Blues Matters 105

It’s a steal!

Julian Sas, 10 years on 12 CD’s in 2 box sets

In the year 1996 guitar-ace Julian Sas, released his debut album Where Will It End!?. To this day that question remains unanswered. The end is nowhere near. But going back to those first 10 years, all the ingredients were present from day one: great songs, soulful vocals and superb guitar playing. So here’s your chance to catch up: 2 box sets – 12 CD’s of superb Blues-Rock at a friendly price.

Julian Sas 1996 - 2000 is a 5-CD-box-set that includes all the music the first incarnation of the Julian Sas Band recorded. The set includes the albums Where Will It End!?, A Smile To My Soul, Live, For The Lost and Found & Spirits On The Rise.

Julian Sas 2000 – 2005 is a 7-CD-box-set that includes all the recordings made by the second line-up of the Julian Sas Band. The set includes the albums Ragin’ River, Delivered (2CD’s), Twilight Skies of Life as well as Acoustic (previously only available as a bonus CD with the first pressing of Ragin’ River) and the two live CD’s that were only available as part of the 2 DVD set Dedication.

Both sets include 12 page book with foreword by Julian Sas, background stories and previously unpublished photos.

Juliansas.com

“Phenomenal musicianship” (BluesMatters)

OUT NOW ON CD AND DOUBLE GATEFOLD VINYL LP

One of the finest exponents of rockin’ R&B & certainly as good as early Stones, Pretty Things & Yardbirds: David “Kid” Jensen

Album of the year for me60’s British blues at its best: Clive Rawlings/KeeP 106FM

The West Country’s answer to the Rolling Stones – “Backlash” is not just enjoyable, it’s an education: Tom Dixon/Bluesdoodles

The Betterdays make Jagger and co. sound like The Monkees by comparison: Edwin Pouncey/New Musical Express

The Betterdays deserve to be far more than a footnote in UK music history: Vox magazine

This 14-tracker captures the band at their frantic, fuzzy guitar best: Vintage Rock magazine

XMAS comes around again folks, still the same time every year!

Hello dear readers and welcome to yet more from the Blues Matters! team.

On a world note we see that Canada is now on a ‘legal high’ (r.e. cannabis for medicinal use) but the calibre of their Blues musicians (and other genres) is already high! I think using CBD for pain relief has been effective to a degree, but for me it is hard to say if it has made me any happier as I’ve had so much great music coming through here that it’s also doing the job rather well.

The team will hope to see some of you at the Great British Rock & Blues Festival in Skegness during January 18th to 21st. Please do check out the artists on all stages and do try to get into JAKS. You can check the ads on pages 2 & 3 for artists and our timings in JAKS, which, by the way, will be in our usual place after much discussion on demolish or refurbish!

We’ve had a very sad interlude between issues with the loss of the legendary Swampmaster Tony Joe White shortly after his latest release and only weeks after we interviewed him for our previous issue. Also, we lost our friend Tony Chilcott head of Red Lick Records. Check our website for more. I had many calls asking about Tony. There will be a

massive hole in the Blues mail order world, Red Lick was a one-off! They will both be sorely missed guys.

In this issue we chat with the first non-US artist to sign to the legendary Alligator Records, yes Giles Robson is in the building! (mmm, no, I mean pages). Breaking FREE, but not from Pete S. we have Mr. Paul Rodgers, and we cannot believe that The Pretty Things are finally hanging up their boots after their amazing Bouquets From A Cloudy Sky release! We have the blues battler Andy Gunn sitting in for a chat, Keeshea Pratt vocalizes with us and there’s the legendary duo of Ralph McTell and Wizz Jones, plus more, more, more … see the contents pages.

Please enjoy this final issue of 2018, during which has been a fantastic year of growth in all directions for your favourite Blues publication. We thank you all for your continued support and for spreading our name.

My thanks go to everyone in Team BM around the world, you all play a valued part in our role for The Blues.

Season’s Greetings to you all and the very best wishes for 2019.

My Dad always said your best years are before you reach your teens … Imagine my sheer joy when I found tablets called B12!

Alan Pearce Founder, Publisher, Editor-in-Chief, Fan

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

PAUL RODGERS

BLUES MATTERS!

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COVER PHOTOS: Paul

Contributing Writers:

Liz Aiken, Tim Arnold (USA), Roy Bainton, Eric Baker (USA), Steve Banks, Patterson Barrett (USA), Adrian Blacklee, Eddy Bonte (Bel), Colin Campbell, Iain Cameron, Martin Cook, 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, Nicholas John, 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, Dom Pipkin, Thomas Rankin, Simon Redley, Darrell Sage (USA), Paromita Saha (USA), Pete Sargeant, Graeme Scott, Andy Snipper, M.D. Spenser, Dave Stone, 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.

Rodgers by Arnie Goodman. Doyle Bramhall II by Alysse Gafkjen. Keeshea Pratt by Ron Fontenot

INTERVIEWS

Andy Gunn (UK) 38 Scottish based singer-songwriter Andy Gunn has just completed a set of sold-out shows at the esteemed Edinburgh Fringe Festival called From T-Bone To Trucks which incorporated stories and sounds from some of his guitar heroes.

42 These British Blues Award winners are one of the hardest working blues bands on the circuit today and our writer recently caught up with the phenomenal frontman, guitarist, and singer-songwriter Matt Long, to discuss all things Catfish. Doyle Bramhall II (USA)...............................

The highly sought-after sideman is back again with another stunning solo album out called Shades, and our writer caught up with him to talk about the collaborations on it with artists such as Eric Clapton, who cites Bramhall II as being one of the most gifted players he has ever encountered.

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42. Catfish

60. Giles Robson

Eamonn McCormack (IRE) ..........................

AKA Samuel Eddy. Internationally acclaimed Irish singer and blues-rock guitarist McCormack discusses his latest album Like There’s No Tomorrow and his friendship with legendary fellow Irishman Rory Gallagher, who he describes as being his biggest influence.

The Pretty Things Pt. 1 (UK) .......................

Following a 55-year career in the business and with the ‘Final Bow’ scheduled for December, along with special guests, our writer caught up with singer Phil May to talk about it and some of this rebellious band’s achievements and personnel during their colourful history.

Giles Robson (UK)

This world leading blues harmonica player is the 1st UK citizen to be signed to the highly respected Chicago-based record label Alligator Records. Here Robson talks about working with legendries Bruce Katz and Joe Louis Walker, plus their new album Journey To The Heart Of The Blues.

Keeshea Pratt (USA) ....................................

Following their recent success of winning Best Band at the International Blues Challenge in Memphis, we caught up with Keeshea to find out about her new album Believe, their busy tour schedule, influences and more.

Paul Rodgers (UK)

Our cover artist Rodgers needs little introduction as he’s one of the most iconic and influential British blues/rock voices and has had a career spanning over 40 years. We talk to him about Free Spirit, his latest album celebrating the music of Free, filmed live at London’s Royal Albert Hall.

Ralph McTell and Wizz Jones (UK) .............

52

Victor Wainwright (USA) .............................

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The award-winning passionately powerful singer, songwriter, and pianist Wainwright is best known for playing his revved-up boogie-woogie and vintage blues. We recently caught up with him after a literally blistering live set on an over-exposed Colorado stage to talk about his influences, tours and latest album.

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REVIEWS

Albums .........................................................

Check out new music here with our extensive list of album reviews.

Festivals .....................................................

Carlisle Blues/Rock Festival, Edinburgh Blues

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‘N’ Rock Festival, European Blues Cruise and Leek Blues and Americana Festival.

Gigs ............................................................

Blues At Sea (Sweden), Wentus Blues Band with Barrance Whitfield, Roxy Magic.

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70

74

Following on from the success of About Time in 2016, this duo with a 50-year musical friendship have got together again to release another acoustic blues album of their favourite songs called About Time Too.

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115

127

52. Eamonn McCormack

The Betterdays

Verbals: Simon Redley Visuals: Artists

From the heady days of the birth of R&B in 1960’s UK to the 1990’s, a homegrown, West Country band has helped shape and define the music that still resonates with its band members in a new century. The Betterdays pull no punches with a power and purpose that remains undiminished as they release the album, they always believed they should have delivered back in the day.

The Betterdays is not only what most of us in the UK wish for after the Great British Break Off – or Brexit as it is known, but the Betterdays are actually a red-hot, British R&B band, who back in the early 1960’s were hailed by the media, and their fans as “The West Country’s Rolling Stones”. Amazingly, they were banned from many venues for playing “that funny black music”.

Signed to Polydor Records before they split in 1966, some of their early tracks found their way onto various unofficial compilations from around the globe over the next few decades, and now their Polydor release changes hands for big money.

A chance meeting between two of the band’s members in 1989 lead to the guys reforming for a one-off fund-raising gig, for the widow of a fan of the Betterdays in the 60’s. The band stayed together due to demand, until 2000. But today in 2018, their loyal fans, radio DJ’s and music critics alike are raving over a brand-new album: “Backlash”.

The project is spearheaded by Mike Weston, the bassist and main driving force of the Betterdays, who has set up his own record label: ‘One of the finest

exponents of rockin’ R&B and certainly as good as early Stones, Pretty Things & Yardbirds,’ says legendary broadcaster David ‘Kid’ Jensen. Not alone in his praise.

The New Musical Express makes a more dramatic statement: ‘The Betterdays make Jagger and co. sound like The Monkees by comparison.’ NME’s Edwin Pouncey certainly thinks so. Vox magazine say ‘The Betterdays deserve to be far more than a footnote in history.’ Mike Weston is making quite sure that is the case. ‘This 14-tracker captures the band at their frantic, fuzzy guitar best,’ comment Vintage Rock magazine.

The plaudits continue thick and fast. Tom Dixon of Bluesdoodles writes: ‘The West Country’s answer to the Rolling Stones – “Backlash” is not just enjoyable, it’s an education.’

Having established this is a damn good record if you love British R&B and authentic blues, now for some history…

Mike Weston, the son of a doctor, played bass in the band from 1962, Mike Hayne sang lead vocals, Richard Broczek on lead guitar, Bob Pitcher on organ, piano and harmonica, and Frank Tyler on drums.

Based in Plymouth, they eventually filled venues that held up to 1,000 people; literally causing riots. They even had their own fan club with several thousand members, many screaming the place down and storming the stage. They were banned from Top Rank venues in the UK for playing black music; a big news story which made the Melody Maker music paper in 1965.

They were also eventually banned from most venues in their local area for creating such hysteria, and those who did allow them to appear gave them a list of certain songs they were not allowed to perform.

John

Lee Hooker’s ‘Walking the Boogie’ among them, and the band opened for the US blues legend when he played the Quay Club in Plymouth, backed by the Groundhogs.

The Betterdays ended up hiring village halls in Devon and Cornwall to continue playing to their fans, who filled every venue. They then ventured further afield, with fans as far as Wales and London. The music made it to the ears of A&R guys at various record labels.

Deutsch Gramophone – who became Polydor – won their signatures on a one-year contract for three singles.

Their debut record, “Don’t Want That” / “Here ‘Tis” came out on 17th September 1965. It sold out in the West Country and The North, and critics tipped them for stardom. But marketing and promotion issues beyond the band’s control meant it failed to hit the charts.

They rejected their record label’s suggestions for the follow-up, including The Beatles’ ‘Norwegian Wood,’ and pushed to cut two R&B tracks in their own style. The label agreed, but then rejected the tracks as unsuitable and shelved them. So, a second and third release never happened, and their contract expired.

Bob Pitcher announced in November 1965, that he had to go into hospital for experimental life-saving major heart surgery. After Bob left, they carried on for a short while with a new member, but the original spirit had gone, and they called it a day in late 1966.

Mike Weston is now 74, and became a highflying businessman, CEO of a large food business, and retiring in his 50’s when he sold the company. Now based in Surrey. The band’s singer Mike Hayne, now 80, and a retired civil servant, is still based in Plymouth.

Guitarist Richard Broczek, 72, is a retired driving instructor in Cornwall. Drummer Frank Tyler, 74, is a retired air traffic controller living in Oxford. Keyboard player and harmonica man Bob Pitcher is now 71, based in the Midlands; a retired vicar. His heart surgery was a success, and during the operation he ‘found God’ and quit music to focus on a religious calling.

