and driving pedal-to-themetal blues delivered with power, drive and enormous quality and talent. This must surely be a band to catch live somewhere down the

blues highway. An absolutely excellent release, truly top-dollar in every way.

Iain Patience

Various Artists Classic Delta And Deep South Blues Smithsonian Folkways

For many of us multi-artist compilations were the first blues albums we owned. Indeed, one wonders just how many Blues Matters! readers of a certain age found themselves transfixed in their youths, by, for example, the Paul Olivercompiled The Story Of The Blues, from 1969. With blues now part of the popular musical mainstream, Classic Delta and Deep South Blues could not possibly be as revelatory as The Story Of The Blues was but it’s still a wonderful compilation and is greatly enhanced by Barry Lee Pearson’s erudite essay in the liner notes. This defines the geographical terms ‘Delta’ and ‘Deep South’ and the blues styles that evolved in those regions and identifies the cultural and historical connotations thereof. And, in addition there are individual notes on every track providing biographical information about the performer. The artists compiled include major names like Big Bill Broonzy, Son House, Bukka White, Mississippi Fred McDowell and Big Joe Williams, whose Married Woman Blues is spectacularly percussive; other respected names like David “Honeyboy” Edwards and John Littlejohn; and obscure performers like Scott Dunbar, Short Stuff Macon, whose Short Stuff’s Corinna is startlingly dramatic, and William “Cat Iron” Carradine. The latter’s I’m Goin’ To Walk Your Log is a forerunner of Baby Please Don’t Go, which of

course was later recorded by Muddy Waters and John Lee Hooker and taken into the 60s pop charts by Them.

Trevor Hodgett

Ian Siegal All The Rage

Nugene Records

It’s never easy to quantify an Ian Siegal release, mainly due to the sheer quality that abounds in his work, whether in a solo, duo or band format. Never one to rest on his laurels, he is

an artist that is constantly striving to reach new peaks and experiences, all the while playing the Ian Siegal brand which truly covers all styles and genres but at the same time being himself genre less. As always with him, the lyrics are totally important and here the choice of album title is a clever play on words. 2017 was a year in which he saw the planet being polluted by a new style of politics, the election of Trump and the rise of right-wing dogma across Europe. All The Rage is normally a reference to popularity and the latest craze, but here the twist is a nod to anger and frustration, all of which are self-evident in the military styled,

Jamie Thyer & The Worried Men Café Racer Road Dog Records

Jamie Thyer is something of a cult figure among followers of that very British Biker Blues Rock style, and he really is an outstanding performer. Along with his Worried Men they relentlessly play live and have several thousand gigs under their belts. They are the classic three-piece line up and the tightness and dexterity of the rhythm section allows Jamie to swoop and soar over the ten tracks on here. Untamed Beast starts the ball rolling and your left in no doubt that this is a high standard of rock blues. Powerful guitar playing and cemented down with great bass lines from Dave Hellhound. Teenage Firewater Queen delivers exactly what the title conjures up but in a very satisfying way. More virtuoso playing from Jamie on One Eyed Hound again augmented by the

sheer tightness of the guys behind him. By the time we get to Green Lights there is a change of pace, this wonderfully evocative instrumental piece starting with a strummed acoustic and building to a full electric crescendo. Maybe my personal favourite is Long Ride Home, a fab bluesy opening breaking into a slide bonanza of a track that has you, involuntary head shaking and foot tapping. Hot Valves precedes another lovely instrumental with an acoustic The Harlot’s Ghost. Final two tracks The Devil In The Fog, and Café Racer bring this beautiful slab of blues rock to a shuddering end. This South West based band have an awesome live reputation and deserve a much bigger audience. If you’ve ever been a fan of classic British three-piece bands like Groundhogs, Hamsters or early Budgie go for this, you won’t be disappointed.

Steve Yourglivch

staccato beat and angry styled guitar of a busy song, Eagle Vulture. On the album, Siegal’s Dutch sidekicks, Dusty Ciggar, Danny Van’t Hoff and Rafael Schwiddessen are his supporting band, the album being recorded at Island Studios, Amsterdam. There is one further addition, his old Mississippi friend Jimbo Mathus, who both co-writes three tracks, produces the album and plays guitars, mandolin and keys. Mathus has formed a unique bond with Siegal and helped him produce some of his finest work. On a purely Blues front, The Sh*t Hit opens with recognisable squealing slide and develops into a slow, lazy blues with Siegal’s unmistakeable vocal overlaying the song. It’s fair to say that throughout that the band are professional without being overloud and over-produced. Siegal’s position is always prominent and positive. As with all of his material, one never knows the influence and on first hearing I felt sure that Won’t Be Your Shotgun Rider was a nod to Bob Dylan, but with Country influences, a stunning track. Each song is different, but the final product is superb, and I love his descriptive power. Describing his hometown as Sailor Town, he describes it as “some of my friends got locked up, most girls got knocked up”. Priceless!

Merv Osborne

to let you stay up late to watch Old Grey Whistle Test on a school night, the new CD from Brighton-based harp merchant Will Wilde should prove instantly familiar. This is a concept album of sorts, comprising of 11 covers from top British and Irish bands of the 1960s and 1970s golden era of good ol’ 140-decibel twin Marshall stack bluesbased hard rock. It’s a bit like finding a box of your old 45s in the attic, all of them perfectly preserved. To judge from photos of the band leader, Wilde couldn’t possibly have been around at the time himself, which makes the effort all the more credible. Of the multiple delights contained on this recording, his version of Rory Gallagher’s Bad Penny had me blowing the dust off my vinyl copy of the original, while his subtle-as-a-flying-mallet rendition of Machine Head-era Purple’s Lazy took me back to the days when I still had hair. The title track, Willie Dixon’s Bring It On Home, knocked out as per Led Zep, I - is another standout. I can’t give the collection an unreserved five stars, as Will and his chums don’t quite pull off Free’s, My Brother Jake, and trying to duplicate Gary Moore’s lead guitar line on Lizzy’s Parisienne Walkways on harmonica was never going to be a good call. But as Whispering Bob Harris himself might have put it, this album is undoubtedly…nice.

David Osler

Will Wilde Bring It On Home Independent

If you are an old git of about my age, with fond memories of begging Mum

The album opens with a real fastmoving track, with some slick slide from Rex Granite and bluesy vocals from Sarah Benck on Stop Doing What You Want. The next track What You’re Missing is a less hectic number and is followed by the rockier Cadillac Car, where Rex’s slide again comes to the fore, backed by a steady rhythm provided by James Carrig on bass and Anton Divis on drums. The slower blues number, Percy Mayfi eld’s Please Send Me Someone to Love, allows Sarah to put forward a plea for love in the world. Sail Away (Pt1) is a reggae influenced blues number and is reprised later on the CD. Steamroller introduces a horn section and harmonica, courtesy of Lou DeLuca and is a bouncy jazzier number. Move Along takes us back to a shuffling blues style, which really suits Sarah’s vocal style and possibly shows the band at their laid back best. The title track Spirit/Matter/Truth/Lies opens in a much heavier vein and would make a very impressive opening song for a live gig. It’s a heavy riff-based number, which chugs along in an unhurried fashion, with a lovely soulful slide break in the middle section. Two Trains opens with Sarah’s haunting vocals alongside Rex’s screeching slide, which both then merge into the rhythm of the trains as they head on down the track, reinforced by the insistent drum beat in the background. The song picks up speed as the trains head down the track. The final track is a reprise of Sail Away and works up to a fine crescendo, before sailing off into the distance. This is a fine album from The Rex Granite Band featuring Sarah Benck, who hail from Omaha, Nebraska. They were winners of the 2017 OEA Best Blues Award and represented Nebraska at The International Blues Challenge. I can only agree with a man who recognises talent, Bruce Iglauer (of

The Rex Granite Band Featuring Sarah Benck Spirit/Matter/Truth/Lies Independent

Jimi Hendrix

Both Sides Of The Sky

Sony

Nearly fi fty years after the guitar adventurer’s passing, a new Jimi Hendrix record release is still, potentially, an exciting event for fans. The last one out was the terrific Machine Gun live set with the Band Of Gypsys crew, sounding rich and powerful with a sparky set of tunes. This record rounds up some ‘lost’ or rare recordings in the best quality tracked down. Most of us Jimi heads, have all the tracks already on various boots or semi-offi cial releases. But some are of particular interest to followers. It’s a mixed bag, for sure, but we fans are used to that… the last two Jimi studio-cut-centred releases Valleys Of Neptune and People Hell & Angels were akin to a pile of sonic postcards!

So, it’s April 1969 and Mannish Boy marks the first Band Of Gypsys session. Buddy Miles and Billy Cox knew all about The Blues and on this Bo/Muddy outing they stew the tune as Jimi slinks into the choppy rhythm at a brisk pace, joy in his voice and abandon in his guitar work. At 1:20 Jimi starts to scat briefly. Female listeners go weak at the knees. The little girls sure understood, and the sensual BPM is a giveaway to what is inspiring this. Four minutes in and that axe is starting to soar. Mini bass and drumbreaks and the song is over.

Lover Man keeps up the pace and a well-recorded vocal sound is assured as this energetic 12-bar with variations chugs away, with a fluid guitar run over pattering drums, this is a later version, by the way. Although, also a mixed selection, my favourite Hendrix record remains the Hawaii-period Rainbow Bridge album, which had a take of the propulsive number Hear My Train A’ Comin. Always to my mind Jimi’s nod to John Lee Hooker and maybe Lightning Hopkins. On this edition, the original Experience keep up the tension. It’s from April 1969, their penultimate session. The guitar is stunning, sustained in its energy and squealing vibe, with some curling wah-wah hammer-ons coming up to the five-minute mark, voodoo chat thereafter.

Stepping Stone is a tune that always gets to me. The Monkees did a good version. Hendrix gallops in with damped chordal slashing. But, hey, this turns out to be an entirely different song with the same name. An ultrabusy performance this is! Maybe one of the most frantic Jimi recordings ever. A descending riff brings in an organsoaked vocal from Steve Stills, Hendrix chugging away in the undertow on $20 Fine. It’s enjoyable and fast-paced which blends Jimi with Stills to make a listenable romp. Stills told me some of his best recordings were with

Hendrix, in London, and elsewhere. Power Of Soul, has delayed guitar motifs on this moody and novel tune, Jimi clearly having an orchestral arrangement in his head but equally a shadowy touch of Isaac Hayes. The central riff is irresistible as Marcus Miller found on his own version (worth tracking down, readers). The song verses are lightish, with a twist of Dylan here and there. The whole thing originated from bassist Cox fooling around with a Ray Charles motif. This one happened Jan/Feb 1970. On to Jungle, with a definite stamp of Chicago alumnus Curtis Mayfield, the Uni-vibe guitar effect singing on the gentle picking. This is night time/bedroom music. Suddenly the tempo hardens, it is a curio and clearly an unfinished song. Guitar Slims, Things I Used To Do, was a favourite song of Frank Zappa’s. This one is an after-hours duet/jam with Hendrix on bass and Johnny Winter here playing slide in the style of his early Columbia albums. The cleanest version I have heard of this recording and very listenable.

Georgia Blues finds Lonnie Youngblood at the keyboard and singing and nicking the progression from Stormy Monday Blues, with Jimi confident on guitar. It’s ok but not remarkable. Next up, Sweet Angel, is an early take on Angel which eventually appeared on posthumous album Cry Of Love in 1971. This version is a wistful instrumental and very beautiful too. Woodstock, is the Joni Mitchell, sung here by Stills, also at the organ. Jimi on bass and Buddy on drums. Still a pleasant number and this predates CSN getting their hands on it. Send My Love To Linda, was a work in progress with the Gypsys this track being an edit from three takes. Uni-vibe set to fast and a Hispanic atmosphere. Not really worth inclusion in an offi cial release though the chord progression is oddly hypnotic. This collection winds up with a version of Cherokee Mist dating from May 1968 with Hendrix on a Coral electric sitar.

A growly wah sound introduces the tune, bluesy sitar starting up, all over what we might have once called a Red Indian rhythm. Doubtless that’s an offensive phrase now, to the ever-growing group of The Professionally Offended but they are probably out on a march somewhere taking selfies. The weird feedback points to this being an experimental studio session, not yet gelling into anything satisfying.

So…I enjoyed much more of this than I thought I might and am grateful to have this album. BUT please Experience Hendrix can we call it a day now?