Richard, Frank and Mike went to school together. Mike’s young eyes were opened to the blues and R&B at school around 1958, when a pal told him that Elvis’, ‘My Baby Left Me’ was actually an old blues song by Arthur Crudup. Mike was intrigued.

With the winnings from a chess tournament, he bought discs by Big Bill Broonzy, Elvis, Fats Domino, Little Richard, Gene Vincent, Muddy Waters, Howlin’ Wolf, Slim Harpo, Roscoe Gordon and many others, from a guy in Plymouth.

Switched-on jazz and blues enthusiast, Pete Russell, had a desk in the corner of a music store and imported rock and roll, and more obscure blues and R&B records, from the USA. Broonzy’s track “Black, Brown and White”, smacked Mike right between the eyes with its powerful race-aware lyrics. But his mates were into Cliff Richard, The Shadows, and Adam Faith, and some disliked this ‘strange’ music he loved.

Mike joined The Saints (later to become The Saints Beat Combo) with his school pals in 1962 when he was almost 17, and they eventually changed from a Shadows and rock and roll covers band, to an out and out R&B group – based on Mike’s love of the records he had collected.

Eventually changing the group’s name to The Betterdays, from a song by Sonny Terry and Brownie McGhee, ‘No Better Days.’

After Mike and Frank bumped into each other in ’89 and reminisced about their past musical triumphs, how close they got to tasting the big time, a flame was re-lit. Mike contacted the rest of the guys and they all agreed to a oneoff reunion benefit gig.

Gobsmacked that the Plymouth venue was full to the brim for the concert, with almost 400 people turning up, they donated all the door money to the widow, and fans were asking for new music from the band who they loved so much back in the day. Mike always regretted that they had not recorded enough in the 1960’s and longed to make the album they should have done, had the Polydor deal run its course, and had their singles achieved commercial success.

So, in 1991, they made the re-union album ‘No Concessions,’ released at the end of 1993 – 16 new recordings: songs by Jimmy Reed, John Lee Hooker, Chuck Berry, Bo Diddley and others, plus two original 1960’s recordings. At that time, Mike also got the band to ‘dig in’ and record 15 songs that didn’t make the re-union album.

But demand for live gigs was high and they each got the bug again to get back out there and they were soon filling venues several decades after their initial foray. Fans were after the original 60’s tracks too, so Mike got permission from Polydor to re-release the original single’s A & B sides, and two tracks from the acetate of a demo they cut before they got the record contract: ‘Aw Shucks, Hush My Mouth’ and ‘Honey What’s Wrong.’

The EP, ‘Howling The Streets,’ was released in June 1991 and soon sold out, making the Top 20 of the independent chart in Germany. The band stayed together playing live until 2000, and then called time, and there has been no more recording or gigs since 1991.

However, Mike still felt they had not really captured the magic and energy of

the band on record, compared to how they sounded live at their peak in 1964/65.

So, he revisited the 15 tracks not yet released, and the cuts on ‘No Concessions’ and re-mastered the lot – in some cases digging out the multi-track masters, and completely re-mixing those tracks.

The result of his painstaking labour of love is the album ‘Backlash.’ Released as a 27-track, vinyl double-LP in a gatefold sleeve, a 24-track CD and on digital platforms. There is also a four-track vinyl EP of the same name. Fourteen previously unreleased tracks on the CD and 15 on the LP.

The record offers a smouldering and powerful mix of crafted covers from the likes of Willie Dixon, Jimmy Reed, John Lee Hooker, Sonny Boy Williamson, Chuck Berry and Bo Diddley, plus some originals.

Mike Weston says: ‘If you want to know what the fuss was all about in 1964; why The Stones and Yardbirds and all the R&B bands swept the UK, this album will explain to you

what it was like to walk into a club and listen to that sort of music back then. It really does capture the true sound of the group in 1964.’

‘I didn’t like it when people compared us to the Stones or Yardbirds – I thought we had a slightly different sound; because we had a keyboard player and they didn’t. This sounds terrible I know; but I thought we were as good as them. I believe our new album, ‘Backlash,’ captures what we sounded like in the 1960’s. I was not seeking the ‘technically perfect’, it is the feel that counts. R&B is not a great musical colour; like classical music. It’s all about feel, and not music for the head.

‘I like to think that the people who saw us in 1964 /1965 would say, that’s what I queued to hear.’

The Betterdays: ‘Backlash’ (NTB Records): Out now on CD, double-vinyl LP with gatefold cover, on all digital platforms and a four-track vinyl EP. www.thebetterdays.co.uk

Blues in Croatia

Verbals: Mike Francis

Mike Francis at Ovcice Blues Days by Zeljko Vojkovic

A‘celebration event’ on August

International Blues Music Day in Ovcice Beach, Split. Now a member of the European Union, this relatively small population has been going through a number of changes including developing an interesting blues scene. The most important landmark seems to have been the formation of their blues association known as the Blues Forces, which was largely achieved with inspiration from the late and much respected Drazen Buhin in 2008.

Ovcice Beach is a short walk from the town centre and ferry port of Split and this, their third Blues Days celebration, was started by venue owner Vera Feric. The Ovcice club is combined with a large beach café that incredibly opens throughout the whole year. I had met Vera on my last visit to Croatia in 2017 and was delighted to be playing this two-day event along with blues

band Be Ha Ve from capital city of Zagreb. It was also pleasing to discover that Croatian national television HRT1 were visiting the bay on the opening morning to film a live interview for their ‘Dobro Jutro’ (Good Morning) Show. It turned out to be an enjoyable experience for all and presenter Sime was fascinated that I’d recently written and released a blues song about former military times in the country inspired by a visit to nearby Island Vis, where coincidentally the feature film Mamma Mia 2 was being made.

That evening the outdoor Ovcice Blues Days event opened with some original and extremely well performed blues music by the five members of Be Ha Ve. During the show I met up with the current president of the Croatian Blues Forces, Boris Hrepic Hrepa. As well as that role he also organises another two-day free event, the Thrill Blues Festival some twenty miles inland from

Be Ha Ve at Ovcice Blues Days by Mike Francis

Split on the banks of the picturesque Cetina River. With the motto ‘The Thrill isn’t gone’ July 2018 was the second year for that festival which included a Blues at School project, an all-night jam session and like the Ovcice Blues Days also featured both international and local artists. Following an Eric Sardinas performance during its inaugural year, Thrill Festival’s latest line-up had included Vlatko Stefanovski Trio of Macedonia, Italian/ USA combo James and Black and plenty of fine Croatian talent including Fire Rats, Tomislav Goluban and locally based Ozone. Organiser Boris was rightfully proud of attracting an impressive gathering of 5000 people in Cetina’s very popular Gradski Park. The Saturday shows created a July 7th date clash with Croatia’s World Cup game against Russia so live music proceedings had been temporally halted mid evening while a very passionate audience enjoyed a screening of the match. Saturday in Ovcice Beach was another swelteringly hot August day and International

Blues Music Day when my set was due, I learned that at exactly the same time UK based Gwyn Ashton would be playing a show further up country at the popular Hard Place Club in Zagreb. As evening approached, I began to wish my gig was also indoors as dark clouds gathered, the stage was cleared, and the skies opened. However, after a lengthy delay and probably using the same determination that had taken their national team so far in the latest World Cup, the crew reassembled both stage and PA system in front of a commendably patient audience. The set was warmly received as the event got going again which was welcomed by performers and attendees alike. There was also evidence that CD sales are still refreshingly buoyant in Croatia and Blues appreciation seems to be developing in an extremely encouraging way. I feel it won’t be too long before Croatian acts make their mark on World blues let alone the European scene.

HRT1 TV Interview at Ovcice Beach by Mark Francis

Phenomenal Blues Women

Big Mama Thornton

Blues singer and songwriter ‘Big Mama’ Thornton was a female role model of the blues who defied gender stereotypes whilst influencing the development of the rock ‘n’ roll genre. She was also a huge talent who left an everlasting footprint in blues history. I would like to share with you why I think this woman’s legacy is just fantastic.

Willie Mae ‘Big Mama’ Thornton was born December 1926, in a small town called Ariton, just south of Montgomery, Alabama. Her father was a Baptist Minister and her mother a church singer. As a child, Willie Mae and her six siblings would regularly sing in church. Church was where Willie Mae’s passion for singing was born, and it was here that she taught herself drums and harmonica.

At only 14 years of age, tragedy hit the Thornton household when her mother passed away. If this wasn’t difficult enough for a teenage girl to cope with, Willie Mae was forced to drop out of school to help make ends meet at home. She found herself a job at local saloon scrubbing floors and cleaning pots.

“White or black, rich or poor: If you ever had your heart broken you have the right to sing the blues” Big Mama Thornton

When the saloon’s regular singer couldn’t make a show, Thornton was asked to fill in. Even though her gospel upbringing played a heavy part in influencing her vocal style, the genre Big Mama Thornton came to call her own was the blues. A local music promoter called Sammy Green heard word of the talented blues girl with the powerful voice and big personality, and so Thornton began her professional career with a feature spot

on Green’s “Hot Harlem Review.” Billed as “The New Bessie Smith” she toured the southern states with the group for seven years.

In 1948, Thornton set up home in Houston, Texas determined to further her career as a singer. It did not take her long to create a musical buzz in the city, which lead to Peacock Records offering Thornton her first record deal.

In 1953 she recorded her biggest hit “Hound Dog,” which went straight to ‘Number 1’ in the R&B charts. Overnight Big Mama Thornton was a star. Songwriting partner’s Lieber and Stoller wrote the song specifically for Thornton.

Stoller told Rolling Stone Magazine: “She was a wonderful blues singer…but it was as much her appearance as her blues style that influenced the writing of ‘Hound Dog’ and the idea that we wanted her to growl it.”

Leiber described Big Mama as “the biggest, baddest, saltiest chick you would ever see. And she was mean, a ‘lady bear,’ as they used to call ‘em.”

At 300 pounds, Thornton’s physique matched the size of her voice and personality. Thornton recalled that “they had this song written on the back of a brown paper bag. So, I started to sing the words and put in some of my own.” Like many of Big Mama Thornton’s compositions, the record features her growling sexual lyrics about a no-good lover.

Verbals: Dani Wilde

Despite her release selling over half a million copies to African-American audiences, and the fact that she contributed some of her own lyrics, Thornton only ever received $500 for her work. Three years later, Elvis Presley who was hugely inspired by rhythm and blues artists including Big Mama Thornton released his rock ‘n’ roll interpretation of the song, targeting a young white audience. Elvis’ cover became one of the best-selling singles of all time, selling ten million copies globally. Thornton’s lack of recognition in the music industry greatly reflects the culture of racial segregation prevalent at that time in the United States

In a 1971 interview, Thornton described the situation that she and many black artists who helped start the rock ’n’ roll movement were in: Interviewer: What about Elvis? He give you anything for “Hound Dog”?

Thornton: I never got a dime. Interviewer: You mean you didn’t even get a box of Geritol?

Thornton: I didn’t even get a box of nothing – he refused to play with me when he first come out and got famous. They wanted a big thing for Big Mama Thornton and Elvis Presley. He refused. And I’m so glad I can tell the world about it... [laughs]…that is the truth.

Thornton was known for her tough demeanour and heavyset frame as well as her commanding voice. Although there are some eloquent and more feminine photos of her, she often made a point of dressing in sharp suits that were considered to be men’s clothing. She paid no mind to rigid gender expectations and this, along with some of her controversial vocal improvisation at live shows led many to question her sexuality. Thornton challenged gender stereotypes with her bold self-expression, using her public image to redefine what was socially acceptable for a black woman. She was an androgynous role model. As a blues woman, she began throughout the 40’s, 50’s and 60’s, what artists such as Grace Jones and Skin from Skunk Anansie continued in the 80’s, 90’s and to this day.

Another huge fan of Big Mama Thornton’s work was a young Janis Joplin. Joplin first heard Big Mama Thornton performing

at a bar in San Francisco. Joplin was so inspired by what she heard, she decided to cover one of Big Mama’s compositions ‘Ball and Chain’. The song helped launch Janis Joplin to stardom. Both ‘Hound Dog’ and Thornton’s “Ball ‘n’ Chain” are today included in the Rock and Roll Hall of Fame list of the “500 Songs that Shaped Rock and Roll”. Unlike Elvis, at the height of her fame Joplin invited Thornton to open for her. Joplin told her fans that she found her singing voice through Thornton; and Thornton praised Joplin’s cover version of “Ball ‘n’ Chain”, saying, “That girl feels like I do.”

Big Mama Thornton died of a heart attack in 1984. Her heavy drinking may have contributed to her early death; she was just 57 years old. Her funeral was attended by many blues greats. Of course, to blues enthusiasts, Big Mama Thornton is recognised as one of the great original blues singers, but I feel she deserves far more recognition for her impact on popular music history. Her music greatly inspired the new generation of rock ‘n’ roll artists and shaped the course of American popular music. She was a role model who opened doors for all the fierce, gender-bending singers who have followed in her footsteps.

Songs to check out

‘I Smell A Rat’

I just love her badass powerful vocal performance here. She is really owning it when she performs this great song. Buddy guy recorded a great cover of this track that’s worth looking up too!

‘Hound Dog’

This song was written especially for Big Mama Thornton and she sings it with all of her soul and personality. If you only know the Elvis version, why not pay respect to Big Mama by seeking out the original recording of the song.

The Enduring ‘White Flame’ of Danny Kirwan

The death of 68-year old former Fleetwood Mac guitarist Danny Kirwan earlier this year was a shock to many of his fans. Kirwan was a budding nineteen-year old guitarist when he joined Fleetwood Mac after he was noticed playing with Boilerhouse in the late sixties. He recorded and played with Fleetwood Mac between 1969 and 1972, and then pursued a solo career until the late seventies. Over the years, the press has gratuitously speculated about his demise after he retreated from the spotlight. However, Kirwan has been an inspiration for a younger generation of blues and rock musicians who regard him as a hugely underrated guitarist and songwriter. Since his death, some are determined to revive his legacy and ensure that his contribution to one of the world’s greatest rock bands and the British blues movement is more than just a footnote in the history of rock music. Paromita Saha spoke to some leading guitarists to find out why and how Danny Kirwan should be remembered.

Over the years, the image of an awkwardly shy, blond haired young man shaking his guitar ferociously with emotion on stage has captured the imaginations of a younger generation of musicians. He may not have exuded the flamboyancy of the likes of Jeff Beck, Jimmy Page or Eric Clapton. Yet, since his early days with Fleetwood Mac, Kirwan has retained a cult like status, which continues to this day. Comment threads on YouTube clips are either filled with tributes from hardcore fans or conjecture about his whereabouts from people who claim to have seen him in his latter years around London’s

Covent Garden or Leon On Sea, Essex.

Barrie Cadogan, (Little Barrie and The The) is one of the few who has been active in keeping Kirwan’s legacy alive. I meet with Cadogan in London’s Soho, which apparently was one of the late guitarist’s former haunts. Cadogan is getting ready for his autumn worldwide tour with The The and has kindly taken the time to chat about Kirwan, an artist who is very close to his heart. “I was trying to get some of the magazines interested in doing an article about Danny…they weren’t interested. This was five years ago. One magazine said they were only interested in doing something if it was part of a bigger feature on

Verbals: Paromita Saha

Fleetwood Mac. Guitar magazines give me a page and a half to talk rubbish about what I was doing and they wouldn’t even give Danny Kirwan that. I thought this is madness.”

The softly spoken Cadogan is passionate and emotive when he talks about his journey over the years to find out more about the late Fleetwood Mac guitarist. He also recorded a version of “Only You,” with his band Little Barrie, which is a track that Kirwan initially wrote during his time with Fleetwood Mac and later released as a single from his last solo studio album in the late seventies. Cadogan has also found fellow admirers of Kirwan’s work among his colleagues including Dinosaur Jr’s, J Mascis and Johnny Marr. He recently collaborated with lead guitarist from the psychedelic rock band Wolf People, Joe Hollick, on a tribute concert to Kirwan at the Blues Kitchen, London. The pair bonded over a mutual love for the guitarist. I touch base with Joe Hollick on email who speaks of the close camaraderie that can develop among fellow Kirwan fans, “I’ve found it incredible that I can go anywhere in the world and

if you mention the name Danny Kirwan to someone who you think shares similar tastes to you, their eyes light up and grow wide. It seems that those that know, really know.”

In his 1990 autobiography, Mick Fleetwood writes that he was first struck by Kirwan’s guitar playing in particular the ‘subtle tremolo effect from his fingering,’ which stood out amid the cacophony of Boilerhouse’s set at the Nag’s Head, Brixton, back in the late sixties. Kirwan’s renowned vibrato holds a certain mystique to the guitarists among his fans. The appeal is rooted in the sheer emotion that flows through his finger bends. Wolf People’s Joe Hollick touches upon the paradoxical nature of his guitar playing: “…ultimately I think what really strikes me each and every time is just the sheer control of his attack and his vibrato, and then the ability to be so delicate and soulful.” According to Barrie Cadogan, there are challenges for the guitarist when emulating Kirwan’s style, “it is really hard because of the bending on the string and keeping the vibrato at the same time…it’s about physically trying to get some of that spirit.

Wolf People by Cat Stevens

That’s always the hardest thing to capture. It’s never about speed. Guitar players many have fast fingers but they don’t have that soul.” Blues artist Ramon Goose first became in awe of Kirwan’s playing when he landed a copy of the Fleetwood live album ‘Boston Tea Party,’ which he listened to every day for one year. I spoke with him before his gig at Camden’s Green Note, and he broke down the complex technicalities of Kirwan’s vibrato: “It is very distinctive, you need a lot of energy because it is very wide. Whereas, Peter Green’s vibrato is a bit more delicate like BB King…most bend a minor 3rd up to major 3rd. Kirwan bends a ninth up to a major third, which is really mad.”

Kirwan played a variety of guitars during his time with Fleetwood Mac. However, he is mostly associated with playing various Gibson Les Paul models including an early 1957 Goldtop, Custom, Standard and Sunburst. It is his distinct quality of playing, which

Cadogan describes as one that is ‘lyrical’ and comes from a ‘pure undiluted spirit,’ that sets Kirwan apart from other Les Paul players of the time including Peter Green, Jeff Beck, John Mayall, as well as Eric Clapton, who were pioneers and known for their technical mastery. Interestingly, both Barrie Cadogan and Ramon Goose are quick to draw parallels with Free’s Paul Kossoff who was also a Les Paul player with a powerful vibrato. Cadogan states that Kossoff also had a similar temperament in that he came across as “a sensitive character that meant every note,” he played. Meanwhile, Goose emphasizes that Danny Kirwan should be remembered alongside Peter Green, Paul Kossoff and Mick Taylor as being among some of the great guitarists of the British tradition of blues guitar.

Kirwan’s creative relationship with Fleetwood Mac guitarist Peter Green is equally fascinating. Joe Hollick describes the relationship as “almost the classic romantic tale of the master and apprentice.” A young Kirwan is said to have followed Fleetwood Mac around on the live London circuit and attentively watched Peter Green on stage. Green apparently urged Mick Fleetwood to hire the teenager given his talents as a guitarist. According to Fleetwood, this pairing was a “near perfect match of sensibilities,” and that Green particularly loved to jam with Kirwan. Their composition talents came together in World In Harmony, which was released B-Side of the 1970 single release of Green Manalishi. Yet, it is the synchronistic almost telepathic dueling of their guitars that elevates their partnership to a mythiclike status. Many guitar enthusiasts devote significant time into dissecting the dynamics that existed between Danny Kirwan and Peter Green from the archive available on YouTube.

“You can tell they totally fed off each other,” says Barrie Cadogan, “there is a lot of credit given to later bands for that sort of dueling guitar lead like with the Allman Brothers and The Eagles.” Blues guitarist Ramon Goose expresses a similar sentiment, “I don’t think they wrote together I think what was special was the way the two of them played together… they pioneered the Thin Lizzy duel guitar

Ramon Goose by Moslem Mokni

after Simmonds and Stone of Savoy Brown first used the dual guitars. When you hear the two harmony guitars, I think Danny and Peter did that first.” Hollick observes.

“There is a sense that Green was providing Kirwan the platform to develop. This is apparent from the live recordings, where he is happy to hold back and let Danny take over.” Again, one can only speculate whether this was indicative of Green anticipating his departure from the band and if he wanted Kirwan to take over the reigns, as a result.

Kirwan’s trajectory as a songwriter during his time with Fleetwood Mac also demonstrates his talents for melody, vocals and production. He would later produce tracks for the solo albums of Christine McVie and Jeremy Spencer. Indeed, his songs are diverse from the gutsy blues of songs such as Coming Your Way, from Then Play On, to the1930’s jazzy vibes of Jigsaw Puzzle Blues, which was probably based on the Joe Venuti/Eddie Lang Blue classic.

Each of these guitarists has a different feel as to which song and album resonates the most with them. Barrie Cadogan veers toward some of his earlier blues orientated work during the Then Play On era. “I think his saddest and most beautiful was ‘Without You.’ I loved the way he sang. It was totally English. Coming Your Way, and One Sunny Day are the heaviest. There’s so many really. I also loved his singing on ‘Tell Me All The Things You Do,’ (Klin House). He plays wahwah pedal, which is the extent of his effects. It has a kind of soulful almost southern feel.” Joe Hollick who worked with Cadogan on a song list for the Danny Kirwan tribute show, says that Sunny Side Of Heaven, (Bare Trees) illustrates Kirwan’s amazing understanding of melody. “It is both beautiful and tender, yet haunting. For me personally, it’s the pinnacle of all the melodies that Danny wrote.” Ramon Goose says, Although The Sun Is Shining, shows off Kirwan’s perfect pitch and understanding of harmony. “It changes key between the verse and the chorus. He really knew what he was doing when he wrote songs. He really thought about cadence and harmony.”

At the time of Kirwan’s death, Mick

Fleetwood described Danny as a part of the foundation of Fleetwood Mac. He is seen as a key figure that helped the band transition from the blues to the seventies style AOR rock heard on Future Games, and Bare Trees. Ramon Goose states that Danny Kirwan’s contribution to Fleetwood Mac’s 1970’s album Kiln House helped create the modern Fleetwood Mac sound. Cadogan adds that the changes in his songwriting style could be due to the changes in music production, which opted for a mellower sound. He says, “sounds were getting dryer by the seventies. People were looking for a different kind of audio quality that they could not get in the mid to late sixties. They were looking for something more soulful.”

Sadly, any conversation about Danny Kirwan revolves around what happened to him in his final days of Fleetwood Mac and during the latter part of his life. His death also leaves unanswered questions about the mental anguish that he experienced. Cadogan says, “I read stories that he used to cry sometimes when he played as a young kid in Boilerhouse. That’s as heart wrenching to hear as listening to his playing.” After speaking with these guitarists, it’s apparent that Kirwan’s music legacy lives on through how they play whether it is from the minimal use of effects or emulating the depth of feeling that came with his guitar playing. Dust is Kirwan’s final song on Bare Trees, which was also his last album with Fleetwood Mac. He derived the song from a Rupert Brooke poem, which opens with a poignant image of a white flame that extinguishes when we die. However, it’s evident that these artists and fans are determined to keep Kirwan’s flame burning. In the aftermath of his death, Wolf People’s Joe Hollick highlights the pathos of Danny Kirwan’s story: “I hoped one day we might have got to see him play again. I always imagined being able to let him know how many musicians from my generation look up to him and hold his playing dearly.”

Barrie Cadogan and Joe Hollick’s tribute to Danny Kirwan will have taken place on Friday 23rd November at The Blues Kitchen, Camden High St, London.