Pete Sargeant

IBBA Top 50

Alligator Records), who commented “soulful vocals, tasty slide guitar”

Steve Banks

Wentus Blues Band Throwback

Ramasound Records

Starting as you mean to go on is always a desirable trait in a blues band. Traditionally, blues musicians tend not to hang around, they get straight to it, and in the case of the Wentus Blues Band, they are following the line. Kicking off with Wrapped Up In Love and moving on without pause to Canned Heat’s Future Blues, there is a sense of getting on with it throughout this record. Another welcome aspect of this album is the playing skills of all the band, used to enhance the overall feel and effect of the songs, with no grandstanding or showing off. Slow blues is harder to play well than fast blues. You need a seriously strict sense of timing from your drummer, and a vocalist who can hold notes with feeling. Let Me Get Over It shows how it should be done. It’s delivered in that matterof-fact way that eschews self-pity, and simply advises how things are. The driving keyboard-led Chicago Blues sound of Feel So Young continues to underline the talent of the players, but the almost wilful modesty means that the organ solo stands out and reminds the listener that there is obviously superior musicianship at play here, and it would be nice if everyone got to stretch out a little, as they no doubt do when they play this set in a live context. They must have thought

the same, because on Hard Working Woman, guitarist Niko Riippa plays a lovely little workmanlike economical guitar solo that fi ts just perfectly. Encouraged, he intros Fixin’ To Die with the kind of sinuous snaky guitar solo that Roy Buchanan used to weave around his own tunes and continues to underpin Juho Kinaret’s passionate vocals with more of the same, and wonderful it is to hear the technique and style of the master guitarist rolling through a scorching solo mid-track. You can hear the applause in your mind as he ushers the vocal back in for the final roll before taking everyone home with another fine solo, the definite highlight of the album. Generous indeed, there are fi fteen tracks here, a selection of the songs the band have heard on their travels, which introduces listeners to some new musicians to check out. A fine work out.

Andy Hughes.

The Kris Barras Band The Divine And Dirty Mascot / Provogue

This release features Kris Barras on guitar and vocals, Josiah J Manning on keys, Elliott Blackler on bass plus drummer Will Beavis with production here is by Manning. The electric blues-rock scene is overcrowded to put it mildly, though it seems most acts pick up a following pretty easily and quickly on the live circuit. Kris has a colourful history in martial arts and retail, so hardly lacks lyrical inspiration. Opening track Kick Me Down is

taken at a pulsing and solemn pace, like music opening a film. This is heavy stuff but melodic enough and exhibits an almost stately vibe. The backing vocals sound rich and hint at some work thereon, the wild guitar break is in traditional snarly fashion. The band clearly know exactly what they are up to. Next up, Hail Mary brings more deft singing giving way to a spring-heeled rocker with a twist of Rory G. The bass takes an excursion up the neck en-route to the catchy chorus. The guitar is busy and the main vocal focussed. I Don’t Owe Nobody Nothing which would make Noel Coward wince with its title but brings a greasy tread of a number prompting clapping. Sounds like a setlist must? Propane is a punchy and rather haunting mid-paced bash with a fine vocal and peppered with guitar motifs and a radio-friendly sound, helped along by cool Hammond. It all sounds a bit like Bryan Adams here, and how radio-friendly is he? Wrong Place, Wrong Time is agile funk with brisk changes; Lovers or Losers is a purposeful moodier piece with a Southern Rock tinge, wellhandled. She’s More Than Enough is a nimble dance of a tune and a tale of a desirable girl. Stitch Me Up delivers piano-fuelled barroom rock and has that Bryan Adams touch once more, I bet he would love this act! Hold On For Tomorrow is very much my bag musically - slow, moody, personalsounding. Great raspy singing and it sounds heartfelt. If you like early Rod, get a listen to this song, it’s excellent. Blood On Your Hands has an energetic motion to it and is my pick in this programme, the group sounding very much together and a memorable lyric. Finally, in this collection we get Watching Over Me touches on Barras’ love and respect for his late father. Sturdy stuff, if very mainstream.

Pete Sargeant

Jamie Williams & The Roots Collective

Diff’rent Gravy Independent

Five-piece Blues Rock band, I thought that they were an American band until I saw the promo material that shows them on the beach at Hastings. Yes, I know that American bands have visited Hastings, but you know what I mean! Here we have 11 self-penned racks put together in a well-produced and edited package with a nice running order that showcases the band without giving you time to be bored by too many similar sounding tracks, the

Stompin’ Dave’s Blues 3 Space Blues

Independent

Going by the name Stompin’ Dave you’d probably expect Dorset’s Dave Allen to be hollering to a foot stomping beat while sliding up and down the guitar neck. That’s the case with Trust Enough but the other tracks are in a variety of bluesy styles. Money Money Money, which bears resemblance to the Cabaret ditty, has a Charleston beat and Space Blues has a kind of Albert Collins funk blues beat to it. Drummer Sam Kelly and bassist Earl Jackson are capable of real variety and are soulful throughout, Jackson particularly excels when playing slap bass. The mistakes have been kept in on this almost entirely live in the studio album. While this adds charm it sometimes means Dave’s vocal or guitar is unclear and a bit too far down in the mix. His singing in general is not captured brilliantly which is a shame as it has a good quality to it and he sings like he means it. He plays slide guitar with real gusto and plays off

band have played all over and have a great name-dropping list of others that they have either supported or played with. The boys have a great sound, Don’t Break My Baby’s Heart, is a very Stones sounding Country rock track and I really liked this one. One Man Mission To Mars has a suitably out of the world harp intro and is a great song, as indeed are all of the tracks on this well produced album that deserves more exposure, these boys are good!

Dave Stone

the band sharing fills with Jackson. The album’s opener Political Man takes most of its lyrics from Cream’s Politician (though uses the name Betty Davis gave it) so credit should really be given to Pete Brown and Jack Bruce though he does opt for a different groove. Space Blues is consistently entertaining and the energy in the studio is palpable but hopefully next time Dave and the band will release something less modest and really take their place in the UK blues scene.

Jack Goodall

With just a guitar harmonica and a wailing voice this is story telling at its finest. This could be on a porch in the deep south or on a Smokey bar. It would have the same effect. Written by Shawn Amos and Chris Roberts it’s a sign of things to come. These two are long time collaborators and you can see why. The debut single 2017 has brilliant backing vocals and arrangement. A nice easy funky type of blues. You should never judge a book by its cover said a wise man one time. This applies to Rev. Shawn’s adaptation of the Bowie classic The Jean Genie. Such a great version done in a true blues style makes this one of the outstanding tracks on the album. Sharlotte Gibson’s stunning vocals alongside the Rev’s brilliant harmonica playing is truly magnifi cent. There is now a three-part section entitled Freedom Suite. The first of which is a song entitled Uncle Tom’s Prayer. Such perfect harmonies but also a very important and meaningful message. It’s one of those songs that reaches into your very soul. Does My Life Matter? follows in a similar vein but with a much harder delivery, then, half way through brings the listener down to a more laid-back pace. Still keeping a serious thought going but with a more direct oomph to it. The third in the Freedom Suite offering is (We’ve Got To) Come Together. If this is played live it would be an absolute foot stomper. Brilliant horns resounding through and fi tting in perfect combination with fine harmonica. A feel-good song with some great gospel sprinkled in for good measure. The final track (What’s So Funny Bout) Peace Love and Understanding has gospel at its core. Let’s not forget that is how many blues songs started. Superb harmonies and just a great feel, an excellent way to finish an excellent gospel/blues album. Brilliant.

Stephen Harrison

he Reverend Shawn Amos Breaks It Down Put Together Music Moved is the first track off the album.

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Lil’ Red & The Rooster Soul Burnin’

Lil’ Red Records

This is definitely a duo with energy, as American Jennifer Milligan connects with Frenchman Pascal Fouquet. The duo on Soul Burnin’ are joined by a band that capturers the French/ American collaboration. The rhythm section from France and pianist and

Johnny Tucker Seven Day Blues

HighJohn

Straight off, what hits you, is the sound of this new album from California resident Johnny Tucker. It is like you have wandered through a gap in the space time continuum back to perhaps the late 1950’s or very early 1960’s. In fact, think of those very fi rst albums by the Rolling Stones, 12x5 for example, and you’ll get the idea. It’s where you would love to have sat in with the sessions. A bunch of guys all in the same room, playing together as live, and all feeding off the energy which can only happen when things are done as live. Factor in the use of totally vintage gear with sound spilling out and over everything and you end up with a unique brilliant feel throughout. Johnny’s vocal delivery is vintage and era right where you have the mix of Blues, Gospel and lashings of old-school Soul.

additional vocals gathered in Stateside. The album Soul Burnin’ produced by and featuring Dave Specter the twelve original songs catch you ears. The album definitely has more than a soupçon of tone and delivery providing a feeling of joie de vivre as the numbers unfold. This is an album that is in Lil Red’s words “It’s a cry for love. The current climate of political turmoil, violence, racism and bigotry makes my soul burn…” Opening with a holler the title track is an intriguing and delightful mix of French street music and blues it works under the magic touch of Lil Red and her Rooster! For a healthy dose of blues then check out Narcissistic Blues, a fi ve-minute track that fl ows and curls

around the speaker it is blues that delivers with style. Black Cat Fever is re-imagined and a new song that has an energy; we are in a smoky club it is a number that makes you smile and shake your hips. Now we had to have some boogie with Ricky Nye in the house and Big Boy Boogie delivers on an instrumental, one of two on the album that shines as you are twisting those hips in delight. Closing with a slower, sultry number as the album says Occupy My Mind. This is a record that adds something to any collection.

Liz Aiken

Fifteen stomping original tunes for your money are what are on offer here and there is not a second rate cut amongst them. Talkin’ About You Baby gets us underway with a nod in the direction of Mr Wolf in there. Then we’re off to Chicago for Tired Of Doing Nothing, with duelling harp and guitar solos. This is what we want real down-home, hot loving Blues. The fine grooves keep on coming through Why Do You Let Me Down So Hard, where for a change the guy is the injured party, over to church territory for Listen Everybody before the album closes out with the aching slow blues of You Can Leave My House. Heartache? It’s right here with gut wrenching vocals, vying with harp and guitar to see who can hurt the most. I don’t care if it is retro, its brilliant stuff.

Graeme Scott

John Mayall Three For The Road Forty Below Records

The veteran UK bluesman John Mayall is nothing if not a survivor. A guy who has weathered the changing nature, styles, fads and trials of the music scene for around sixty years, Mayall, now in his eighties, remains a powerful and purposeful totemic fi gure in the blues world. That this latest offering even saw the light of day is a tale in itself: recorded live in 2017, in Germany, with his current strippeddown outfi t, the label successfully captured the raw power of Mayall in full live fl ow. And in almost every way, this has proved to be a positive bonus. With ‘Three For The Road’, Mayall shows himself to be working pretty much at his best, never riding on his substantial back-catalogue or hardearned laurels. If anything, this could well be one of Mayall’s fi nest releases.

The man himself is supported by his current road crew, Greg Rabz on bass and Jay Davenport on drums, while he slips around effortlessly between keys, harp and vocals. It’s almost as if the years have slipped aside and Mayall is once again pushing the edges of solid sixties blues and R&B music to deliver something of a landmark recording. Anyone who has caught Mayall live in recent years will be aware of his remarkable stage-energy and presence. Here, he is clearly enjoying himself, with his voice hanging in there fl awlessly and the music itself weaving its magic almost osmotically. Mayall is a guy of legendary status who has always had an unerring knack of picking out and picking up musicians who often move on to truly great things, at times seemingly leaving Mayall himself in the shadow of their greatness: think Eric Clapton, Mick Taylor, Mick Fleetwood, John McVie, Peter Green, for starters. It’s therefore a fi tting tribute to the man that he still has the power to surprise at times with an album of this stature that simply works wonderfully at every level. This is not just veteran Mayall but vintage Mayall and more than a little bit of true blues treasure.

Iain Patience

Michelle Malone Slings & Arrows

SBS Records

Michelle Malone has been making music now for three decades. She hails from Georgia and certainly defines the Atlanta rock sound on this new release. There are nine songs in total with one extraordinary cover, that being the wonderful, I’ve Been Loving You Too Long, the old Otis Redding number. Here, she duets with Shawn Mullins and the chemistry between them knows no bounds. This can be said of the whole release, it mixes Americana, soul, blues and roots into a melting pot of emotional highs and lows. The band hits the listener with the raucous and punchy opener Just Getting Started with a signature slide by Michelle. She is joined on electric guitar by Doug Kees, bass player Bobby Handley, Christopher Burroughs on drums and Trish Land on percussion to make a tight Professional band. Love Yourself

rolls along with sassy vocals and blends in well with the powerful track Sugar On My Tongue, a slow crunchy ballad dripping with soul. Beast’s Boogie is a great dance tune, mixing harmonica and mandolin, played by Michelle. On the inside cover of this release she wears a baseball cap with ‘Made in the South’ a sure-fire trademark on this release. Fox And Hound is a slow burner and sure to be a crowd pleaser with great slide guitar. Civil War has visceral lyrics about a relationship breakdown, just don’t call Michelle baby! Matador exhibits a good rocky vocal range. The Flame is a highlight, a sublime ballad with mellow tones and soul. Last track Boxing Gloves, seems like a selfproclamation of defiance and spirit. A quite stunning release and well recommended.