Honoring the Swamp Blues in the 21st Century The Excelleauxs

The passing of Swamp Blues legend Lazy Lester was a big loss for the Louisiana blues community and beyond. He was one of the key voices of this distinct genre of blues, which originated in Baton Rouge around the 1950’s. The scene caught the attention of British Invasion musicians including The Kinks and Rolling Stones as well as notable British blues music producers and journalists. Over the years, there have been significant efforts to keep the Swamp Blues alive with historic recording sessions and the annual Baton Rouge Blues Festival, which showcases the surviving greats of this scene every April. Earlier this year, The Excelleauxs formed to honor the Excello Record back catalogue, which was a key record label for Swamp Blues legends including Slim Harpo, Silas Hogan Lightnin’ Slim, Lazy Lester and others. Blues Matters’ Paromita Saha met with The Excelleauxs members including Samuel Hogan (son of Silas Hogan) and spoke with the likes of Blues Horizon owner Mike Vernon who were instrumental in recording some of these artists.

Verbals: Paromita Saha

The piercing, pristine sound of a harp resonates across a nondescript car park on a Friday night in Baton Rouge. It is from Phil Brady’s bar, which is one of the few historic music venues left in the city. It’s a dated green building that stands untouched in an area currently going through a major gentrification with the arrival of gourmet burger joints, restaurants and hipster coffee bars. Inside, a band called The Excelleauxs comprising three guitarists, a drummer, and front man/harp-player are belting out one Swamp Blues classic after another including Silm Harpo’s I Am A King Bee, Silas Hogan’s Rat and Roaches In My Kitchen. An unassuming African American older man with a trilby hat plays one of the lead guitars. Sam Hogan is the son of legendary Baton Rouge bluesman Silas Hogan. He hops between drums and lead guitar duties, which he shares with his fellow guitarists

Jack Kolb and Johnny J (who plays the same Gibson guitar model as Slim Harpo). Meanwhile, renowned Louisiana harp player Ben Maygarden effortlessly switches from harp to lead vocals almost in one breath.

The Swamp Blues sound is informed by indigenous sounds of South Louisiana including Cajun and Zydeco with some country. The songs are played at a slower tempo often with a harmonica lead. During the fifties and sixties, Baton Rouge blues artists including Slim Harpo, Lazy Lester, Lonesome Sundown, Tabby Thomas, Silas Hogan, Lightin’ Slim and others travelled to Crowley for the purpose of recording at the studios of independent record producer/songwriter JD Miller. It was from his studio that Miller defined the sound of the Swamp Blues as a result of his musicality and sound engineering techniques, which involved the clever use of the reverb. The records were released

on Ernie Young’s Nashville based Excello Records, which was set up in the early fifties.

Lead singer and harp player of The Excellauxs, Ben Maygarden says, “the Swamp Blues was such a strong style with so much music to offer. The guitar interplay is crucial. These guys weren’t afraid to think outside of the box about chord changes and rhythms.” Maygarden and his fellow guitarist Jack Kolb considered forming a Swamp Blues band many years ago. Both of them and other members of The Excelleauxs have shared the stage with many of the Swamp blues greats over the years from Tabby Thomas, Henry Gray to Raful Neal. However, the project did not transpire until now, when Maygarden received a fortuitous call from Clarke Gernon, President of the Baton Rouge Blues Foundation. According to Gernon, who is the ‘architect’ of the band, “We knew that those songs from the Excello catalogue are

highly sought after, revered and respected. We thought it’s a real opportunity to find or build a band that would want to take on those songs in a way that was respecting history.”

The physical set up The Excelleauxs is also faithful to how the Swamp Blues would have been performed live, which often did not include bass. Gernon says, “my sense is that the bass might not have been a luxury or a necessity when they played on the radio shows or did the recordings. They basically said we have a lead guitar and we can get another guitar player to play the low end.”

Sam Hogan was the crucial piece to this jigsaw puzzle. Gernon describes him as “touchstone to the original recordings.” He takes me to meet with Hogan at his apartment in Baton Rouge. The walls are filled with pictures of his family and he is quick to point out pictures of his father Silas Hogan from back in the day. “I started playing with my daddy

Sam Hogan with Swamp Blues and Louisiana Blues records by Paromita Saha

when I was young. He said I must have come out fighting.” Hogan also cut his teeth playing drums with his father at J D Miller’s studio on Trouble At Homes Blues, in 1962. Silas Hogan also recorded Rats And Roaches In My Kitchen and others with Miller. Hogan, who is in his sixties, recollects, “Daddy did several sets over there. On some of them, I played. I was nine years old when I was in the studio. JD Miller was a kind of short, heavy set guy.” Sam Hogan grew up also playing for the Swamp Blues greats from Arthur “Guitar Kelly,” Henry Gray and Lazy Lester. “I played with Lester before he left Louisiana for a while. My dad and him used to go into the backroom and play guitar. A lot of the old guys have known me since I was young.” As a result, a teenage Sam Hogan through his dad landed the opportunity to play on two of the legendary Swamp

Blues recording sessions in the seventies, which became sought after record collector items.

According to Gernon, The Excelleauxs is part of a lineage of projects spearheaded by blues enthusiasts from Louisiana and the U.K. who came to Baton Rouge to record these surviving bluesman. Towards the end of sixties, Mike Leadbitter, editor of Blues Unlimited and blues music authority/ author John Broven were extensively covering the Louisiana blues scene. In the meantime, Mike Vernon, who was head of Blues Horizon UK made a deal with the Nashboro group, which owned Excello Records. He says, “I was in touch directly with the head of the Nashboro Group, Bud Howell, as to the possibilities of visiting the U.S. with the prime intent of recording a group of those Louisiana based Blues musicians that were still active and to include those already mentioned above and any others of worth. Bud agreed to the project idea so we moved forward with the plans.” Consequently, Mike Vernon and John Broven with a team of Louisiana Blues enthusiasts including Terry Pattison, Neal Paterson as well as Chris Strachwitz tracked down Baton Rouge blues legends, Silas Hogan, Arthur “Guitar” Kelly, Clarence Edwards, and Henry Gray (Howlin’ Wolf’s piano player).

Subsequently, two historic recording sessions took place over the summer of 1970. Mike Vernon produced one of them at a studio on Government Street, Baton Rouge with the aforementioned blues artists including young Sam Hogan. Sam says,” we did this in about three days. I went three or four times. Everyone played a song that they knew. Sometimes, the producer had ideas of what he wanted. If you needed to play strong or something like that, he’d talk to you.” This session was originally released as a double album called “Swamp Blues.” In hindsight,

Lazy Lester Collage 2018 by British artist Jonathan Lawson

Vernon says, “I don’t have any real regrets about this project. It is an excellent ‘of the times,’ session featuring some of the lesser known of the Louisiana Swamp Blues genre.”

Blues music journalist and record collector, Terry Pattison and Chris Strachwitz also produced a record featuring more or less the same artists with Sam Hogan. This was released as Louisiana Blues, on Arthoolie Records. According to Pattison, the front album cover, which features Guitar Kelly and Silas Hogan, was taken outside of a juke joint in an obscure Baton Rouge neighborhood. Pattison was among the first music journalists to interview the likes of Silas Hogan and Lazy Lester for Blues Unlimited. He says, “my personal favorite was Silas Hogan, he was a very creative writer and he wrote all his songs. When I first interviewed him, he described the process he would go through to write the song. He may take a certain chord structure from anther song, change it around and put words to it.” During the eighties, Julian Piper, a British blues musician and writer, also extensively recorded and performed with the Excello legends in Baton Rouge. Recently, Baton Rouge based British artist John K Lawson put together a series of collage portraits of Swamp Blues legends including Lazy Lester, which was shown at his memorial service.

Only a couple of months ago, hundreds attended a memorial service in Port Allen, Baton Rouge for the late Swamp Blues legend Leslie “Lazy Lester,” Johnson.

Renowned swamp blues artist, and his close friend Kenny Neal organized the event. His death raises the pertinent question of whether this will be the last of the Swamp Blues. According to Mike Vernon “there are still a number of Louisiana based musicians. The Neal family who continue the tradition but Lester was ‘top dog,” in my book and cannot be replaced.” Vernon did a couple of recordings with Lazy Lester over the years including the award wining “Rides Again.” He also recorded a live session with him at a club in Hampshire, England, which he may release in the aftermath of his passing. He says,” the reason we did not release at the time was because Lester was unhappy

with his vocals as a result of having a bad cold. He really didn’t sound that bad”

Bruce Lamb was Lazy Lester’s long running guitarist and close friend. Lamb has an extensive history of playing alongside the Swamp Blues greats. He and another guitarist called Grady Pinkerton regularly played with Lazy Lester at Anton’s Blues Club, Austin, Texas. Lamb particularly remembers Lester’s love for country music and took him to country and western nightclubs around Austin back in the day. He says Lester had a long running dream to record country songs, which did not go down too well with the likes of JD Miller. However, Lazy Lester did record an album’s worth of country songs with Pinkerton in 2016. Lamb gets tearful, when he talks about the plethora of wonderful memories of playing and hanging out with Lester. He feels fortunate to have played with him on his last gigs in Austin earlier this year and at the Baton Rouge Blues Festival in April, which also featured Sam Hogan on stage.

The Swamp Blues scene in Baton Rouge has undergone an inconsistent trajectory due to the passing of the greats over the years and the closure of the city’s live venues such as Tabby’s Blues Box. However, institutions such as the Baton Rouge Blues Foundation and surviving members of the original scene such as the Neal family and Sam Hogan are indefatigable in their efforts to keep this genre of blues alive. Vocalist/harp player Ben Maygarden is reluctant to describe “The Excelleauxs,” as part of a new Swamp Blues revival. He says, “it makes it sound like the Swamp Blues died.” So far, The Excelleauxs has attracted critical acclaim from the regional press. However, the band is keen to get a spot at the British blues festivals, given the British affinity for the original Swamp Blues artists. If anything the passing of Lazy Lester has given them a new purpose to their mission. Maygarden says, “we all knew Lester and had a chance to see him perform or play with him. We do want to make people remember that Lester was a part of the Swamp Blues legacy. It’s not all gone – Sam Hogan was there and he is still here. The art speaks for itself. So, we are not at the end.”

Brian Kramer Nordic Blues

Brian Kramer is a USA bluesman with a remarkable and genuinely interesting background and pedigree. Many readers will recognise his name as Blues Matters! own correspondent in Sweden, where he has now been based for around twenty years, others from his music and fervent passion for the music that he plays, preserves and passes on to aspiring pickers and players of every level in the Nordic region generally.

Kramer’s own story goes way back to his life in Brooklyn, New York, and his misdemeanours as a wayward kid, a minor but spirited misdemeanour that had the good-fortune to lead to a lifelong passion: ‘I was with a buddy. We were both teenagers at the time. There was a music store with records/albums for sale on display just outside. We sort of looked around and scooped up a lot, maybe eight or something each, and just ran off with them. We didn’t even get chased, the guy never chased us at all,’ Kramer recalls with glee. ‘We had a mixed bag, we didn’t really know what might be good or bad. We got back to the apartment and looked at the stuff. I remember there was like, John Mayall and Country Joe and the Fish. And a Lightnin’ Hopkins. At the time, I didn’t know any of these guys or their stuff.’

But Kramer listened to it all, being immediately gripped by the playing of Texan, Lightnin’ Hopkins, an influence and artist who remains a firm favourite forty years down the line.

Kramer recalls Brooklyn having ‘blues music around,’ and he then began to investigate and scoured local libraries for more interesting stuff. All the while, he was developing his own guitar-picking skills, listening to an increasing batch of true acoustic country-blues greats on disc whenever he could, pinching licks and riffs, techniques and tricks that now form the backbone of his own playing.

‘Back then, there were no videos. Finding or learning the music was hard. There was Sam Charters country blues book, it helped as a reference source. It led to other great blues guys, but Lightnin’ Hopkins always stayed pretty central to me. We’d listen to radio and when I was maybe around 16 or 17, I thought Grateful Dead were great. We hitched down to New Orleans looking for the music. We reckoned we could maybe get by playing on the streets, that kind of thing. My buddy, John, was a lead picker and we had a few shuffles we could both jam on. We thought it would be cool to be there for Mardi Gras. So, we left New York one February, boy was it cold, and we made it down to New Orleans but missed Mardi Gras by a day!’

But with this seminal trip, a blues expedition of sorts, the bug was sown in Kramer’s head. The journey, the music and the experience had, as he describes it ‘manned us up,’ and from then on, blues music became more than just a fad it became a positive passion.

Verbals: Iain Patience Visuals: Brian Kramer & Lennart Brorsson

Back home in New York once again, Kramer discovered a local club in Union Square, a true blues bar called Den Lynde’s, which he considers to have been ‘the only place to really listen to proper blues. It was real seedy. The guys there would maybe knife you for nothing. There was not a lot of white kids there, ever! But what it did have was a jam session.’ Another serendipitous discovery that was to play a hugely significant part in Kramer’s life.

It was here that he first saw, heard and met one of his oldest blues buddies, Larry Johnston, a wonderful acoustic-based picker, with a decidedly suspicious view about white bluesmen, who sadly passed a few years ago, in 2016. Johnston was a regular at the seedy bar, a honky-tonk-cum-juke joint where blues was clearly king. He also got to know another regular, Bill Dicey, a guitar and harp player with whom he often jammed: ‘I was happy to just jam all day, if I could,’ he laughs with pleasure at the memory. ‘My first time on-stage was with an acoustic guitar, playing with a jamming band, doing

mostly Robert Johnston sort of stuff. I’ll never forget the mixed messages, the smell of urine and beer, a great place for blues music. Dicey was sitting on a stool. He said, ‘I know what you’re trying to do, an A7 variant chord, and he put my hand onto it. The first time I was helped out.’ Kramer believes this was one of those moments that edged him a little closer to Larry Johnston, who was also there jamming away, as usual. ‘I was absorbing it all. It was a great time.’

And through this developing love and passion for the music, and his own disregard for his personal safety, Kramer began to involve himself, immerse himself even, in more and more blues. Buddy Guy and Junior Wells were, to him, to become as important as Lightnin’ Hopkins, and he was to meet them many times whenever they were on the road and passed through New York. He caught Muddy Waters and many others in the same way, even eventually meeting Lightnin’ himself, but Buddy and Junior were destined to make a lasting

mark on his own musical growth and evolution in ways that most could only dream of.

At the time New York was opening up, becoming a great place for blues music, with almost, all of the now revered big-names playing the city. Buddy Guy and Junior Wells were a pretty inseparable pairing who regularly played a club that Kramer would attend, just to sit and watch, sniff and absorb the musical mastery they had to offer. ‘I got to go upstairs, to the sort of dressing-room. I got to meet them, and they were both really accommodating. I was upstairs with the band. They could see my interest in the music, I had a copy of ‘Hoodoo Man,’ pretty much a holy grail of Chicago blues music. I told them the show had blown me away. They were just so generous about the whole thing, though at the time they had no idea in reality as to who I was.’

Guy and Wells were down to perform again at the club on the following day and Kramer was determined to be there once more and to meet with them both, if possible but this time with a near-trembling ambition: ‘I thought I’d take a chance, so I took along my Dobro

clone, steel guitar. I knew how they scheduled their set, with Junior finishing ahead of Buddy, and leaving the stage to climb upstairs to the dressing-room. I was upstairs waiting. I could hear the set. When Junior came in I had my guitar ready. We ended up playing together, jamming along and when Buddy finished his set, he also came up and we all jammed along together. We passed the guitar around between us too. Buddy had a semi-hollow Guild.’

From then on, Kramer’s bond with Wells and Guy strengthened and before long he found himself being asked up onstage, to restring Guy’s guitar when he popped a string in performance: ‘Buddy’d give me his guitar and I’d run upstairs, three flights, go through his stuff, find and change the string and rush back down. It always gave me a minute or so to play his guitar myself. I was enjoying having my hands, my fingers on his guitar, following where his fingers had tracked and been. I felt that I had his confidence.’

‘I remember the first time I played with them both back then. Junior came into the room absolutely drenched in sweat, saw me with my guitar and asked me ‘What do you want to play? He could as easily have said ‘…F-off! But he didn’t. Instead he took a minute and we started playing together. It didn’t stop. When the band downstairs finished, Buddy came in, see’s us both playing and says ‘…Yea…alright! At that moment my relationship with those guys really started.’

And this became an oft-repeated pattern each time Wells and Guy were in town. Muddy Waters also made a mark, ‘…a game changer,’ as Kramer describes Waters’ music and influence at the time. By now, he had a confidence, ‘…not an arrogance,’ to play with others wherever and whenever, whoever they

might be. He began looking out for gigs and was eventually approached and asked if he might be interested in recording an album. With a degree of caution, Kramer talked it through before agreeing to the suggestion.

‘I phoned Junior (Wells) and asked if he’d maybe be part of it. He replied, ‘Just tell me where and when.’ In the event, another near-legend these days, former Rolling Stone guitarist, Mick Taylor, also turned up and took part in the recording. ‘Junior was a mentor to me. ‘We’re here for you, he said. You’re good, be yourself.’ Great advice. Everything became joyful, and I learned so much in the process.’

In 1989 the album was released, ‘Brian Kramer & the Blues Masters.’ This was an event that gradually led to Kramer travelling more widely, developing an assurance and eventually reconnecting with Larry Johnston. ‘I was getting gigs, playing festivals and the like mostly around New York. But I never seemed to have enough, then around 1990, two things happened. I got a phone call telling me Larry was back in town after a gap of six or seven years in Europe, and he needed a place to stay. I had been very influenced and attracted to his music so agreed to meet him. He could be pretty intimidating. He was in Brooklyn, back where I’d started out. We met up and he greeted me warmly. He was sleeping on a couch at the time. I took along a copy of my album as a gift. He was genuinely delighted, put it on, told me he liked it and started talking about the guys he’d played with – Muddy Waters, Johnny Shines and others over the years. When the last track of the album came on, I was playing a National Duolian guitar and Junior on harp, Larry turned to me and told me that I understood the music. This in turn led to a regular gig where Kramer would play with Johnston in New York a few times each week.

For some time, Kramer worked, toured and recorded with modern US acoustic favourite, Eric Bibb, something that grew out of an initial chance encounter with Bibb and his music in Stockholm: ‘Somehow or other we just connected. We both had a New York background, that helped. One day Eric called me out of the blue. He needed a guitarist (and

a driver) for a two-week tour of West Coast USA. He gave me his records, so I could check it out. I liked it all so turned up at a private party where he was playing in Mossebacke. It was the first time we played together, and it went really well. We just connected right away. He didn’t expect to see me there. I was with Jenny Bohman (a late, wonderful Swedish blueslady), and he invited us both up on-stage to play with him. It was magic. It felt like it was all in slow-motion, very, very emotional.’

Kramer has also recorded with Taj Mahal on a special African music project, a celebration of blues and Afro music recorded in a small studio in rural Sweden, where he spent ‘an amazing, truly great five hours together,’ and he was able to play Taj’s ‘Fishing Blues,’ alongside the US blues giant himself.

However, around twenty years ago, Kramer moved to Sweden with a Swedish wife, and a daughter due, he felt the time was right to escape the ‘New York bubble’ and try something new. Kramer was immediately struck by the apparent lack of blues jam opportunities in the country, a music-go-round he was so familiar with back home in the USA. So, he set about changing that and virtually single-handedly developed a thriving Swedish blues jam culture that still plays an important, if not dominant part in his life.

From Kaos, in Stockholm’s Gamla Stan (old town), he developed and enlarged the jam scene enormously, moving to Stampen bar which had hitherto been more of a Dixieland sort of place, to its current setting in another nearby bar, Engelen, where the jam has continued to thrive. Through the years it has hosted many internationally recognised bluesmen including the late Swedish master, Sven Zetterberg; the late US steel-picker, Bob Brozman; Alvin Youngblood Hart, Eric Bibb and many more. More recently, since moving out of the Swedish capital to live in Hedemora, in Dalarna, an hour or so to the north-west, he has kicked off another blues jam at the House of Blues Bar in the town of Borlange, a development he is particularly optimistic about, and another opportunity to turn people on to the power of blues in Scandinavia more generally.

Carl North & The Lonely Hearts are a Rhythm & Blues six-piece from Manchester, UK. Meeting at university in 2016, soloist and frontman North welcomed Anna Wilkes, Chris Storer, Jack Johnson and Reece Allen to the mix and they have since generated their own kind of buzz within Manchester’s live circuit. Their first two years as a band boasts support slots alongside several Americana and Blues giants such as C.W. Stoneking, Matt Andersen, Andrew Combs and Gill Landry, and several festival performances including Glastonbury. The end of 2017 saw the band release their debut single ‘Worst Of You’, accompanied by a smash sell-out inaugural headline performance at Manchester’s Castle Hotel.

During the Spring of 2018, the band set out on their first UK tour, headlining and supporting several acts from the south to the north. The tour culminated in prime slots at Liverpool Sound City, and a triumphant headline performance at When in Manchester Festival. The run up to the Summer saw the band head into the studio again to record their latest single, ‘Blood to Bleed’, released on 1 June.

2018 saw the band play a number of festivals throughout the UK, as well as an invite to join C.W Stoneking once again and two support slots for The Reverend Payton’s Big

Damn Band in London’s Borderline and Manchester’s Ruby Lounge. With the help of the Jessica Foxley Unsigned Foundation, The Lonely Hearts also made their debut at The Great British Rhythm & Blues Festival in Colne – a career highlight in front of a packed Muni Theatre crowd. This set was a firm favourite for the festival’s panel of judges as Carl North & The Lonely Hearts were picked to contend in the 5th UK Blues Challenge, alongside some of the UK’s most prolific blues artists, such as Kyla Brox, Tom C Walker, Catfish and Gregory Coulson.

2019 is looking even busier for the band as tour plans and a further release takes shape, making post new year a time to keep an eye on the band. Having recently welcomed a sixth band member, saxophonist Finola Daley-Dee, Carl North & The Lonely Hearts are buzzing to finish off their year on a high, with final headline shows at Manchester’s Gullivers on 7 December and Nottingham’s Bodega on the 8th. Limited tickets are still available via Alt Tickets and you can keep up with further announcements via the band’s social media pages. Their last three singles are also currently available on Spotify, YouTube, and for purchase on Music Glue.

Verbals: Supplied by artist Visuals: Charlotte Rudd Photography

Carl North &

The Lonely Hearts

Deep Blue Sea

It’s been a long journey to get here, and a short one. We’ll focus on the short one! Guitarist Lago and bassist Graeme met in 2017 and started playing and writing together and defining the direction of the music they wanted to create. In 2018, the whole thing was completed when Dre joined on vocals and Amanda on drums. Their influences and talents added to the pot – and to taking the music in new directions. New shoots from old roots. They played their first gig together in March at The Limelight Theatre in Aylesbury – and ignoring clichés – something clicked!

They then recorded a live album at Harpenden Blues Festival in May. They’d been together less than three months! The album made the top ten in the IBBA playlist charts getting rave reviews along the way. More than half of the songs on the album had been written in that three-month period. There’s no standard blues on the album. The band don’t play any. The philosophy is to create music about the here and now. What’s going on in the world, in the country, in their heads. Wherever that takes the words and music.

So, take a song like Manic Pixie Dream Girl. Funky music? Yes. RHCP? Maybe. Listen closer – you’ll hear shades of The Stones or Cream. And the lyrics? Mental breakdown? Nervous depression? This isn’t “Woke Up This Morning!”

As Graeme says, “there’s some brilliant musicians out there keeping traditional blues music alive and it’s vital to its survival but there has to be room for it to grow and evolve too. There’s room for us all if we can listen without prejudice. This music more than most should be capable of that.”

Manic Pixie Dream Girl’s just one example. Have a listen to the album and watch the Harpenden Blues Festival videos on the website and you will see and hear a band that want to communicate on many levels. To have fun, enjoy the excitement of real live music played by a band pushing it to their limits. Go wild, dance, lose yourself. But there’s another side too, the songs, the stories of life, love, loss, hard times, good times and living.