Ismo Haavisto The Blues Has Chosen Me Lakewater Records

Not for the first time our colleagues from the Arctic Circle have grasped the Blues genre and produced an

album of blues music which is redolent of a far warmer climate in the southern states of America. Ismo Haavisto though is even farther into the Aurora Borealis region than most Nordic artists. A Finnish musician of 30 years standing guarantees you the calibre of musicianship that he has in spades. All the numbers on this album are written and performed by him with some help from two equally skilled Finns, Ville Vallila on Bass and Mikko Jarvinen on percussion. The album opens at a fair pace with a fairly rough version of the electric blues in “So Gone” before settling into a more conventional blues number in track 2 with “Down To The Otamo” which for

those of us unfamiliar with the geography of the Land (voted the worlds happiest) is a lake in Finland. In truth I had no idea that the Finns were so Blues oriented especially with their built-in quality of life. The quaintly named track 6 “Cha Cha Fly was a particular favourite for me with the guitar playing at a pretty high level. That said, the whole album is more than mere value for money. The album title track “The Blues Has Chosen Me” features as track 7 and is the very definition of blues both vocally and with the liberal use of the slide guitar and harmonica. This is definitely worth a punt for your collection.

Tom Walker

Colin Campbell.

Phil Doleman Skin & Bones

Independent

Based in Derbyshire, Phil Doleman has a thing for ukuleles and old songs, whether they are blues, jug band numbers, classic 20s pop songs, ragtime, jazz or old-timey sounds. He has in fact, written a music book about the uke, and he also has a real talent for this kind of music too, certainly if this CD is anything to go by. There are ten numbers here, from the opening cover of Gus Cannon’s relatively well-known 1929 recording ‘Walk Right In’ (also a hit in early 1963 for The Rooftop Singers), to blackface minstrel Emmett Miller’s Big Bad Bill (Is Sweet William Now), the latter recorded as though on a wax cylinder, and some might know it from versions by Ry Cooder and Van Halen (!), though I would not be surprised if Phil had gone back to the original. In between are a further

Screaming John & TD Lind

Gimmie More Time

Down In The Alley Records

This album reunites four musicians who formed a band called Edenstreet, twenty years ago in Kentucky but never recorded due to a sudden record label sale, they are now fulfilling their destiny with the addition of Harmonica player Joel Pinkerton, releasing this album of ten electric blues songs, mixing originals with covers of songs by the likes of Walter Jacobs and Sonny Boy Williamson. T D Lind is an ex-Brit who handles the vocals with an authentic grittiness, his rendition of From The Bottom brings back memories of NRBQ in their prime, with a catchy swing, good time feel to it,

eight songs, with Phil playing ukulele, banjo, guitar bass, snare drum, bones, jug harmonica, nose fl ute and kazoo (not all at the same time) on the archaic sounding original title track, a cover of the much-covered ‘Nobody’s Business If I Do’ and songs from bluesmen Muddy Waters, Blind Blake, Barbecue Bob, The Memphis Jug Band’s Will Shade, bluesy country act The Delmore Brothers, and the late, great and zany Slim Gaillard. A few other musicians help out in places, but throughout the CD the focus is firmly on Phil’s excellent, good natured vocals and his accomplished, though never flashy playing, and the result is a thoroughly entertaining set of good timing, knockabout music, that is fun, massively entertaining and educational.

Norman Darwen

continue to record and play together either way on the basis of this release they have shown enough to warrant a continued career and should not have to wait another twenty years to record again, an excellent blues album by a band who persevered.

Adrian Blacklee

cannot be a coincidence as they also cover their song Dutchess County Jail, band leader and guitarist Screaming John Hawkins certainly lives up to his name with some excellent “screaming” guitar, particularly on his own song Gravy Train Rider. The band describe their music as old school Chicago Blues mixed with British sensibilities, not a description I could have come up with but it is just about right for a band that sticks mainly to the Chicago Blues sound, albeit a stand out track is the slower paced Four Roses Blues which has some tasty Peter Green style laid back lead guitar solos supplemented with some deft harmonica. It is not clear whether this is a one-off exercise, or the band intend to

Elly Wininger Little Red Wagon

Rabbit Hole Records

This beautiful album straddles the line between blues and folk in a most satisfying way. The superb guitarist and singer Elly Wininger, a 2014 inductee into the New York Blues Hall of Fame, wrote or co-wrote nine of the 13 tracks. Two others, Down The Line and Wild Ox Moan, are traditional numbers. This is primarily an acoustic album, featuring expert fingerpicking and excellent slide. Wininger is aided by the guitarist and producer Stephen Miller; their styles mesh perfectly. The playing is crystal clear. Wininger’s fine vocals are far forward in the mix, you can actually make out the words. They cover a cornucopia of life’s joys and travails. The Girl In The Tree House is a paean to the magic of childhood. For Fred, a slow, bluesy, fingerpicked number, celebrates the joys of taking chances. ‘Thank you for getting me to dance/Thank you for getting me out on the fl oor,’ Wininger sings. ‘Thank you for getting me to dance/I’d forgotten that sometimes that’s what music is for.’ One of the finest cuts is the traditional number Wild Ox Moan. The stellar guitar arrangement is credited, and properly

Teed Up Hard Lesson To Learn

Independent

Teed Up is the new project featuring Steve Roux, Bernie Fox, Steve Browning and Ray Drury, all accomplished and highly respected musicians with the resumes to prove it. This release is quality from top to bottom as anyone familiar with the artists in question would expect. Not just in the musicianship on display but the choice of covers, the superior song-writing of the originals and the spot-on production. Things start with a cover of Arthur Crudup’s That’s Alright Mama, that sets the tone for the album beautifully with Steve Roux vocally delivering a version that’s true to the original but also contemporary and sensitive. Steve Roux is also a super melodic blues guitarist and there are many highlights of his playing throughout. Ray Drury also gets plenty of opportunity to shine, none more so than on One Kind Word, with it’s wonderful Hammond sounds. Take Our Time To Love, is a big ballad

so, to Geoff Muldaur, who recorded it some years ago. This is country blues indeed. One of the bluesiest cuts is El’s Kitchen, an instrumental on which the rhythmic guitar is accented by fi ddle. And the title cut is a breakup song enhanced by slow, bluesy slide. Each song is distinct, yet the album forms a stylistic whole. Shade, ‘I’m looking for mercy/looking for shade’ features moving solos on slide guitar and electric organ. Hard Livin’ is a fuller, almost poppier song with singers oohing in the background, ‘it’s hard living with a soft heart,’ Wininger sings. I Say Love carries the warning

with wonderful guitar work that works perfectly and is positioned in the dead right spot, on the album. Following that is the funky bluesy, Love Me Like You Used To Do, that sits nicely between TOTTL and the 7 minute tour de force that is No Other Way, definitely my favourite track on an album without a less than good one. Title track Hard Lesson To Learn, is another highlight with its funky intro and jangly keys. I mentioned the great choice of covers earlier and Sonny Boy Williamson’s, Early In The Morning, is another. Given the full 7 minute plus treatment but never ever feeling a second too long. The rhythm section of Browning and Fox are simply superb throughout the whole album. This really is a top-quality recording and is certainly a lesson to learn for lots of bands around, with ambitions to record an album, listen and learn guys.

Steve Yourglivch

that if you can’t take the pain, you’re not prepared for love. ‘And will you walk in trust/though your steps may be unsure?’ Wininger asks. I say love. There’s not a false note on the album. Every song’s a gem. Great listening for a lazy Sunday afternoon.

M.D. Spenser

Nick Moss Band Featuring Dennis Gruenling

The High Cost Of Low Living

Alligator Records

Nick Moss has been around for a while and with twelve previous albums

to his name, he has decided to go back to his first love, the Chicago Blues, Moss as you may know has jammed with Dennis Gruenling for twenty years, but it wasn’t until 2016 that they decided to team up full time. Moss’s deeply rooted yet fully modern guitar playing fl awlessly meshes with Gruenling’s monster harmonica chops, The High Cost Of Low Living is their first recording together and their Alligator debut. It is a Chicago blues ensemble sound that Moss and Gruenling know, live and love. Of the thirteen tracks, Moss wrote eight new originals and Gruenling wrote two with three covers making up the numbers. The band comprises of Nick Moss guitar and vocals, Dennis Gruenling harmonica and vocals, Taylor Streiff on piano, bassist is Nick Fane and Patrick Seals on drums. Co-Produced by Moss and guitarist Kid Andersen, who guests on a couple of songs along with Jim Pugh on keyboards and the horn section of Eric Spaulding tenor sax and Jack Sanford baritone sax. Opening the album is the blues shuffl e Crazy Mixed Up Baby, before we find Get Right Before You Get Left, a big band swing number of yesteryear with a great rhythm from Patrick (drums) and Nick (bass) with some nice fat horns, very danceable I loved it. Another highlight for me is the lazy shuffl e No Sense with Kid Andersen on guitar, Taylor with some excellent piano and some reserved harp blowing from Dennis. The High Cost Of Low Living, is followed by Count On Me with some fine Barrelhouse piano again from Taylor. Blues ballad, Note On The Door opens the way for an Otis Spann cover, Get Your Hands Out My Pockets, another danceable track as is Tight Grip On Your Leash, with its thumping bass groove. Gruenling’s, Lesson To Learn is another driving rhythm with Jim Pugh on the piano this time. The harp

and guitar were the main prongs of attack but not over stated. A very enjoyable album that I really liked.

Benjamin Bassford Benjamin Bassford

Independent

Shirl

Benjamin Bassford’s self-titled acoustic album oozes the blues out of every note. What a fantastic follow-up to From Behind A Blue Door. This is a young man who every lover of the blues should check out. Why? He is an artist whose skills and power are growing with every note he plays whether in a studio or live in front of an audience. He is thoughtful and considers the construction of the music he loves. Paying respect to bluesmen of the past and delivering a fresh sound that is developing as he shapes the tones created on the guitar becomes his own. The lyrics, percussive guitar and finger-picking shine through on every one of the thirteen songs. Benjamin, recommends that you listen to the album from beginning to end as the tracks have been stitched together. In today’s world of downloads and playlists this is an unusual request. The album works on every level, but he is right listening the ‘old fashioned’ way works best. This is an acoustic album that is a true pleasure to listen to from beginning to end. Let the blues magic from his fingers and lips encapsulate you as you journey through the album. Opening with Second Hand Bridges, be patient there is a pause but then after the wait you are rewarded as you meet the scarecrow in abandoned wedding dress. Picking out some numbers that shine in this short review is diffi cult as they all have something to say. Highlighting the guitar work of self-Medication Blues in the intro is such a pleasurable listen then Benjamin’s vocals sing

the lyrics with emotion and understanding. Velvet has to be mentioned this is a poem spoken by Benjamin in his Northern accent, a spoken voice counter-intuitive to the music we have been listening to that is pure classy delta blues a clever interlude. Followed by a favourite Death O’Grace this is blues guitar that whines and sings to you gently massaging your stresses away. Gently delivered and a real gem among a jewel box of tracks. You will be hearing much more of Benjamin Bassford he has the spirit and love of the blues plus that elusive feel to deliver the music with an authenticity and a touch of modernity.

Liz Aiken

Chris Farlowe From Here To Mama Rosa Repertoire

Another lost treasure (from 1970) representing something of a left-turn by the now-established soul stylist. Here, Farlowe collaborates with a band christened The Hill. This ensemble included some very useful players – keyboardist Peter Robinson, Steve Hammond on guitar, Bruce Waddell on bass, drummer Colin Davy plus one Paul Buckmaster on cello (an Elton John stalwart of note). Producer Mackay must have been pleased at the sheer adaptability of Farlowe’s vocal approach to this material, Chris shows an entirely different singing technique when making these songs by others come to life. From the eerie strings intro to Travelling Into Make Believe, Farlowe sings with a calm confi dence and in what you would have to call prog/rock style. The busy organ fi gures and gives it an authoritative early Seventies ambience, thumping drums and all. But Chris is

never about to disappear into the fairy woods! I don’t think he ever sang with The Nice or ELP, but it may well have sounded like a lot of this. Fifty Years, finds him again over a bustling backdrop, absolutely gripping the song as the pretty acoustic guitar weaves. Where Do We Go From Here, takes a choppy guitar intro and an almost funky swirl, yet again Farlowe has the perfect tone to put the number over. Questions is dark and moody and maybe my favourite here, Chris rides the rhythm with boss phrasing over the psych swells and prominent bassline. Head In The Clouds is an airy piece peppered with harmonics and maybe a nod to CSN in its ethereal vibe…a long way from those gritty Flamingo sessions. Are You Sleeping starts folky and you almost expect to hear Rod Stewart start singing. A lovely melody, somehow reminds me of Paladin, or am I getting too obscure for you? Black Sheep Of The Family is a tad more menacing and a highlight of the programme, double stops whine away and Farlowe sings with strength and definition. Winter Of My Life is wistfulness and poetic. Mama Rosa turns out to concern a dealer! The pacing is Season Of The Witch and a light-touch vocal suits the song well. Additional tracks comprise Put Out The Lights, Down and April Was The Month. Something of a revelation, in this re-release.