You can hear and see more at www.deepblueseamusic.co.uk

Verbals: Supplied by artist Visuals: Supplied by artist

Joe McDonald & The Walkin’ Hawks

Joe McDonald is a singer, songwriter, and guitarist from Ottawa, Canada. Joe was raised in a musical family on a farm in the country. His mother is a country singer/ guitarist and his father a writer. He was always encouraged to play and write music when living on the farm. He began on the fiddle and piano but transitioned to the guitar when he was twelve after playing his mother’s Martin parlor guitar from the 1930s, which was a birthday gift from his father to his mother. Joe is now devoted to the guitar. Throughout his teens he studied privately and would spend all of his waking hours after school practising his craft. In his early twenties, after many gigs as a sideman, he formed a group with two childhood friends Matthew Armitage and Trevor Lubin. The band were called The Ramblin’ Valley Band and they played a mixture of bluegrass, blues, country and folk. They released two albums which Joe co-produced, mixed and recorded. The band also embarked on a tour across central and eastern parts of Canada. After five years, the band split due to creative differences and Joe has been devoted to the blues ever since. His

current band, The Walkin’ Hawks, is a blues revival trio that features Matt Aston on drums and Zach Ledgerwood on bass. Original material, improvisation, and getting audiences dancing are the top priorities for this hot new act. The band draws their influences from legendary blues artists like Hubert Sumlin, J.J. Cale, Mississippi Fred McDowell, Stevie Ray Vaughan, Duane Allman, and Muddy Waters. The debut album Underground Rattlesnake Party was released on January 6, 2018, and landed them a slot at the RBC Ottawa Bluesfest where they were joined by Kaz Kazanoff and the Texas Horns from Austin. The album was recorded in two days in a one-hundred-year old barn on Joe’s family farm. Intentions were to stay true to how the legends would have recorded, which was together, and in the moment. It is a raw album and captures the band in its budding stages. The group are currently working on another live album and are planning a fall release. They have their sights set on festivals in Canada and Europe for 2019 so keep your eyes peeled and tell your friends. This is a blues act you won’t want to miss!

Verbals: Supplied by artist Visuals: Supplied by artist

Rowland Jones

Verbals: Supplied by artist Visuals: Supplied by artist

Growing up in the 60s, Rowland Jones first fell in love with the blues when he heard John Mayall’s Bluesbreakers with Eric Clapton, the legendary Beano album, and he still has his original mono copy framed on the wall! ‘I was stunned and wanted to know where this music came from. We used to get LP’s of Robert Johnson and Big Bill Broonzy out of the public library and then there were the great blues tours with five or six top acts on one bill! We were so privileged!’ said Jones.

Over the years Jones has played with rock bands, big bands, folkrock bands and even toured with bands like Limmie and the Family Cookin’ and The Exciters, but his heart was still in the Blues. Jones explains ‘It was 2007, Lesley and I had just got married and decided to go and live in Italy and I said I wanted to get back to the Blues, I was asked to audition for a band and only realised when I got there, that they expected me, as the only English speaker, to be singer and frontman as well… so that’s what I became!’ So, began seven years of gigging in Italy, in bars, clubs and festivals from Bergamo and Verona in the North, to Calabria and Sicily in the South.

In 2014, Jones moved back to Manchester and the following year he recorded ‘You Give Me The Blues’ with Chris CJ Hillman (Billy Bragg Band) on pedal steel and Dobro, and Mark Lewis on bass, which Blues Matters! described as ‘an album crammed with acoustic blues’. His 2016 EP ‘Still the Blues’ with the same team was equally well received by Blues Matters! ‘pure

blues expertly written and performed’. After some time, gigging with Hillman and time spent in the States, his 2017 offering was a bit different. With the addition of drummer Paul Burgess (10cc, Chris Farlowe, Martin Barre) and producer, multi-instrumentalist, Nigel Stonier (Waterboys, Strawbs, Joan Baez) the result was an album of ‘soulful Americana’ which has been receiving regular airplay in the US, South Africa and Poland.

‘My current project is back to basics, probably recording just guitar and voice. As long as I’m still writing and performing, I’m happy, I mean, what’s not to like about that!’ says Jones with a smile. ‘I’ve been told I’m too happy to play the Blues, but as long as audiences enjoy what I do, I’ll be smiling.’

www.rowlandjonesmusic.com

Connected Through Blues Andy Gunn

Verbals: Colin Campbell Visuals: Colin Campbell

Irecently sat with Andy Gunn and some of his band members after the second night of their new show called Andy Gunn Presents From T-Bone To Trucks, which was part of The Edinburgh Fringe Festival. This show was a journey through the decades of blues music and incorporated stories and sounds from blues legends, featuring interpretations of songs and guitar styles of some of Andy’s guitar heroes, including Freddie King, B.B. King, and Albert King amongst others. But, like the title of his recently acclaimed release Too Many Guitars To Give Up Now, he couldn’t put all of his favourites into a fifty minute set, but it was a very good show and not a copycat style note for note rehash.

There were moments of just close your eyes and then the audience were taken on a blues odyssey narrated by Scott Elder, a real tonic. This show was a fantastic introduction for people who had never heard of blues music and wanted to know more. The audience that night were a wide cross section and ultimately a listening audience. Andy summed it up in his inimitable style, “It wasn’t without it’s challenges though – the mind bending contracts, the phone calls, emails, handing out flyers to disinterested fringe fatigued tourists, dodgy sound systems that needed replaced, traffic jams, lighting guys doing sound who didn’t know what an eq on a desk is, insomnia from medical drug withdrawals, haemophilia bleeds, computers melting down, nine people practising in a small windowless bedroom with a computer generating enough heat to heat an old peoples’ home … but, it was ALL WORTH IT!”

Band Members

Andy Gunn – Guitar and Vocals

Scott J Elder – Narrator

Liz Jones – Backing Vocals and Percussion

Jamie Hamilton – Keyboards

Craig Stoddart – Saxophone

Sarah Findlay – Trumpet

Juanjo Mata De Acuna – Harmonica

Rod Kennard – Bass

John McAvoy – Drums

The band certainly feels like it’s getting better with every performance. The project has taken six months to complete. Andy said “There were a few teething problems, getting the right line up and finding the right people and inclination was important”. John McAvoy on drums talked about Andy’s working method, stating, “We would learn one number or combination, then Andy would record this, and then send us a rough copy and the next week we would mix it”. One artist would then be recorded weekly. Sarah Findlay trumpeter in the band concurred that getting the recordings was vital to the project. Initially Andy wanted to put a show on at the Fringe but felt there was no point in putting it on just for the end of August, he would in fact “Love to tour it”. The format of the show included footage of blues legends projected on to a screen behind the band which brought everything to life and as long as there are places available to put these shows on there is no reason why the band cannot take this project further. Andy said “It’s not musical theatre in the stuffy Andrew Lloyd Webber sense, it’s as serious as a heart attack, we give it blood sweat and tears and all our heart and soul into what we do”. It was hard picking out material and what guitarists to leave out. Andy Gunn had shared licks in the past with Albert Collins on stage, he was a lovely gentle and unassuming person and treated everyone with respect, he was the master of the Stratocaster, I learned

a lot watching him, but he was not included because of time restraints to the show but if a tour of theatres was in the offering the show would be longer, say two hours and would have different musicians as well. Like the show tonight, when he played his own song, “Sorry Mess Blues” Andy would also include one of his own compositions in the other shows. Andy expresses himself through interpretations of such songs like ‘Call It Stormy Monday’ and makes it his own, he shows how much he has learned from listening to these tunes. He went on to say “Hopefully you can notice that’s a Stevie Ray Vaughn vibe or Albert King take to things. Vocally I am not a natural growler, I’ve got a softer style but I’m not exactly Aaron Neville either. I like singers like John Martyn, Van Morrison and John Lee Hooker people who sing from the heart.

Andy also did two shows with Liz Jones and Juanjo which were intimate acoustic sets, totally different to being in the seven-piece ensemble. Acoustically, you can go totally off road, if you want to change the arrangements or timing you can but like tonight they were all fixed arrangements. We are trying to treat the music we have played tonight with respect.

Andy first got into the blues by hearing it on television “I didn’t know what it was but it jumped out of the speakers at me, I started researching it. My dad’s friend had an AC/DC tape (remember them?), I liked that because it sounded bluesy but turned up to one hundred miles an hour. You absorb blues artists. If I had to pick say the best, I’m sure it would be Jimi Hendrix, he was so natural and had that song writing thing, he was funky and innovative, a one off.” This was agreed by the rest of the band also. Best advice would be “to be yourself “and the advice Andy would give to aspiring musicians would be “Stay away from drugs and women, work hard but enjoy the journey and treat people with respect and remember there’s more to life than music, be yourself be true to your art”.

About the show, the hardest thing is the organisation and logistics. Making sure equipment is set up right, and the right insurances. When it’s all done and you’re onstage you’re connected with the audience and

that’s the good thing, it makes it all worthwhile. Its two different mind-sets admin, and organisation. Sarah pointed out that as musicians it’s not a natural thing to be dealing with the business issues.

We then talked about interests outside music. Andy tries to stay out of music shops but Ellie his partner said he enjoyed buying the odd groovy shirt. Andy also talked about his recovery from addiction, he has not had a drink of alcohol for nine years now. It’s a two-way street, the opposite of addiction is connection to others and your true self, and connection to a higher power spiritually. You’re suffering from an illness and you don’t even know yourself and you need help. I needed to throw everything into recovery. I had to face life clean and sober and that puts up a lot of challenges. In a lot of ways people that are clean, in recovery are the bravest and most courageous people you will meet. I like arts and culture, going for walks, and music, I like supporting other people. I am not an avid follower of the music scene as such but there’s a lot of blues going on in Scotland, people are making music and enjoying themselves it’s all good. This led to talking about music education in schools in Scotland and that it is not focussed on except in Edinburgh, but we agreed it’s all down to money. Sarah is a teacher and sees pupils who are not academically good but give them an instrument to play and it would give them a sense of self-worth. Again, this focussed on the theme of being yourself. John McAvoy summed Andy up “He has the ear of an orchestral conductor he hears every note that everybody plays all the time”

Andy reflected on this and probably agreed but added “My dad said you can hear a bum note from fifty paces but you canny hear when the wheels fall off!

Andy is a self-taught guitarist, he listened to records and jammed with people. John

talked of how he knew a guitarist who played records but put a weight on the stylus to slow it down. Nowadays software does everything. Technology gives you more options to overdub and mix. Technically records are superior these days but Andy feels they’ve lost something, the feel and groove and contact. My last album was recorded in two days! In an ideal world I would have liked a week to do it but the whole thing is a live performance, it’s all about the preparation. Realise the spiritual nature of people, that’s Andy’s philosophy. Trust your intuition, be honest with yourself. The consensus was that music is a healing thing and a lifelong learning experience.

Andy has more projects coming up in the near future, for example, he is looking at making a funk/blues album, he has heaps of songs! I listen to all kinds of music. I steer away from modern pop, I know it’s all quantised. It is a way of crafting but I like humans and what they do. In some ways we are isolated by technology, emails and the likes. What happened to picking up a phone and chatting?

For more information see website: andygunn.net

For videos of the show see link www.facebook.com/andygunnmusic

Discography

Too Many Guitars To Give Up Now – 2017

Miracle Of Healing – 2014

Bonar Bridge Sessions – 2013

Steamroll – 2012

Regional Variations – 2009

Flipflop Kinetics – 2001

“Stay away from drugs and women, work hard but enjoy the journey and treat people with respect and remember there’s more to life than music, be yourself be true to your art”

Continuing to swim upstream Catfish

Catfish are certainly one of the bands of the moment. The last few years of constant gigging up and down the country, winning new fans one by one if necessary, is paying dividends. Now in demand across Europe and a mainstay on the festival circuit the world appears to be their oyster, if catfish and oysters go together. I think it’s fair to say that gifted young guitarist and mostly frontman Matt Long is a large part of the reason for this continuous growth. He has a real zeal in his performances and with youth on his side one can only speculate how far his talent can take him. Of course, Matt is only part of the Catfish story, he is ably supported by Dad, Paul on keys and vocals, drummer Kevin Yates and recent addition Adam Pyke balancing up the age quota on bass, but I was keen to talk to him to get his take on all things Catfish.

Hi Matt, how are you keeping? Good to catch up again. Hello, Steve. Yes, really looking forward to doing this.

So Matt, I just wanted to touch base with you and find out about where things are at because obviously the recent Broken Man album, pardon the pun, has broken you to a new audience. You’re playing stacks of gigs and working incredibly hard. Absolutely, 100%. It’s taken us to places we never imagined, in the same respect the previous album So Many Roads did the same. We never really expected too much from it, initially recording it just to sell at gigs. That really helped us and now Broken Man is doing the same again but at a whole different level. It’s just been such a great ride, it really has.

It certainly has. Earlier this year you played quite a few shows in

Europe. How did that go, was it everything you’d hoped for?

Oh, and more, a dream come true really. I’d dreamed of playing abroad since I was a kid, from when I first learned to play. To do all this in the past year, we’ve done so much, Holland, Spain, Greece, Germany and Luxembourg, so many places.

Have you got more European dates coming up?

We have more confirmed for next year. We’re going back to Holland and hopefully some others. Just awaiting confirmations.

Are you looking at Festivals more now?

Festivals are more of a Summer thing and are great at introducing us to new places, Belgium was a recent one. We played a massive festival, and everyone seemed to love it. We’ve had interest from Germany for festivals too, so fingers crossed.

Verbals: Steve Yourglivch Visuals: Laurence Harvey Photography

You certainly always seem to have a long list of upcoming dates. You’re obviously working hard, I know the other guys are a big part of things but Catfish is also a big family thing with Paul on keys and your Mum, Fiona, managing the band and doing an amazing job. Does that ever take its toll, bring added pressure or do you see it as a benefit? I don’t think any more than any other band, I feel. When we’re on the road Paul isn’t my father, he’s a band mate and we work together. And when we’re not it switches back and forth.

perspective which I find fascinating. We cover the Foy Vance song Make It Rain and I don’t really know what it was written about, but to me it’s just an outpouring of emotions.

That track has become a big favourite in your live set. And for me, I love playing it. It means a lot to me and everyone we play it for. It’s great people have their personal connections with it.

He’s obviously been a big influence on you musically and introduced you to lots of things. Absolutely, without him I wouldn’t be into this kind of stuff. He introduced me to blues at an early age and I was hooked. From there I progressed to rock and metal.

That’s interesting because I find most people go the opposite way. Lots of youngsters are into rock and metal first and discover blues through that. Blues have influenced virtually every genre of music. I think whatever music you’re into you should listen to and get an understanding of it.

That shows in your playing. I remember, when you brought out the BB King EP, thinking how impressed I was by how you got into the real feel of those songs. Lots of young players try to emulate that but fall short. When you’re writing your own songs or covering songs you have your own interpretation of what it’s about. So, if you’re covering a song you can put yourself into those situations of feeling down or being mistreated. When you write you know what it’s about, but it won’t be the same for every listener. It’s all about

You touched on singing and vocals earlier. Most people think of you as a guitarist first and foremost but vocally it gets better every time I see you, what you do suits the music perfectly. Is that something you’ve had to work hard on? Yes, I think I was 15 when I first started to try to sing. If I’m honest the main reason I started was because I had to. I was starting bands and no one else wanted to sing. I started out just giving it a go, and here we are eight years later still giving it a go.

Are you comfortable being the front person?

I didn’t at first because I’m actually quite shy. I’ve grown to appreciate more and enjoy the persona of frontmen who have respect for the audience. I try to emulate that in some shape and I’ve gradually got more confident with it. I’m no longer nervous before going on stage. With experience, the more natural it feels.

It must have been daunting in the early days because you were the youngster in a band of older more experienced musicians. Yeah, it was. I was nervous and felt out of place. I loved doing it but never really thought it would be my role but apparently it is. I was very nervous in the early days but I have a more natural affinity for it now.

You always come across as being comfortable and enjoying the role and that always transfers into the audience as well, doesn’t it? That’s one of the things that helped me through it. I always feel if someone

Here we are eight years later still giving it a go

leaves happy I’ve done my job. That helps me get over any anxiety I might have had. Just to connect with an audience is an astounding feeling.

I believe you’re working on a new album now as well. We are, yes. We are almost done writing, only about one song away. We’re also recording as we go so lots of it’s recorded already. Maybe seven songs so far. It’s a slow work in progress but it’s definitely coming soon. It’s a case of we’re almost too busy to just sit down and finish an album but I love playing live so I’m not complaining. We can knuckle down towards the end of the year and get it finished. No promises on a release date but definitely early next year.

What should we expect? A similar vein to Broken Man or are there any surprises? The main thing we wanted was not to make Broken Man 2. We want it to be different, we’re all in different places and doing different things now so the album should reflect that. Plus of course we have a new bass player in Adam. He has a different way of writing than Dusty the previous bassist did. He’s more into progressive and technical music but has a deep love of blues too. So, I’m writing songs with him now.

Is the writing a band collaboration or mostly you or Paul writing individually? It’s a little bit of both. Mostly Paul or myself would come forward with around 80% of a song and bring it to the band to fil in the gaps. On this one, though, I’ve made a point of trying to be more collaborative as a band. Mainly between Paul and myself and Adam and I. It gives the album a more even feel, I think. If you listen to Broken Man all of my songs have the extended guitar solos etc, you can guess who wrote what without looking.

You mentioned Adam, I know the two of you have a hard rock project as well. We do. It’s a bit of a solo project. Songs that I’ve written going way back to when I was

about 15 as well as more recent things. It’s definitely a rock band. We’ve also got Kevin Hickman on drums who played with Raveneye alongside Oli Brown. They are two of the best musicians I’ve ever worked with. The project is really fun, but I want to work with it and develop it into something. I want to cover all my bases cos I’m a huge fan of rock and metal music too, so this is my outlet for that.

Also, you’ve been to Russia recently too. That must have been an experience because you went and played with local musicians. It was an amazing experience. I had no idea what to expect. Boris Litvinsev invited me out and organised everything. It’s so much fun. The musicians were fantastic and had all done their homework. I hope I have the chance to go out and do it again. The audiences were really respectful and bought lots of merchandise. We played a few of the Catfish songs I had written but some from my solo stuff, we were just talking about, and covers. They were so good I was able to just relax and do my thing. It was interesting doing the Catfish tracks without a keyboard player. I had a wonderful time.

Sounds like you are in a really good place at the moment.

I am. I’m so grateful to everyone who is supporting and helping. The plan is really just to keep doing what we’re doing and see what comes with it. I am going to the Czech Republic next year at some point to do a similar thing to what I did in Russia, looking forward to that, three weeks, 14 gigs in 16 days.

Discography

When BB Sings The Blues EP – 2016

Tea, Tones & Tunes

Doyle Bramhall II

With a new album coming out on Mascot, titled Shades, it seemed like a good time to catch up again with the artist after he flew in from sunny California to overcast Shoreditch for press sessions. Pete and fellow guitarist Colin Howell grabbed a beverage and joined Doyle at his hotel to talk about the new record.

Doyle, welcome back to London. We last saw you and talked with you at Under The Bridge, here in London. Yeah! That was fabulous.

What did you think of the sound in that room?

I liked it actually, I thought it sounded really good.

Things like the Fender Rhodes tone sounds and carries very well in that room. Yeah, it sounded good on stage, for sure. And that’s actually really important to me. You know how it is when people say, ‘It sounded good out there,’ but if it sounded terrible on stage, well it’s not very inspiring!

We’ve both been on stage for many decades and somehow, technology doesn’t always come right. No, and I also think that of a lot of music venues, there are certainly venues that put other things first, before the sound quality. Before the acoustic properties, its maybe not a priority.

Like the drink prices. Yes, drinks and merch! Like, the merch, the furniture has to be the perfect set-up ahead of the speakers being ideal, y’know?

Quick tangent, how do you feel about people filming you on their cameras and tablets?

(Considers) It depends, I guess.

I’m thinking right close up. Ah! No…(laughs) not unless I’m playing like s***!

Excellent! Pavarotti never said that...I’ve been listening to this album man and I’m a bit hooked on the first track, Love & Pain. I was re-stringing a guitar and playing along and I kept going into Machine Gun (Jimi), it’s that dark vibe. Hmm, good. That’s cool. It’s about a shooting but more than that, how commonplace that is now, everywhere, internationally.

The setting here is very stealthy which is something you have a natural feel for almost leaning on a Superfly soundtrack ambience and shadowy. Yeah, I guess so, Blaxploitation, I guess I was sort of thinking a Curtis-y thing on the song, agreed. But even maybe a little heavier with the guitar.

The bridge sounds like Stevie Wonder, it’s brilliant. (Smiles) Well you’re the second person to say that, Eric was the first!

Verbals: Pete Sargeant & Colin Howell Visuals: Alysse Gafkjen

OK, I’ll accept that, and on this you’re using my favourite thing, Reverse Delay! Well you know, it’s kind of a funny thing for me too, it’s a Hail Mary, to me! Sometimes you’re sort of thinking at a point in a song, well what can I do? And a light comes on, reverse it? Let’s try that and it always works out! Like, hey THAT’S what I’ll choose here!

I stole that from Harvey Mandel, he would bend a string then pick it then let it return to the tonic, getting a sneer thing. Reverse Delay these days makes it very easy to hit the sound, lots of others ripped the tapping thing off Harvey, just listen to Shangrenade. Oh really?

Yes, Eddie would watch Mandel at Hollywood clubs. Hammer Ring, did you tell your drummer to play like Ringo Starr?

(Laughs) No! I had that song, it was part of this record idea I had conceptualising years ago, probably around 2005? I was planning on making this album that had all the songs that I was working on, work songs and spirituals, and like prison songs. Chain gang stuff. They were all acapella. They weren’t done to music.

Do you mean like John

The Revelator style?

Yeah. Exactly that kind of stuff. Then I wanted to do my interpretation of those songs, but with music. And, I actually played some of those for a Crossroads event, 2007 or 2008 or something, in Chicago. We had double drums, guitar and bass, but mostly just vocals. Though it was all very cool, I never released it. This was one of the songs that I had recorded, just as a demo. I just rerecorded it with two drummers out in Los Angeles. Ringo wasn’t in my mind, but chain gang sledgehammers were!

Everything You Need has Eric on it. With these wah flickers. Reminds me of one of his best things, on a Curtis tribute set where he does You Must Believe Me. Yes, I know that!

What made you invite him onto this song?

I had finished writing the chord progression and I went to Brooklyn and tracked it with my live band of that time and when I finished tracking it, I just kept thinking to myself that Eric would really like the song. I just called him up and asked him if he’d like to play on it. He said ‘sure’.

Yes, it’s got this gentle but insistent vibe, hasn’t it? Well for me it was very Sly Stone-influenced. There’s a song on an early album Whole New Thing. On that record there was a song called Underdog, I just wanted a song in that style. Eric’s a big Sly fan too, I thought he would connect to that.

There is a complete twist of style then to London To Tokyo. Sounds to my ears like travelling music with a hint of reggae notwithstanding the title. I love the strings on this. What made you put the waltz tempo thing in here? Ah! When it comes out of the verses? That’s just the way it came out as I was writing it. That’s what naturally evolved, I guess.

Click tracks have virtually killed off the great tempo changes style. (Ponders) Yes! It just wouldn’t work to a click the strings are by Adam Minkoff who does a lot of my string arrangements. Also plays bass, and keyboards in my band, all sorts of things. I actually wrote that song with this songwriter from Chicago, she’s what eighteen years old, and I produced her band. Her songs really spoke to me. I wanted the song to have elements from my travels.

There was a lot of that in the previous album. Yes, definitely the in-motion thing. I think this one has that factor to it, too.

Have you ever produced Norah Jones? No.

Here she is singing on Searching For Love, and playing piano?