Pete Sargeant

Janiva Magness

Love Is An Army Blue Elan Records Janiva Magness is a world class

vocalist on anybody’s reckoning, and her inability to sell out venues as small as London’s Borderline a couple of months back mystifies me immensely. Hearing an album, an album as strong as this should surely convince any sane blues fan to haul his or her ass to any Magness gigs in their town and at every available opportunity. Love Is An Army continues the singer’s recent evolution towards a wider Americana territory, with some glorious results. Exhibit A is opener, Back To Blue, a perfectly crafted lost 1960s soul gem, with a chorus catchier than a sexually transmitted disease. Hammer features gob iron king Charlie Musselwhite doing Charlie Musselwhite stuff over a funk riff workout. On And On, is a country-style showcase for the standout pedal steel playing of Rusty Young of Poco, a band that have not crossed my lug holes for about 40 years, but turn out to be still going. There’s more top-notch pedal steel, this time from Doug Livingston on, Love To A Gunfight. Both are the two last-mentioned tracks of fine examples of earworm songwriting. By the way, some of the lyrics throughout the album could be seen as implicitly critical of the current occupant of the White House. But the political content is subtle, and shouldn’t spoil your enjoyment, even if for some inexplicable reason you actually like the guy. All in all, strongly recommended.

David Osler

Me And The Devil Backscratchin’ Independent

An interesting release from Cornwall’s Me And The Devil. This, their third self-released album was recorded live at Truro’s Cube Studios and the four piece comprises Steve Mole, vocals/guitar, Morgen Robbins vocals/

harmonica, Tony Hilton on double bass and Justin Bishop on drums. They describe themselves as an up-tempo Blues band and judging from the music therein, I have to say they can certainly swing it. The playing is very good, and I have to single out Morgen on harp, his versatility is excellent, and I have no doubt he has studied Paul Lamb at some stage in the past. I particularly like his playing on the album’s opening track, Arthur Crudup’s Train Fare. With thirteen tracks here, I was disappointed to see there are only two originals, both written by Morgen and both worthy of a listen. I presume that he sings lead vocal on the track Money Or Love and I like the timbre of his voice, with a degree of roughness to it, a solid rocking Blues song. Here We Go Again is a moody strut led by bass and drums leading the instrumentation with harp soloing over the top. As for the eleven covers, including songs from artists as diverse as Little Walter, Bo Carter, James Moore and Muddy, I’m pleased that they have generally stayed away from the usual classics, choosing lesser known songs, after all how many different ways can Parchman Farm be played. However, with the quality of Robbins own song writing ability, I would strongly advise them to look towards their own material in the future. They are a competent and able band on the musical front; let’s see them develop their own core of songs to become a force in their own right.

Merv Osborne

This 3-piece band certainly know how to get themselves noticed. Straight from the

opening track Loving Unfortunately the vocals of Robert J Hunter grab you by the throat. All 12 songs on the album have been penned by RJH himself. This is a great opening track and it would make a great gig opener as well. It certainly sets the tone for what is to come. Mr Winter has a harder edge running through it starting off a little laid back but changing pace with harmonica and a more natural rhythm and blues feel. Every Heart Has A Home, is a pure dyed in the wool blues song. Keys and guitar introduction fuse so well together along with touching guitar work and soulful lyrics, this would grace any set anywhere. When the Winter Comes is for me the best track on the album, not just for the exceptional vocal arrangement but also it brings out just how tight this band really are. Starting off slowly but building to a crescendo that makes you feel as drained as the band must be after playing this. Wait Your Turn is a recent iTunes No1 single. Solid groove throughout from bass and drums and a helping hand from harmonica and slide guitar makes a great experience for the listener. Poison is a down n dirty deliverance with stunning vocals that has a touch of the devil blues running right across it. If ever a song fitted a band perfectly then this is the one. I for one would relish seeing this performed in a live venue. The final track from the album Keep Hanging On is a superb way to finish an album, all 3 members can feel proud of such a fitting ending. Once again, the sublime vocals add an extra dimension to a tight solid band. Keyboards and acoustic guitar fit hand in glove alongside wonderful lyrics. A superb album. It would add a touch of class to any collection.

Stephen Harrison

The Robert J Hunter Band

The Robert J Hunter Band Independent

Gone Hepsville Gimme!

Rhythm Bomb

Gone Hepsville bring their infectious 50’s style Rn’B and Rn’R to us, from the Czech Republic and this is their second album release though most of the band were formerly in a Rn’R revival band, The Firefl ys. The band is fronted by bassist Petr Pospíšil who shares vocals with guitarist Pavel Štursa; Petr wrote most of the material with Pavel contributing one song and baritone sax player Pavel Zlámal three tunes. With a rocking rhythm section, twinkling piano and tenor joining forces with the bari we get a great blend of catchy material from the band. None of the 13 tracks run much over three minutes and it’s all great fun: take Pavel Z’s instrumental Horn At Dawn for example with the strolling rhythm overlaid with tenor and baritone solos or Pavel Z’s Day All Night on which pianist Matej Fouma plays terrifi cally. Just A Little Hepsville Surfbeat fi nds Matej playing a theremin to give a spooky edge to the surf style (and you can play along with the band as the guitar part is reproduced on the sleeve!), wild sax adding to a style of music that has largely disappeared. The title track sets the tone form the off with plenty of pounding piano, honking saxes and a Jerry Lee style vocal as Petr invites his girl to succumb to his advances, Show Me That You Can Rock being more melodic but keeps the beat going with some swinging guitar work before two songs with ‘Boogie’ in the title: Boogie And Bop and the superb title Brainwasher Boogie! Pavel Z’s brooding bari is featured on a second instrumental entitled Jam Or Bust and the album closes with Legs Gone Mad, a suitable title for a fi nal snatch of rock and roll mayhem. This is not a blues disc but takes us back to the era when

R’n’B spawned Rock and Roll, a style of music still played in the UK, by bands like, The Revolutionaires – very enjoyable, it would be good to see this band live in the UK.

John Mitchell

it straight through shows a real sense of building a set – something that probably comes from playing live for many years. Favourite track is probably Two Faces, hot and funky with his vocals taking on an almost Hendrixlike deep in the mix character. A very good album and one that is going to be pleasing me for some time to come.

Andy Snipper

Rockin’ Johnny Burgin Neoprene Fedora

Independent

Matt Edwards Backward Roots

Mattedwardsmusic

Always good to find a musician who has invested himself fully in his music and who believes strongly in making music that is not quite of the mainstream. Matt Edwards has been on the scene for about 15 years and has two previous albums but to be honest, this is the first I’ve heard from him and rather a cracker it is too. His music is rooted in Blues, but he crosses over many of the genre boundaries of the form – always with his bellow of a voice at the heart and some stunning guitar work. He can cross from the faintly jazzy Blues of Who’s Becoming You with a late-night dark groove to it and a faintly Allman Brothers tinge to his guitar into Always Going To Fool A Few, redolent with a funky beat and heartbeat bass from Stuart Dixon, Richard Newman’s drums all over the back of the soundstage and creating a great platform for Edwards guitar. Aim High starts with some gorgeous unaccompanied guitar and really shows some talent. It’s an album I am happy to dip in and out of and put on shuffl e play any of the tracks can stand on its own but there is a band feel to this and playing

Lovers of Chicago blues should find space on their shelves at once for this fine CD. It’s the real deal – traditional, yet fresh. Like all Chicago blues, it’s based on electric guitar and amplifi ed harmonica. Burgin is a superb guitarist, one who creates moods rather than showing off with pyrotechnics, and he’s ably backed by Aki Kumar on harp. Other members of this tight band chime in on piano, sax, and of course, bass and drums. The sound is rich and full and as Burgin’s moniker would suggest, rockin’. On this CD, his seventh, Burgin wrote or co-wrote eleven of the sixteen tracks. The album opens with the title cut, a high-octane, 7 ½ -minute instrumental with guitar work that’s to die for. As he demonstrates on subsequent tracks, Burgin is a fine singer too. One of this album’s strengths is that the sound varies. The tempos and moods differ from one song to the next. Won’t Get Married Again, for example, is carried by a walking bass line that will set your feet to tapping, as well as by excellent harmonica solos. There’s super piano in the background and, as ever, great lead guitar by Burgin. Please Tell Me is a slow blues that features a wonderful sax solo, fine piano work and stellar lead guitar from Burgin. Our Time Is Short is slow yet bouncy, enhanced by an accordion.

Burgin got his start with The Rockin’ Johnny Band when they landed a weekly gig at a club in Chicago. The band’s performances were so impressive that Delmark Records offered them a contract after hearing just one set. One listen to this CD, and you can see why. A couple of quibbles: At 16 tracks and 77 minutes, average song length nearly fi ve minutes, the album seems a bit long. It could have been a bit tighter. And the lyrics are sometimes pedestrian, particularly on the covers he chooses. ‘I’m a guitar king/play the blues everywhere I go,’ Burgin sings. But this is not an album you listen to for the lyrics. It’s for the music, and that’s outstanding.

M.D. Spenser

that is not your natural home. Baker has accomplished this feat with style on this his first solo album instead of supporting others. Track fi ve Born In London shows his versatility as it is more rock than blues, but he switches genres with ease, as does his guitar support in the form of Gaz Brodbeck and Kai Strauss, both consummate guitarists/musicians in their own right. Double-crossed And Blue has a truly melancholic aura over it and it was my favourite track as it features everything you’d want in terms of the Blues. This is swiftly followed by the Harp maestro giving his all both vocally and on the harmonica with Hustle On Down in a sort of hillbilly rock track. The album title track Perfect Getaway comes in at track thirteen to lead us to the closing track One Word and the one word describing this first solo album has to be exquisite!

Tom Walker

lyrics from Gary Seager sung passionately by Adam Stocker. Bassist Gavin Matthews takes a bow with his excellent composition, Medicine Man, smartly arranged with mean harp playing by Stocker and intricate stick work from Dave Two Jackets. The funky When I Get Drunk and balladic AM Blues showcase Stocker’s vocal range and Gary’s intricate guitar solos. Please Baby has a high tempo boogie feel and the pace continues with Hometown Blues, one of the many highlights. The dynamic, explosive Midnight Train gives insights into Bad Pennies’ high-energy live blues-rock performances which must be sensational. Less impressive is the derivative Berry-esque Temperance Boogie but Seager’s Losing Streak with his sumptuous slide technique is a fi tting finale. Overall, this debut album has much to commend it and will appeal to the band’s expanding fan base as well as helping them to the next level.

The Bishop

Steve Baker Perfect Getaway Timezone Records

The album opens with Steve Bakers forte, the harmonica and this is a maestro of the instrument. When Hohner decide to name an instrument after you then you know that the player concerned is a virtuoso of a calibre that is sky high. Steve Baker is resident in Germany, though originally from London. This solo album is a change insofar that his reputation has been based purely on the harmonica. Now he’s stretched out to song writing and singing and to good effect. Allied to superb slide and acoustic guitar support work on the first track, Anyway You Do, the opening has you hooked from the outset. It takes some cojones to branch into a fi eld

Bad Pennies Songs From The Medway Delta Independent

Unfortunately, the repetitive, grinding riff underpinning Crash & Burn makes for an irritating start although the vocals and interesting guitar and harp interludes show more promise here, and on the next track, Lady Luck. The pattern continues with One Shot (Ballad Of A No Good), the vocals blasting over the heavy, less than subtle rhythm section. Walk Away brings welcome relief with a more varied, jaunty sound and clever

Ma Polaine’s Great Decline The Outsider

OMH Records

An interesting band title but behind this title is a duo who create some wonderful evocative and stark Blues and Roots music, they are unique and are not afraid to stay that way with no desire to follow any established route, the duo are Beth Parker and Clinton Hough, but it is Beth with her stark and crystal clear vocals that underpins this sound. The music conjures up all sorts of visuals, my initial impression was one of a mystical 1920’ Parisian parlour scene not sure why but this is what this music does to you, besides her outstanding vocals Beth is a multiinstrumentalist and includes double bass, piano, accordion and harmonica

in her repertoire while Clinton covers a very laid back subtle electric guitar that tracks Beth’s rising and falling vocals. There are ten tracks on the album which have all been written and produced by the duo, with their musical style they clearly have a handle on what the fi nished sound should be rather than handing off to a separate producer, this approach certainly works as the sound is so clear and clean you could literally hear a pin drop. All the material is similar in approach but the fi nal track Old Fashioned Goodbye is worth dissecting further as it incorporates everything that make this band so special; the songs, lyrics, are depicting the scene of the singers own funeral and are so evocative, drawing in aspects of a New Orleans style rhythmic funeral procession, which when laid on top of a wailing harmonica and Beth’s ebb and fl owing vocal you get a very sombre song that has been expertly crafted, story-telling at its best. I found this album spellbinding and while not ostensibly a blues album there is plenty to enjoy.

Adrian Blacklee

Louis ‘Gearshifter’ Youngblood

Louis ‘Gearshifter’

Independent

Youngblood

A strutting, rubber band bass line and jangling guitar herald an archetypal Southern blues voice, delivering funny lines about a titular Juke Joint and its toilet facilities. If you’re in the

market for some Mississippi blues that’s authentic but fresh, this opening track may tell you that Louis ‘Gearshifter’ Youngblood is your man. This eponymous debut album from the 65-year-old from Jackson MS, nicknamed for his long years as a truck driver, is an eclectic selection of originals, covers, and arrangements of traditional songs that goes beyond a basic down home style and makes it current, with a vibrant, modern sound incorporating some neat twists and fl ourishes. Youngblood - ably assisted by musicians including Matt Patton of Drive-By Truckers on bass, Larry Morrissey on drums, and the ubiquitous Jimbo Mathus on keys and rhythm guitar – plays some nifty guitar, combining rhythm and lead on the traditional Rabbit In A Log, and occasionally counterpointing two guitars in subtle arrangements such as on Goin’ Down Slow. There are hints of country, as on the elegiac You’ve Got To Hurt Before You Heal, once recorded by Bobby ‘Blue’ Bland and here featuring steel guitar and angelic voices in the background; and also on the laid back Get Rich And Marry You, yodelling and all, which would probably elicit a grin from Johnny Cash. But there’s humour aplenty too. Hole In The Wall atmospherically describes a back to basics eatery, with the added bonus of an Allmans–like guitar intro. The cover of the uproarious Meet Me With Your Black Drawers On is updated to reference a cell phone, while Mathus’s playful organ chirps away in the background to add to the fun. There’s also some wacky, cackling storytelling on Youngblood’s own A Big Change, while the reverbheavy vocal on Seven Sisters carries an air of Screaming Jay Hawkins. It’s upbeat, it sounds confi dent, and it’s got variety. What more do you want?

Iain Cameron

Greyhound’s Washboard Band Street Corner Blues

Independent

This is a very interesting and highly original take of what this reviewer would class as organic blues with a contemporary twist. Infectious from the start with Do That Thing (21st Century Bluesman) a typical example, this is a highly polished release comprising of fi fteen songs with two covers. The covers are Fred McDowell’s Shake Em On Down, and Memphis Minnie’s, My Wash Woman Is Gone getting the full-on treatment by this German trio. They comprise of lead singer and guitarist, mainly a fabulous resonator stylist Jurgen “Greyhound George” Schildmann, Washboard Wolf on various washboards and added percussion, and on harmonica Andy Grunert. Winners of the German Blues Challenge 2017, they certainly have a great sound. Along with using vintage guitars they also use a hundred-year-old marching bass drum. They are also participants in The European Blues Challenge 2018. This is a very enjoyable listen to a band that mixes up old and contemporary songs, listen to Fake News Blues it says it all. On the quirky Let Your Money Work For You the blend of harmonies to the instruments brings the song to life, it fl ows so well. Apple Street to Memphis strolls along well, vocals are sharp and clear. There is such an easy going feel to the musical arrangements.

Nine Lives has a wonderful slide guitar groove a highlight with searing harmonica licks. No Mo is outstanding with intricate guitar work and a good narrative. Contemporary lyrics blend well with a sound that is traditional that is peppered through this release. Up-tempo enjoyable and honest music what is there not to like, one to savour.

Colin Campbell

The Roustabouts Plenty Of Blues Independent

An American blues outfi t with more than a hint of modern Americana and tinges of Cajun-zydeco in the background, the Roustabouts debut release is a bit of a mish-mash of traditional sounding electric blues with an unusual and well-executed punch delivered by some unexpected, driving fi ddle up-front. In many ways this makes for an enjoyable break from the usual same-old, sameold, guitar-led release. Whatever one thinks of the fi ddle as a lead instrument, it makes for a brave effort and an open-minded, experimental attempt to create a singularly identifi able sound. It helps in many ways, to be at least a half-hearted fan of the Louisiana Cajun-Zydeco sound here, but this is by no means essential. At times the fretwork is also fine, powerful and bouncy while harp also features to good effect. It’s by no means just another folkiefi ddle sort of feast. Instead there’s a clear variety of powerful explosive tracks blended with some laid-back, slower blues takes that ensure this twelve-track release of self-penned cuts never becomes either tiring or boring. When the fi ddle steps back and guitar takes over the leads at the fore, there’s always a nice Chicago feel clearly ripping and rippling through, driving the project ahead.

This is a well-constructed release that deserves more than a few listens. At times, horns, sax, and B3 all play their part in the mix, delivering an unusual and genuinely interesting touch and blues feel to an album worth catching. Well worth giving a go, this is a bit of a delight in so many ways.

Iain Patience

– think of Angie, and you’re in the right area. The song is fl eshed out with bass and piano from producer Paul Mex. Like all really well-crafted blues, these songs sound deceptively easy in terms of their composition and playing style. But musicians know that the ‘simple’ sound is deceptively hard to pull off convincingly, and Geoff Carne And The Hatz, manage it on every song on this enjoyable EP. If it’s a taster to introduce new fans to their music and keep existing fans happy until the next full-length studio album, then it’s doing its job just fine. A band to watch in 2018.

Andy Hughes

Geoff Carne And The Hatz 4 Play

mex one recordings.co.uk

For a duo, there is a lot of noise going on throughout this four-track EP. Geoff Carne is not at all shy about namechecking his vocal influences, specifi cally Paul Rogers and David Coverdale, and he brings a hybrid sound to his own songs that has a particularly British rock-blues feel about it. Guitar-and-drums duos became fashionable when The White Stripes arrived, and the baton has been passed with vast variety in terms of sounds, styles, and songs, ever since, and Geoff Carne And The Hatz are different enough to carve their own niche. This is music for people who like their blues rock straight down the middle, with no excess frills and fripperies. Best track of the four is Medicine Man which provides the strongest melody, the best vocal, and the clearest indication that Mick Hatz is an excellent drummer who believes in playing for the song. The last track, Forgiven, nods seriously towards a Mick Jagger blues ballad vocal style

Marshall Lawrence Feeling Fine Independent

With ten original tracks there can be no argument that Marshall Lawrence leaves you Feeling Fine on his fi fth album. Across the album Marshall distils the inherent energy of blues that has been mixed and shaken with the influences experienced over the years. He has taken the Delta and swirled in rock and punk that fl owed across the airways through 70s and 80s. The influence gives the sound a sting, but blues integrity is never lost. Opening with the title track grungy tonal blues are captured in the opening seconds with distorted beats. Your ears are hooked as Marshall picks up the vocals with a layer of compelling energy. The tone changes and we pick up the dancing rock n roll vibe with

Ida Mae and What I Am Doing Here.

The party with Lawrence is smoking. Into the mix add electric blues via Blues Still Got Me that seamlessly morphs into delta electric with tinges of hill country as we as Going Down to Memphis with Lawrence. The Blues is fast and slow, the music ebbs and fl ows as the album closes out with Dirty Dishes. The final track is upbeat and leaves you with all the tones and shapes of Lawrence whirling around your ears that have been immersed in Marshall Blues. Marshall Lawrence is part of the growing phalanx of Canadians that are producing Blues you want to hear and Feeling Fine is a welcomed addition to any collection.

Liz Aiken

Mick Clarke Bent Frets

Rockfold Records

I’ve been a fan of Mick Clarke for many years, ever since his time in bands like Killing Floor and SALT. He’s an authentic UK blues guitarist who has certainly paid his dues. In more recent times he has been putting out albums that he basically records in his home studio playing virtually everything himself. This is the latest one and this quote from the sleeve notes sets the tone better than anything I could pen. ‘’The Bent Frets of the title are on my Squire Stratocaster which I’ve been playing slide on since the 80s. On this album I decided to try it as a regular tuned guitar for normal type lead guitar and put a set of

regular strings on. What makes this guitar unusual is that as I’ve been playing slide on it for all these years, the frets are completely mangled. The metal slide has worn a groove in the side of the neck and battered the frets into hairpins. So, bending a note is challenging. No smooth ascent, more of a kind of d-d-d-d-bbrring!! Notes actually disappear and reappear of their own volition or change pitch without warning. It’s very interesting.’’ It certainly is! The thirteen tracks here include covers of Charley Patton, Robert Johnson, Pearly Brown and Tarheel Slim but this is no oldfashioned tribute to old bluesmen but a down and dirty raucous celebration of raw blues. The album kicks off with rocking instrumental Daddy-O leading into the Patton cover, Spoonful Blues, and the Tarheel one Number Nine Train that has a high energy rockabilly vibe going on. The Brown cover is the gospel tinged Mean Old World that works brilliantly with the burning Strat on board. La Mauvaise Herbe, is another instrumental that leads nicely into the Johnson cover, Kitchen. By no means an exact cover you understand but brilliant nonthe-less. Mountain Road is slightly funky track that builds great imagery as does Still Be Mine. Hat Rack is another instrumental and closing track Leaning To The View, a kind of Burnside-esq Hill Country Blues. All in all, another cracking Mick Clarke album that long-time fans will love.

Steve Yourglivch

Mud Morganfi eld They Call Me Mud

Severn Records

Muddy Waters, one of the four pillars of the blues, left us a lot. Thankfully, he also left us a son, and here he is, every bit as

large as life as his father. In fact, even if you didn’t know his name, you’d think ‘Muddy’ as soon as you hear this powerful voice. Mud Morganfi eld has already made three excellent CDs and paid tribute to his Dad. This new CD features 12 songs, ten of which Mud has written, and the remaining two written by Muddy senior. His reading of Howlin’ Wolf is superb. Mud is undoubtedly an authentic bluesman, but he also has a vocal versatility which takes him into other areas, a couple of relaxing ballads, for example. Mud’s daughter, Lashunda Williams, joins her father on the beautiful duet, Who Loves You. There are fine musicians here, too, in particular harmonica man Studebaker John, and another great harp player, Billy Branch on the jazzy Mud’s Groove. Mud himself is also a fine bass player. There’s something for everyone here, and especially good old Chicago blues stompers such as Walking Cane and Rough Around the Edges. It is always a challenge living in the slipstream of a famous father, but Mud Morganfi eld flies high above it and delivers a mighty catalogue of original work Muddy would be proud of. Let’s see him over in the UK soon - that would be something to relish.

Roy

Bainton

Peter Karp Blue Flame

Rose Cottage Records

The CD Blue Flame opens with Rolling On A Log, one of thirteen tracks all penned by Peter Karp, who was born in the tiny hamlet of Leonia, New Jersey, just over the Hudson River from New York City. According to his biography, ‘Peter Karp is a storyteller who also happens to be an assertive singer, an insightful songwriter, a spellbinding performer and a searing slide

guitarist’ and the fi rst track, with its soulful overtones does nothing to contradict the above. The second track, Train O’Mine continues in an upbeat harmonica driven groove. Track three, Your Prettiness, kicks off in a Louisiana style, with a great combination of piano, organ and distorted guitar, followed by some great harmonica playing from Denis Gruenling. Valentine’s Day is a slower blues shuffl e, which again sees Peter telling a story against a great musical backdrop. Treat Me Right is a more Texas-style-blues song, which further helps to show Peter’s versatility. The pace slows right down on the track Turning Point, which features Peter on acoustic guitar and the unmistakeable sound of a Mick Taylor guitar break. The pace picks up again with the early-Dylan-esque song, Loose Ends, which fairly scoots along and is embellished with some fun mandolin playing from John Zarra, and more-meaty, harmonica playing. (Is this the fi rst time I’ve heard the word “exponential” on a blues CD?) The Arson’s Match returns to a more traditional electric blues format, but not so the words, which show Peter’s skill as not only a talented bluesman, but also a gifted wordsmith. From Where I Stand further shows Peter’s versatility in a country style song, which has some very nice mandolin and accordion interplay. In complete contrast You Know is a late-night blues ballad. The Nietzsche Lounge has a great rock ‘n roll feel to it. (Is this the Only blues song with a German philosopher in its title?) Round and Around is another Dylan inspired ballad and the fi nal track sees Peter return to his resonator. The whole CD is proof of Peter’s versatility as a talented storytelling blues musician.

Steve Banks

Ray Austin And Friends A Piece Of Heaven

Wonderland Records

The 75-year-old Yorkshireman emigrated to the Black Forest in Germany in 1970, founding a local folk and blues club and starting a career as a musician whilst also working as a radio and TV presenter. Singer and songwriter Austin plays guitar, harp and trumpet with a vast array of friends and their instruments, including mandolin, fi ddle, dobro, keyboards and accordion. The opener, Ain’t No Game is a jaunty country and western meets bluegrass ditty followed by the equally pleasant and catchy title track. The name of the third track, Just The Blues, intimates something here for the blues afi cionado but again it sounds pure country as does the ballad, Carrickfergus. Streets Of London confirms that the album is mainly a tribute to the likes of Ralph McTell, John Prine and Bert Jansch, plus a handful of Ray’s original songs. Niels Kaiser plays a mean pedal steel guitar on Sam Stone and the keyboards on Needle Of Death are beautifully atmospheric. Cocaine Blues has a jazzy fl avour and showcases Austin’s many talents and The Last Thing On My Mind, is a folksy interpretation of the classic song. The spirited finale, Applause For Santa Claus, has sumptuous harmonies from the female vocalists. A piece of heaven might be an over statement but this is a fine album from a group of competent musicians, but BM readers would not thank me for

recommending this as a blues album they might want for their collections.

The Bishop

The Blues Bones Chasing Shadows Naked Label

The Blues Bones are a talented Belgian Blues outfi t. They have many accolades already since forming in 2011. The most recent merit was being runner up in the European Blues Challenge 2017. This is a follow up to the wonderful live album they did in 2016 and is billed as more a concept album. They certainly are a force to be reckoned with in the niche of blues rock and have shared stages with likes of Jimmy Thackery and King King. They comprise of, Nico De Cock on driving vocals, Stef Paglia on guitar, Edwin Risbourg on resonating Hammond organ, Geert Boeckx on bass guitar and on drums Koen Mertens. Eleven tracks all written by the band this is an all-encompassing tribute to all genres of blues on a refreshing solid release. The opener, Find My Way Out comes at the listener like a thunderbolt with heavy organ tones blending with rocky vocals, a prelude to what is to come. Going Down has a mellow haunting ethereal feel with seething vocals and catchy riffs. Demon Blues continues the theme but with a swagger and poise. A Better Life has a pure rhythm and blues feel. Love Me Or Leave Me, is a surprise full of Latin American influence very laid back stylish vocals. Enjoyed the retro

psychedelic beat to Psycho Mind, very pacey. Betrayal slows thing again, pure slow blues with aching lyrics. Seesaw Blues is rocking blues very upbeat and catchy. The End is the final song and is sublime exhibiting the band’s big sound. This is a wonderful release full of different layers every time you listen to it. The intricacies in musicianship show a class act at the top of their game, phenomenal.

Colin Campbell

in life has certainly worked here for Heather. For example, I Don’t Know Why, conveys such heartache that you are left in no doubt the girl is hurting. Passions of another type come blasting through in Howling For Love. Joining her on guitar on High Mountain Blues is Nick Schnebelen her former band boss until stepping out own with this fine release. Low down and most certainly Dirty Blues has some soulful tenor sax from Michael Lefever. Really enjoy Share Your Love with the fine Hammond and solid rhythm before the album closes with Heather kicking out of her life a wayward lover in I’m Through With You. His loss for sure but our gain and well I’m not through with Heather as I’ll be rotating this album on my player for quite some time to come. Excellent.

Graeme Scott

Heather Newman Burn Me Alive

VizzTone

A new year brings a new batch of CDs to listen to, enjoy and review. What better way to start than with the debut album from Omaha Nebraska’s Heather Newman. Clutching her beloved bass this lass drives her fellow musicians Keith Ladd guitar, Cole Dillingham drums, and Ryan Flemmer keys, on a journey which mixes a smorgasbord of classic Blues, Rock with just a touch of smoky Jazz topping things off. This Heather puts me in mind a little of her partial namesake and fellow bassist Heather Crosse and also Kansas City resident guitarist Samantha Fish. All these lassies display such confi dence and deep love for music that they certainly command our respect. So, twelve rootsy, emotionally resonant tracks, all self-penned, display fine song-writing craft. The old adage of putting down on paper what you have experienced

Carolyn Gaines Beware Of My Dog Polka Dot Records

If Wikipedia ever wants to define what’s meant by sassy singing, it need do no more than post a voice clip of Carolyn Gaines. This album is enjoyable from beginning to end, the eight originals and three covers all sung with frit, sass and brio. Ok, it’s a little cheesy for her to begin the album by name-checking everyone from Eric Clapton to Buddy Guy, Eric Gales to Mick Jagger and more. The thing is that it’s unnecessary. One listen to her vocals and you know she belongs in that company. That aside, this album is rockin’ blues, sung with attitude. The band is tight, featuring all the instruments requisite for highpowered blues, guitar, sax, bass, drums, harmonica and organ. The fun begins with the opening cut, the title track, Beware Of My Dog, a bouncy original in which the ferocious dog sitting on her front porch is

a metaphor for how she guards her heart (though, at least according to the lyrics, the dog quite likes her polka dot panties). From first cut to the last, this is music with a groove. The bass sets the pace. And the sax work, some of it by the great R&B pioneer Big Jay McNeeley, is hot stuff. Gaines does admirable work on the covers, too. Hoochie Coochie Woman, her version of Willie Dixon’s song Hoochie Coochie Man, stands up well against the original recording, laid down in 1954 by no less a luminary than Muddy Waters. Same with Something On Your Mind, which was a No. 1 R&B hit for Bobby Marchan in 1960. Gaines has a fine pedigree. Her father is Roy Gaines, a guitarist and singer who has played behind such talents as Billie Holliday and Diana Ross. And her uncle is Grady Gaines, who has played sax behind such stars as Little Richard and Sam Cooke. But pedigree will only get you so far. It’s heart and feeling and talent that makes a master musician. And make no mistake: Carolyn Gaines is the real deal.

M.D. Spenser

Guitar Jack Wargo Keepin’ It Real Independent

Jack Wargo has a long history in the music business having spent many years touring and playing with some of the greats including; Hank Ballard, Ray Charles, Screaming Jay Hawkins and Billy Preston who he played guitar with at the 2005 Montreaux Jazz Festival but not withstanding this I found this

Joe Bonamassa British Blues Explosion Live DVD

Provogue/Mascot Label Group

On a mild summer night in July 2016, Joe Bonamassa and his legendary band filled with Rock And Roll Hall of Famers and musical craftsman such as Michael Rhodes (Bass), Reese Wynans (Keyboards), Anton Fig (Drums) and Russ Irwin (Rhythm Guitar & Backing Vocals) took to the stage at The Old Royal Naval College in Greenwich, London, for a ‘controlled explosion’ of the blues variety to pay homage to guitarists Eric Clapton, Jeff Beck and Jimmy Page. Before the start of the performance we are treated to a British Blues introduction by none other than Paul Jones who not only lived through the British Blues Explosion but has also been championing the genre for many years. Opening with Beck’s haunting Beck’s Bolero and Rice Pudding and the DVD capturing the rhythm section in full swing it was clear that Joe was going to give the crowd what they wanted. I remember when I saw Jeff Beck at The Royal Albert Hall with Dave Gilmour aboard, and although he would rather be hanging out with a carburettor, he creates such fluid tones on his guitar hence why he can pack grand venues across the globe and deservedly so.

Then boom, we are hit with Clapton’s Mainline Florida as Joe plays a passionate solo on his Les Paul Goldtop. It would’ve been interesting to hear a couple of Cream numbers as that material is so strong, with Pete Brown’s lyrics, the late great Jack Bruce’s bass, Ginger Baker’s drums and Clapton’s solid guitar work but I imagine that the evening would become something else entirely. Beck’s Spanish Boots is one that will be familiar with Bonamassa fans having been an inclusion on the first night of the 2013 Tour De Force at The Borderline, London, and the atmospheric Double Crossing Time makes me

CD very fresh and original, there is some real quality guitar driven soulful blues music that is played and sung impeccably, you have to ask where has he been all these years! Eleven of the twelve tracks are new original songs and Jack must have locked himself away recently to write these, they are an excellent collection and blend well together, the

think of a saloon bar with the light piano. The interplay between Bonamassa’s Fender Telecaster and Wynans’s keyboard on Can’t Quit You Baby whilst watching the sunset was a sight and sound to behold. Throwing in John Mayall’s Bluesbreakers, Little Girl (which was originally recorded in 1966 with Eric Clapton) is a track that is handled well vocally and a sensible addition for the evening. Eric Clapton’s wah-wah pedal number Pretending was next on the list for Bona-fide treatment and whilst the band kept the groove going it seemed somewhat unmemorable compared to the Indian-toned Black Winter/Django that swirled around the guitar like a majestic bird in flight.

Closing the evening with Led Zeppelin’s or Howlin’ Wolf’s How Many More Times, I’m left feeling that I’ve seen a performance by some of the best musicians in the world and it was a respectful tribute to the artists that helped shape the Joe Bonamassa sound. However, playing devil’s advocate I can’t help but feel that with previous homage releases such as Muddy Wolf At Red Rocks (Howlin’ Wolf and Muddy Waters) and Live At The Greek Theatre (Freddie King, Albert King and BB King) already being freely available did we really need another homage show? Especially since Bonamassa has even stronger material in his own right as proved when he opened his March 2018 UK shows with no less than four brand new unreleased songs from a new solo album.

In addition to the concert on the DVD you can also watch a special bonus performance filmed in black and white at the world-famous Cavern Club in Liverpool, which sees Bonamassa playing The Beatles’ Taxman. This will make the release a must for collectors I imagine.

Glenn Sargeant

highlight is the lengthy Power Of Love which is augmented with some additional guest vocalists who bring out the soulful sound, while Jack plays several short sharp melodic lead guitar solos. The one cover is a version of a traditional song Goin’ Down The Road Feeling Bad, it sounded familiar so I did a little research and the song was recorded by Woody Guthrie

and likely plagiarised by Canned

Heat a while later, either way Jack’s version stands up well and is an excellent choice as it has some added bite to the other versions, while Jack handles the majority of vocals he is joined by AD Beal on several tracks who does have a softer tone to his voice, which is more suited to the more soulful tracks. Overall this is a

very enjoyable soulful blues album, Jack has demonstrated that he has plenty of talent and should be considered as a complete Blues performer, not only is he a silky, smooth guitar player he writes some excellent songs whose lyrical content draws on everyday events and topics, he is certainly keeping his blues relevant.

Adrian Blacklee

Mike Ross

Jenny’s Place

mikerossmusic.co.uk

Background information about this record is rather light, it does advise that Mike Ross is from the north east of England, and has travelled extensively in the US, gathering the influences and techniques that have helped to create the album. It would be good to know the names behind the construction of such excellent songs as Dakota Red which boasts a wonderfully echoed soundscape of fuzzy guitars soloing over solid backing and carrying Ross’s characteristically impassioned vocal imprint. The feel of the song should grace a movie soundtrack, perhaps if they ever get around to re-making From Dusk ‘Til Dawn, the music people will come looking here for a perfect fi t. There is more scorching guitar on Coffee Can Telephone and a wonderfully expressive vocal on Baby I Love You – it would be wonderful to think that the guitar work is the responsibility of Mr Ross, that would make him the

complete package as a blues musician. The album’s identity is confirmed with Harpo, a driving fuzzy slide guitar piece, and underlined with the real standout track – Dark Powder. It’s the favourite of Mr Ross who confirms that it references his personal tribulations. Anyone who can work the word ‘proclivities’ into a song obviously knows what lyrical expertise, is all about. But it is the musical backing to the deeply personal vocal delivery that makes the song what it is, a masterclass in minor blues composition, arrangement and execution. The gently insistent piano chords and soft organ underlining, the proper gospel ingredients that have informed blues music for decades, make a bed for the emotive and burning guitar solo to lie on. It’s easy to get jaded and complacent when you listen to excellent blues music on a daily basis, but this song really is a standout piece of work, its passion and feeling only grow with repeated listening and if Mike Ross never wrote another song, he could be satisfi ed with the legacy of this one. As a bonus, the album includes six live tracks as well, the version of Ran Thru Here should point new listeners to Mike’s debut album Spindrift. Among the increasingly large number of excellent British blue musicians currently producing and playing wonderful music, Mike Ross is clearly a cut above, a genuinely superior exponent of the form.

Andy Hughes

The Nut Jumpers Boogie In The Shack Rhythm Bomb

The Nut Jumpers is a new band made up of three experienced French rock and rollers: Jake Calypso is on bass, occasional harp and handles most of the vocals; Helen Shadow is on guitar and vocals and Ricky

Lee Brown is on drums. The material is all original with all three contributing to an album of rock and roll with a very lo-fi approach. The material is relentlessly upbeat and although there are 13 tracks the total running time is just 31 minutes, symptomatic of the ‘quick and dirty’ approach employed. Neither Jake or Helen are the strongest vocalists: Helen’s Catholic Boy works reasonably well but Love Truck is definitely hard to understand. More successful is No Good, No Good, which has some nice, insistent guitar and drums and Helen’s Keep A Little Place, recalls the sort of songs that Helen Shapiro recorded early in her career. The instrumental title Pandit acts as a mid-album intermission with its steady beat and Spaghetti Westernmeets-Bolero guitar. The band takes a departure on Gonna Stand My Ground, a short field holler style piece with the two vocalists harmonising over some trash-can drums but mainly sticks to frantic rockers like the closing Nut Jump with punk-style vocals and the title track which adds some harp to the mix to good effect. Not

an album for the faint-hearted, this one is likely to appeal to those who like their music stripped back to the bare bones and played with fervour.

John Mitchell

Robbert Fossen Band Get Off On It! Independent

The Robbert Fossen Band have been around in one form or another for a little over ten years, growing and changing as the capability of the band changes. At the moment, at their core,

they are a six-piece outfi t with Fossen on vocals, guitar and harmonica, Lother Wijnvoord on lead guitar, Pascal Lanslots on Hammond, Ivan Schilder playing piano & Wurlitzer, Jan Markus bass and Eduard Nijenhuis on drums. All told, a fairly classic Chicago Blues set up and that is what they have been making a living at around Holland, Belgium & Germany for years. With this set though, they are straying into other territories with touches of New Orleans boogie, a strong soul bent, especially with Fossen’s vocals really carrying an R&B touch to it on Freddie King’s Woman Across The River, and the addition of horns and some great backing vocals from Cosmina Panka, Ramona Nalom & Tamara Spithorst. It’s easy to see why they have been winning awards for years as the quality of playing is excellent and where

you might expect them to be weak in the vocals, many European bands fail trying to be American, Fossen has stuck to comfortable phrasing and allowed his voice to work with the songs. Pascal Lanslots Hammond playing on numbers such as Tony Joe White’s Did Somebody Make A Fool Out Of You, is really stirring and deep but they also do pretty damn well on the material they have written themselves. They do a stirring version of Eric Bibb’s Don’t You Ever Let Nobody Drag Your Spirit Down but swing straight into Fossen’s own All Those Evil Words, without a drop, in quality. Not a band I’ve seen live but from the sounds of this they are tight and solid, very much a band, and one of those European bands who could happily exist either side of the Atlantic.

Andy Snipper

Showtime

Scarborough Top Secret Blues Festival

Scarborough Spa

16–18 March 2018

Another sell-out weekend for the popular Top Secret Blues Festival. The weather may have been stormy, but the music was fun and a packed house was entertained by a mixed variety of music genres. During the opening speech, organiser Mark Horsley made the point it was not all

blues and therefore a bit of hush was needed at times. Friday: fi rst act on the Ocean Room Stage unexpectantly turned out to be a trio fronted by ex-Slade lead singer and Frankie Miller’s Full House singer, Steve Whalley, playing blistering acoustic guitar licks. Unhindered by the fi rst spot, this trio blasted through

mainly acoustic-led songs such as the old Mose Allison song and Mercy, a particular favourite. The cover of Chuck Berry’s, 30 Days, a bluegrass version, was a real toe-tapper. Downstairs to the Promenade Lounge to see Chris James next, a quieter contemplative crowd here. More delta blues mixed with a bit of old-time religious tunes, his stripped-down version of Irene Goodnight hit the spot. Upstairs to the Ocean Room for Elles Bailey and the band. She made an immediate impression and had the audience

clapping almost from the off. Though hung up about her forthcoming thirtieth birthday, this did not stop a classic rendition of her popular Wildfire tune full of menacing guitar and underpinning sultry vocals. Chris James, again, with another first-class acoustic masterclass, including Jesus on the Mainline, prompting community singing. James closed the set with Dust My Broom. Headliners, the Climax Blues Band, are celebrating fifty years together. A slick outfit mixing funk, blues and jazz fusion. There

were swing moods on the new tune, Hard Luck, a real toe-tapper with some heavy vibes to this. Encore was deserved, band introductions and solo spots on the number Towards the Sun, a stylish and entertaining set. Saturday: main stage, first act was a young band from Leeds featuring singer Jen Low and a three-piece backing band comprising guitar, double bass and drummer. They played a mix of slow blues. Lead singer Jen has a powerful yet melodic voice and superb vocal range. You Told Me A Lie, being a case in point. Big Mama Thornton would have been proud of the band’s interpretation of My Man. Cool start to the day, a slick sound, sort of lounge-lizard feel. Downstairs to see acoustic guitarist Stoney Broke a.k.a. Dumfries-based, Jake Scott, sometimes a bit loud but as the set went on this improved. The Mighty Bosscats featured next on main stage with an electric set full of infectious drum beats and classy guitar work and the wonderful frontman, Richard

Townend, on form. A tight band played thoughtful melodic tunes from their backlog We’re on The Wrong Road had good harmonies. New song, Everyman, has a catchy riff, and a full attentive audience. Finishing with the guitar shuffle, Devil Inside, this was very good. Johnny Dickinson was the surprise guest in the Promenade Lounge with a wonderful acoustic set. Perennial favourites, The Stumble stormed the main stage with a set so clinically awesome, it was impossible not to get caught in the band’s enthusiasm. It’s all about timing, and this band is still hot. Time for tea and to accompany some decent chili was the hot tones of Backwater Roll Blues Band. On blistering harmonica and vocals was Miff Smith. There were rumours they were going to do the All-Star Jam later at night. Bit noisy around the Food Bar, but not too distracting when a band is playing pure Chicago blues at full-tilt. Next on the main stage, Midnite Johnny, kept a good

Kyla Brox

Matt & Dusty – Catfish

vibe, even entwining Michael Jackson’s Billy Jean riff on one of his numbers. He played more Chicago blues standards like It Hurts Me Too and Shake Your Money Maker pleasing the crowd with some heavy slide licks. More Richard Townend followed, this time an acoustic selection with his Mighty Bosscats. Pride was a stand-out song in a laid-back setting. Three, lead acoustic guitars worked well, with even bluegrass on My Baby Left Me. Kyla Brox on main stage next and another highlight performance, she even played some flute, what a talent she is. Strong vocals on new song In The Morning, sharp timing, twangy guitar and sassy lyrics leading to a rendition of Leonard Cohen’s Hallelujah – a standing ovation being the order of the day. Dale Storr was next in the Prom Lounge, one-man piano player extraordinaire with a New Orleans songbook. James Booker was an influence on him and his cover of Sunny Side Of The Street was a real tonic. Due to the hazardous weather conditions the All-Star Jam had to be curtailed. Nevertheless, those who remained were well entertained.

Sunday, main stage opened with American singer Bronwynne Brent heading a three-piece band, with a falsetto voice, moving between upbeat jazz on Lost In The Moonlight, and Delta Blues. The Spikedrivers were next on main stage. Their blend of music was sharp and punchy and for a trio some full noise to enjoy, exciting and innovative, all sharing vocals and instruments, including washboard, with Ben Tyzack on guitar and vocals, Constance Redgrave on bass guitar and vocals, and Maurice

McElroy on drums. Downstairs next for more acoustic with Mat Walklate and Paulo Fuschi. Some great interplay between this duo, Mat’s harmonica blending with Paulo’s guitar on Long As I Have You being a favourite. A midafternoon delight. Dave Migden And The Twisted Roots brought their brand of dark rootsy music to the main stage. Downstairs again for the guitar virtuoso Guy Tortura this time with Ben Tyzack, full of rootsy slide guitar work and even some Gospel in the mix on That’s No Way to Get Along. Add ragtime and audience participation again, all good fun. The Main stage was the place for the final two heavyweight acts. Catfish are a UK blues band par excellence, simple as that. They are up for a few awards in the UK Blues Awards this year and Matt Long, lead guitarist and vocalist, is phenomenal. Add Paul Long, a wonderful organist, Dusty Bones on bass and on drums Kevin Yates. The headline act, Thorbjorn Risenger and The Black Tornado, a rhythm and blues band from Denmark, alas minus a bass player who was hospitalised earlier in the day. Nevertheless, they put on a scintillating show full of dance movements, funky beats and a horn section that was wonderful, especially on new track Sin City. A big band sound that kept delivering fine music. I Used To Love You was a highlight, some growling deep vocals suiting the style. China Gate had a haunting feel to it, stage lighting particularly effective. Boogiewoogie piano encore of I Got A Woman was a great jamming session. Great showmanship by a quality band sent the audience

home with a smile on their faces. The end to another successful Top Secret Blues Festival, a very heady mixture of musical genres. Atmosphere was altogether bright, here’s to next year and continued success. The Festival is run by volunteers and gets no public funding or grants, but keep that Top Secret, a great effort!

Colin Campbell

Terri’Thouars Blues Festival

Thouars, France

20–25 March 2018

Always an interesting, enjoyable affair, Terri’Thouars Blues Festival is probably the first true festival of the year and marks the beginning of the French blues music season. With its usual mix of US, French and European artists, it invariably produces both surprises and a variety of musical influences and styles. This year, the USA was well represented with Chicago guitarist Tom Holland working alongside fellow townsman, Omar Coleman on harp and vocals, and playing that reflected the years spent working the northern US blues-capital scene. Keith Johnson originates in Mississippi and turned in a set that had hints of Delta slide with a modern, unfussy take and style that also held echoes of the Chicago and New York blues scene. Austin Walkin’ Cane delivered an interesting, albeit variable, set featuring his rich, strong vocals and at times, a rather weaker resonator-guitar slide-delivery. The festival closed with Alabama

picker, Dan Russell, aka One Hand Dan, a handicapped guitarist who favours mostly cigar-box style, open-tuned guitars and plays with vigour and evident pleasure in a loosely North Mississippi Hill sort of style. From France, Big Matth Band were a more rock-based outfit with a Rockabilly feel, while local picker, Cyril Maguy worked with his current Bluegrass band, Bluesoul Family Bluegrass, a particularly surprising addition to an otherwise solid blues festival billing. Maguy usually plays with his own band, Vicious

Steel, a band with its feet firmly in the Deep South. US picker Nathan James produced a top-dollar set as part of a trio featuring Spanish harp-master, Victor Puertas and resonator picking, Argentinian, Chino Slide, now also based in Barcelona with Puertas. Many of the visiting crew benefitted from the drum and bass work of two of France’s most in-demand blues sidemen, Denis Agenet, drums, and Abdel Be Bop, a guy who can handle an upright bass like very few others, and who always delivers more than just a touch of genius to his sets.

Scotland was also represented with acoustic picker, Dik Banovich, a guy raised mostly in Chicago before returning to his native Scotland and now based in France’s Brittany region. Banovich with a new album, Hot Cookin’ Mama, just released, was on fire, producing probably the best set of the entire festival with a sparkling, striking set of acoustic countryblues classics and modern Americana, to a clearly delighted crowd at a local bar. His set slipped down all too fast, like a real yummy double Cognac!

Iain Patience

Dik Banovich

Malaya Blue

Bulls Head, Barnes

13 April 2018

The Bulls Head situated by the river in Barnes, South London, has been an iconic venue for blues and jazz performers since its inception in 1959. Malaya Blue and her chosen line up of Nat Martin (guitar), Stevie Watts (keys), Mike Horne (drums) and Eddie Masters (bass) suit the intimate atmosphere perfectly. Kicking off with her signature, ‘I Have Arrived’, and building the

groove with old favourites ‘Bitter Moon’ and ‘Bourbon Street’, the warmth and appreciation from the audience builds track on track. This palpable connection that Malaya regularly cements with her crowd comes from the sincerity and raw emotion that she invests in every single song, each one drawing you into the story, painting images in your mind. This is never more apparent than on ‘Acceptance’, clearly from the short introduction and

deep breath Malaya takes before tackling this opus, an extremely personal song. It builds from its whispered opening to a monster of an ending with Malaya hitting and holding notes lesser singers could only dream about. Don’t think that the show is all about that voice and song-writing though, at a Malaya Blue gig the quality of the musicians on stage is guaranteed and they are given plenty of opportunity to display their chops and show their skills on tracks like ‘Bluesville UK’, ‘Guilty’, and ‘Lost Girl’ with its ska influences. Nat and Stevie grab the limelight with scintillating solos without ever losing

the songs vibe or the flow of the performance. Set one concludes with the fun up tempo ‘Hunny Little Daydream’ leaving us all in an upbeat mood through the short break. ‘(I’ve Reached) The Corner’ starts the second set, the single from last year showing how Malaya’s skill as a writer continues to blossom and a lovely taster for album three that we’re told is progressing nicely. The set builds the intensity and tempo apace proving that Malaya certainly is no one-trick pony. She’s equally spellbinding on soulful scorchers like ‘Forgiveness’ and rockers like ‘Colourblind’ and ‘Share the Love’. Interspersed with this

is the eight-minute long ‘Hope’, fast becoming a Malaya Blue classic with Nat Martins’ guitar solo adding layers of epic-ness to the proceedings. Things build to a rocking out finale with ‘How Did You Do This’ and the blues rock burner ‘Heartsick’ leaving the audience begging for more. It’s a marker of Malaya’s class that she can comfortably start an encore following that with the sensitively soft ballad ‘Dawn’ without losing the momentum or one ounce of the audiences’ goodwill, they are glued to every word. The night closes with the band blasting out ‘Cold Hearted Man’ and all too soon two hours plus of 100% all original songs reach an end. The UK Blues circuit is blessed with some high-level female vocalists, Malaya Blue proved again tonight that she’s the equal of any, and better than most.

Frank Lee.

Matt Scofield

Bristol Jazz & Blues Festival, The Lantern, Colston Hall

16 March 2018

Welcome return to Matt Schofield as he plays a rare UK show as part of the Bristol Jazz and Blues Festival. Friday was a night not to be missed for a lover of the electric blues guitar, as the Matt Schofield Trio were back in town for one night only, playing the blues that filled the Lantern with pure pleasure. Matt’s guitar tone was full of clever licks and power which made his blues shimmer with an unmistakable energy. Joining Matt on stage, the trio is re-formed with Evan Jenkins on drums and Jonny Henderson on Hammond. This combination delivered Schofield blues favourites with a wizard

Malaya Blue by John Bull

Matt Schofield by Liz Aiken

combination of spell-binding scorching blues. Matt opened the show with the opening track to his album, Heads, Tails and Aces, What I Wanna Know. The threesome, musicians and friends played as if they’d never parted and it was music to my ears. The music flowed, they were having fun on stage but not as much fun and enjoyment as the audience was having. The collective communication of a live audience in harmony with the music flowing from the stage is very special. The set was full of tracks from Siftin’ Through Ashes with top notch music as Matt cajoles that great sound out of his custom Strat-styled guitar – just sensational. The time fled by, feeling more like thirty minutes, not an hour and a half. It was wonderful to have Matt Schofield playing on a British stage once again, as Troublemaker closed out the evening of electrifying blues. The message from everyone in the Lantern: Matt come back soon – and a new album would be welcomed with open ears and delight.

Liz Aiken

3 April 2018

It’s cold wet and dreary, so Spring must be on its way in Scotland; time to warm-up with some authentic downtown blues. My first time visiting this imposing old Church in Glasgow certainly won’t be the last. Lovely setting, acoustics and sound engineering

all excellent, and a pretty-nigh full-house. Good to see the demographics of a blues concert erring on the side of under thirty-yearolds mostly, a very appreciative audience indeed. This was a fullon band, very tight, as if they’d played for years together. They comprised Ben Harper on searing soul-driven vocals and guitar, alongside the wonderful Charlie Musselwhite on harmonica and vocals. Both, in turn, assisted by Jason Mozersky on lead guitar, Jesse Ingalls on electric bass and Jimmy Paxson on percussion. The set mostly showcased songs from their new release, No Mercy In This Land, and others from a large catalogue, with Ben and Charlie sharing vocals throughout. When I Go started things off with a swampy driving bass, mixing with crashing drums. Ben’s vocals were phenomenal and matched Charlie’s underplaying on harmonica. Bad Habits rocked along nicely, an upbeat feel, with distinctive Chicago Blues chords. Charlie’s turn to shine on vocals on The Blues Overtook Me had the crowd whooping, very clear distinct harmonica tones throughout the performance being a hallmark. A haunting rendition of I Ride at Dawn from their previous release, Get Up, mixed slide and sublime vocals by Ben, a real spine-tingling treat. Pace quickened on I Don’t Believe A Word You Say, a grinding tone, primal, visceral lyrics and mood lighting. When Love Is Not Enough stole the show: a stunning, slow emotional rollercoaster with Ben’s vocals, dripping with emotion, holding the crowd spellbound. The band then rippedup the rule book with a superb take on When the Levee Breaks. This left the crowd wanting more,

which they duly got with five last songs. These included the title track from the new release, plus a closing track, slow and mellow, showcasing the quality of this bunch of wonderful musicians. A real treat. A unique experience enjoyed by all. A true pleasure.

Colin Campbell

Katie Bradley & Dave Ferra

Lime Bar, Folkestone

It was just like a Friday night fish fry in down town Tennessee except that it was a Thursday, there was no fish on the menu and it was in darkest Kent!

Ben Harper & Charlie Musselwhite Oran Mor, Glasgow

Instead we had local Blues musicians in the form of Dave Ferra on guitar, harp and vocals and ably supported by our very own Katie Bradley who I am no longer able to call “local girl” so, it was our local Queen of the Blues on vocals and harp. Suffice it to say that I didn’t take down a list of everything that they played except to say it was all good. Katie showed she can turn a hand to some tasty jazz, and her version of Etta James, “I’d Rather Go Blind” brought the place to a respectful silence, (although that didn’t last). During the number Katie invited local soul singer Ben Malcolm Milberry to join in and the two soaring voices made the hair on my neck stand. When I asked Dave if they had

any plans to record, he said it all depended upon Katie being available. Judging by the response from the small crowd, it would be a popular move. Dave Ferra will be back with his full band in April playing at this very popular gig venue run by music fans Andy and Kath, who are passionate about keeping music live. Keep on promoting gigs of this quality and we’ll have no problem.

Dave Stone

The Grahams Lichfield Guildhall

March 3rd

The crowd that braved the worst excesses of the Beast from the

East were rewarded by a set of lively Americana, fine harmony singing, strong song-craft and rootsy virtuoso guitar playing when the Grahams made their Lichfield debut at the Guildhall.

Playing songs from their recent album, Glory Bound, a story song cycle about trains and life on the road. The married couple, Doug and Alyssa Graham, were joined by a drummer and bassist giving the songs more dynamic drive, whilst the fleet-fingered guitar solos, and the sonic invention of the vocals throughout the set were the selling point for the couple who met in childhood and have been inseparable since. The set list was peppered with tales of their lives on the road, and in New York. An environment

Katie Bradley by John Bull

shaped by political decisions, which also shaped the song-writing, and their choice of covers.

Throughout the set, they moved between genres, from blues, to rock, roots, folk, heartland rock, all played with hearts firmly on sleeves. We had the gospel, singalong chant of Revival Time, the slow loping gait of Biscuits, the incendiary country boogie of Gambling Girl, and the title track from their latest release, Glory-Bound. We heard the folk lament of Blow Winds Blow, and Kansas City, all twangy guitar and leading drums.

An elongated encore, Neil Young’s By the River, was a showcase for the group’s neartelepathic musical intuition, moving through many moods, showing just why this duo are held in such high esteem.

Ben Macnair

Brian Kramer’s International Blues Jam, Twenty Year Anniversary Engelen, Stockholm

17 March 2018

US-Swede, guitarist Brian Kramer celebrated his twentieth year running the simply superb International Blues Jam in Stockholm’s Gamla Stan (Old Town) bar, Engelen, on March 17th with a non-stop ten-hour blues music marathon that featured many Scandinavian blues musicians who kicked off their careers, piloted by Kramer down the years. This was the longest running, non-stop Blues Jam in Scandinavian history, which featured three segments;

an initial four-hour Blues Jam focused on local players from the span of 20 years, and a twohour all-acoustic Blues Jam was followed by a concluding fourhour high-profile Blues Jam. At the end of the first part of the event, ‘Big Rob’ Svensson was awarded ‘Blues Jammer of The Year’ with a framed certificate and gift of a Fender Blues Deluxe amplifier. Over the past year Big Rob has gone from stepping on stage for the first time at BK’s Blues Jam, to now turning heads, dropping jaws, and attracting opportunities with his emotionally charged, fiery fretwork. This segment concluded with yet another record breaking occurrence; World’s Most Jammers in One Room: more than a hundred kazoos were passed around the crowd which, along with the dozens of musicians in the room, engaged in an intense call and response to Muddy Water’s classic; ‘Got My Mojo Workin’. By the end of the event, the Jam hosted about 200 Jammers throughout. Brian Kramer’s International Blues Jam started in 1998 in Stockholm’s Old Town as the only event of its kind that invited professional and

hobby musicians to gather and jam together. At the time nothing like it had been attempted, let alone succeeded, for over 14 years, since the Stockholm Blues Society had tried a short-lived open stage Blues Jam in the late 80’s. Kramer’s Blues Jam quickly became a strong supporting source for the Blues community in Sweden, and the wider Nordic region, ushering in and welcoming a new generation of young people interested in learning about and cultivating solid blues experience and understanding. Artists who have worked and benefitted from Kramer’s Jam include Lisa Lystam, Fredrik Karlsson, Jasmine Kara, Isabella Lundgren – all have cultivated their craft at this Blues Jam and have now gone on to both the National Swedish and wider international stage with the skills they have learned through jamming with Kramer in Stockholm’s Old Town. They, along with many other notable artists, returned for this mega 20th Anniversary event, celebrating to a packed house at bar/club Engelen from start to finish. Emil Arvidsson and Daniel Kordelius, two of the first young successful artists that started with

The Grahams

this Blues Jam in 1998 and developed quickly as festival favorites on the Swedish national blues festival scene, reunited for the first time since 2004 on stage once again as the ‘Young Guns’ for the event. Another rising blues star, no stranger to the Kramer Blues Jam, Erika Baier, closed out the show, bringing many of the artists up on stage together for a huge, over-the-top finale. An incredible milestone for the blues scene in Sweden, probably the longest running Blues Jam of its kind in Europe, Brian Kramer’s International Blues jam, a weekly event, has earned an international reputation, and thankfully remains a

Blues institution with no indication of slowing down anytime soon. I personally visit whenever the opportunity arises for this, easily the finest free – the cost of a drink only – gig in Europe.

Iain Patience

Ladies of the Blues Under The Bridge, London

March 2018

Mostly this London audience heard men playing tonight BUT – clue in the title – each of the three acts were of

course fronted by a distinctive female artist with something to say and the voice and skill to deliver it. Variety was guaranteed by the choice of acts, but the good vibes rolling off the stage made it clear that this was a happy package tour, no face-offs or one-up-woman-ship nonsense, just ace songs put over with panache and punch. All the acts have current album releases of high quality material. The UTB sound quality would surely do them all justice. First to take the stage was our friend Erja Lyytinen and her propulsive and colourful group. The stage sound was fully exploited by Erja whose strong

Ericka B. Kramer Jam

suit is her use of guitar dynamics, especially on the slide guitar features. City of Angels is a fabulous song and haunting tune, being a sonic but soulful journey as she puts her sparkly blue Tele through its range. Splayed arpeggio’s chorused chords abound. The Yamaha Motif piano has a full Deodato sound, indeed, we had seen Deodato playing one a few days earlier at Ronnie Scott’s! Crisp drumming, fluid bass and jazz-flecked keyboards are a superb setting for what Erja pours out. Incidentally she sings tonight better than I have ever heard her, channelling anger, passion and fire at will. An ancient blues tune finds Erja slipping easily and playfully from one artist’s style to another and is a joy to listen to. The highlight perhaps is a truly Zappa-esque trip through Black Ocean, as a whirlwind of tones and twists

is flung out from the stage. Lyytinen then gives us a brand-new single called Without You. A proud vocal and stealthy rhythm makes this a winner. She is unstoppable here this evening and the group rose to the occasion.

Kyla Brox has a strong presence, glowingly good looks, a cool stage presence and a rich, supple voice. She puts this to good use on every song, some of which are co-writes with bassist/husband Danny. The cartoon-strip dress complements a Bonnie Raitt swagger on some numbers. Bloodshot Sky uses a snaky tempo to weave its spell. The insistent, melodic guitar motifs – often recalling Van man John Platania – giving each number a touch of magic dust but never overpowering the singing. The icing on the cake was a couple of mentholated flute

breaks played by Kyla herself. I do recall seeing dad Victor Brox many times with Aynsley Dunbar’s Retaliation and the pipes have been inherited. Impressive all round, especially on 365 Days, If You See Him with its Nina Simone vibe, Lovin’ Your Love with its cyclic guitar figures and a spiky Revolution. Kyla carries herself well.

A veteran and very relaxed stager, Connie Lush, often exhibits the devilish dark humour developed over many years on the boards. At times her accent and manner evoke the wouldbe yellow-coat in Hi De Hi. Once she is off singing, however, her sheer authority is upfront, mixing the tigerish, joyous, bitter and tender, far better than many of her contemporaries. Her band tonight could hardly frame her songs better, a fat pumping sound and solo’s that drove things further. Lush mixes some classic numbers with originals and there is never a dull moment. Love Me Like A Man has a Texas sway, Shine A Light On Me is a good song. Every word is clear and fizzing with meaning. If only Bobby Bland was still around to stroll on and duet… man, he surely would! Terry Harris is an assured bassist, Roy Martin a masterful drummer and the sparks fly from Steve Wright’s fluid guitar.

Encore time brings the three women all together for an acapella gospel tune, then band members return for a rousing Rolling Stones jukebox hit...and it’s emphatically NOT Stupid Girl or Under My Thumb! great entertainment from three splendid ensembles.

Pete Sargeant

Erja by Adam Kennedy

23rd July - 29th July 23rd July - 29th July

elles bailey | vincent flatts lawless

hot tin roofs | ruzz guitars blues revue

storm warning | blackballed spike drivers | the achievers

the hard chargers | max & veronica

reverend robert | pistol pete wearn

damon t | innes sibun band

oliver darling & the dirty robbers

lewis creaven | buzzin hornets

troy redfern | worried men

7 days of blues music | 20 bands | hog roast | bbq ale and cider festival | outside stage free entry