Doyle Bramhall II Shades

Mascot / Provogue

It is evident that for any releases under his own name, Bramhall has his own sound, arrangements, compositional direction and execution. If you have seen Doyle with Eric Clapton, don’t go thinking you’ll be hearing anything similar to his veteran employer’s current output, Bramhall matures but retains that young gun vibe, especially in the studio. This is down to the fact that he plays with a range of people e.g. Wendy Melvoin, Erykah Badu, Sheryl Crow, Tedeschi-Trucks. I even have a live Fabulous Thunderbirds album from way back where Doyle is alongside Jimmie Vaughan! His exposure to such variety gives him a stack of modes and boy does he use them! Starting cut Love And Pain hits a moody mode from the off, Doyle sounding under pressure as the electric soul spins its web. The ensemble vocal arrangement, that snaky guitar sound is haunted and even glides into reverse delay later in the piece. Curtis Mayfield sure left a mark on this cut. On to the edgy and emphatic Hammer Ring with its nod to sounds of the East and again that unique singing. Everything You Need does have a cameo from Clapton and has a gentler tempo, more winsome. There is air in this music, it’s not ‘wodged’ up with synths.

Yeah, we recorded that song live. We sang that live in performance as well.

Is that a single?

I don’t know, I have no idea. Maybe?

That’s a kind of suggestion. Hey! Well I would like that, yes. For me, it would be.

Live Forever, I don’t know these Greyhounds, are they from Austin? Yes, that was a quick song that we just threw together. Just because we wanted to work together. That was the first idea we came up with.

Works well in the programme. Yes, I think so. It’s a real unexpected

London To Tokyo rolls along with dampened guitar chords lending a twist of the Caribbean and some tempo-changing (see our chat) whilst Searching For Love is a rather desolate item, vocal upfront and a guest vocal from Norah Jones, no less. Utterly beautiful! Live Forever brings in Texas band Greyhounds who hit a Georgia Satellites groove giving the collection a very different interlude. Catchy tune, this. On to Break Apart To Mend being a stark ballad taken steadily. She’ll Come Around is a real grower and would suit Boz Scaggs it’s that good. The Night is very different, night music indeed. Bramhall makes his case in his best pleading voice as the tempo syncopates and settles again. A heartbreaker, this one. Parvannah has its own inspiration and mines a mystic mood. Consciousness is a fresh folk-rock composition that could have come from Jackson Browne. Closer Going, Going, Gone, entrances the listener with its majestic chordal progression and the TTB joining Doyle for the semi-gospel vibe. More richness and variety on this than 90% of releases but the mix never swamps the vocals. Lad knows what he’s doing.

Pete Sargeant

thing. We were just trying to create something that was Austin-like, in impact. But it sounds a bit more Beatles-y, to me!

New York, more. Yes, garage-y!

Break Apart To Mend, it’s quite reflective, is this a key track on the record? It does feel that way to me, too. Especially if you look at, y’know, people release albums with a couple of up-tempo things and then you have a ballad. If I was to choose a ballad, well this would be the one.

She’ll Come Around is a lovely song. Seems to be about loss but maybe an undercurrent of hope?

So, we had some shows that were scheduled on a European tour last year at the middle or to the end of Summer that got cancelled, and basically, I was stuck over here with my band. So, to not have it be any kind of loss, I booked a studio in Hamburg that was fairly cheap, and I just took my guys over there as it’s too expensive to stay in London for that length of time. We had another tour coming up, so it filled the gap productively. We recorded She’ll Come Around and Parvannah.

There’s a kind of sonic oasis feel about them, a spiritual breather. They are connected, especially lyrically. Parvannah was an eleventh-hour lyric. Musically it was ready. It so happened with the lyricist that a friend of hers had committed suicide a week before and she was still reeling from that, naturally. These are heavy lyrics needing a good home. I told her that a Persian kind of name would be right for the number. The name was in a beautiful documentary, in fact.

There’s a motion in Persian music, a rise and fall in the progression which is in itself calming. Zappa tapped into it, at times. Yeah, definitely, It’s there. I spent a lot of time in Morocco and musically there is an element at work that is very Persian.

There’s a mystic sound to The Night but you’ve used a Leslie’d tone on that. A nice time signature change, too. This lifts you out of automated music into something of your own, doesn’t it? For me, I think that it makes it interesting. It’s not in some kind of formulaic shape. Or in some kind of a pattern that is known, familiar. Music to me should be free-form when it can be. The stuff that I grew up listening to and the things that move me were songs like Happiness Is A Warm Gun.

Dammit! I was about to suggest to you that there is a streak of George Harrison in what you are currently creating! Well…it’s funny because my biggest influence

in my songwriting is Paul McCartney. BUT I had gone on this George Harrison run where I was indeed listening to all of George Harrison’s stuff…while I was making this record.

You’re not winding me up? I could sense it was there, and I guess this is why we meet and speak.

(Acidly) So, you’re a journalist AND a psychic?

Psychotic.

(Laughs) So, you must have tapped in to that just listening. But then track 11 which is Consciousness was under the working title of Ram Song and it was me trying to do a song that would fit on that McCartney record, probably my favourite production ever on a record was Ram.

I would have liked to put you in the studio with Jimmy Miller, that Traffic vibe, anyone who likes Traffic could get into Shades. Yes! I would hope.

‘Cos it’s going for spiritual connection, without preaching. It is what it is, it’s the songs as they come through me. Recording whatever comes up. They bubble up inside me and I put them down.

Discography

Shades – 2018

Rich Man – 2016

Welcome – 2001

Jellycream – 1999

Doyle Bramhall II – 1996

Eamonn McCormack

Trevor Hodgett Visuals: Katja Kuhl

The inclusion of ‘No Airs And Graces’, a tribute to Rory Gallagher, on Eamonn McCormack’s current album Like There’s No Tomorrow is very apt, for the Dublin guitarist has always been a Gallagher devotee.

“Rory was my first and biggest influence,” declares McCormack. “When I was ten, I discovered my sister’s Taste albums and then I saw Rory on TV, on Rockpalast or something. I remember he broke a string and continued playing and I was just glued to the screen. I discovered Clapton and Hendrix after him, but Rory was always my hero.”

Perhaps surprisingly ‘No Airs And Graces’, which was co-written with Edwin Williamson is a reflective, acoustic song rather than one performed in Gallagher’s characteristic blues rock style. “That’s because I was trying to portray what he was like,” explains McCormack. “He was a beautiful spirit, really down-to-earth, with no ego and, like the song says, no airs and graces.”

The two men actually became friends and Gallagher guested on ‘Falsely Accused’ on McCormack’s 1995 Strangers On The Run album, which was released when McCormack was working under the stage name Samuel Eddy. “I’ll never forget that,” reminisces McCormack. “He plugged in and the whole studio shook, there was so much emotion in his playing. He was brilliant, and he just rocked the place.”

Gallagher died several months later from complications following a liver transplant. His failing health was by this stage apparent. “Yeah, he was drinking,” sighs McCormack. “Not as much as some people I know, but some alcoholics are married, and the wife has a meal for them every evening and makes sure they get lunch and that soaks up the alcohol or

something. But Rory didn’t eat right. He’d only pick at food. And then because of the pain in his liver he was on medication, but medication can cause terrible trouble. So, the last year he went off the wall a bit. It’s sad. The last few concerts he did he was bad, but that was after thirty years of fantastic concerts.”

On one track on Like There’s No Tomorrow, ‘From Town To Town’, McCormack sings of leaving his home in Dublin and the joys of life on the road in America. The song is autobiographical. “Absolutely, I spent nearly four years in America and I learnt a lot. I lived in Boston, New York, Chicago, Detroit, Los Angeles, and in L.A. I was playing in an offshoot of Canned Heat called The Heat Brothers. It wasn’t until twenty years later, when I was on tour with Walter Trout in Holland, that we realised that I had actually replaced him! He knew that the guy coming in was nicknamed ‘Irish’ and I knew that I replaced someone who had gone off to join John Mayall. He said, ‘So you’re ‘Irish’!’ And I said, ‘So you’re the guy who went with Mayall!’ We couldn’t believe it.”

McCormack returned to Ireland from America for personal reasons. “My mother had passed away, so I came back,” he explains.

Working as Samuel Eddy, McCormack became successful on the continent. In 1995, for example, he toured Europe with Johnny Winter. “I learnt a lot watching him play and hanging out with him,” he reflects. “He was a great guy and one of my favourite guitarists. Rory asked me, ‘Were there times when he was a bit more in the now and really taking flight?’ And I said, ‘There were, actually.’ And he says, ‘Treasure that, Eamonn; then you got the real Johnny.’”

Winter, of course suffered from terrible addiction problems. “When we were on tour, he was clean,” insists McCormack.

Verbals:

“They had him well under control. In the evening he would drink a couple of whiskies, but he was off the heroin.”

Despite his success McCormack stepped back from his career as Samuel Eddy in 2002. “I was tired from touring and everything, and I just said, ‘I need a break, for my health,’” he explains. “It ended up longer than anticipated, but it was the best thing I ever did. I came back fresh and with a different head on my shoulders – basically I don’t drink at all on the road now because if I try to tie one on some evening it wrecks my voice. If I have a night off, then I might let my hair down and have a few beers but twenty-five years ago, I’d be arriving at festivals and have no problem with starting drinking in the afternoon. So that’s changed – you end up in trouble if it doesn’t.”

McCormack temporarily changed careers. “I had a record label, True Talent, developing young artists and we had some hits in Ireland,” he says. “But I knew I’d go back to touring. And then somebody asked me to do a festival in Holland, in 2009. I got a standing ovation and went home and said, ‘OK, the break’s over!’”

He relaunched his career under his real name. “I just decided, ‘Feck it, I’ll be Eamonn McCormack.’”

Apart from his guitar playing prowess McCormack also sings well. “I met a vocal coach in Dublin who said, ‘Look, Eamonn, don’t try and be anyone but yourself. You write great stories in your songs: just sing the story.’ That was ten years ago, and it put me on a different path and I started to improve.”

McCormack is an interesting songwriter. Again, he credits Rory Gallagher as an influence. “He was a wonderful songwriter,” he enthuses. “Even Bob Dylan is a fan of him as a writer. If you look at the great songs Rory wrote, like ‘Shadow Play’, they’re away from the 12-bar format and he wrote great stories, not just the usual, ‘My baby left me.’ And I was into singer-songwriter stuff as well like J.J. Cale and Neil Young. I always liked writers.”

Like There’s No Tomorrow was produced by Chris Tsangarides who had previously worked with the likes of Black Sabbath, Gary Moore and Thin Lizzy. “He was a great producer and I’d wanted to work with him for a long time,” says McCormack. “Sadly, he has since passed

away, but it was a pleasure to do it with him.

“I had said to an agent in Germany that I had never done any acoustic material and he said, ‘Why don’t you make a double album, acoustic and electric,’ so that was a new idea. I then hooked up with bassist Jonathan Noyce, and drummer Darrin Mooney from Gary Moore’s band, who contributed hugely, and we went to Chris’s studio and recorded it in two weeks, including mixing. You’ll always look back and think, ‘Awe, I could do that song better now,’ but I’m very pleased with the album.”

One song, ‘Writing’s On The Wall’ is effectively a warning to America. “I never usually get political,” he laughs, “but it hits home when I see the gun laws, and that it seems like nobody wants to change, and the country seems to be dumbing down, and the educational system is terrible, and there’s so much poverty although it is a rich country.”

On another song, ‘Internet Star’, McCormack vents about the proliferation of young musicians posting videos on YouTube. “There was a young American kid a few years ago, maybe ten years old, sitting on his bed doing ‘Voodoo Chile’ and the comments were all like, ‘He’s the new Hendrix’. I mean, it’s great, he’s got all the licks, but all these young people are basically just doing Hendrix or Stevie Ray Vaughan or whatever. And it’s one thing to have their mother video them but there’s another border they have to cross: they’ve got to actually get out and play live.”

‘You Take My Blues Away’ is written about McCormack’s daughter. “That was Lucy, my first kid, who is five now and I now have a little boy, Tom, as well,” he says. “I started late in life and I realised, ‘Well, I’m not so important now.’ That would have been good for Rory: I think he would have survived longer if he’d had something to come back to.”

The album also includes a cover of Gerry Goffin/Barry Goldberg’s ‘It’s Not The Spotlight’. “The first time I heard it was when I was seventeen, from a Dublin guy Red Peters, and I always used to think, ‘I must cover that song.’ And when I came to do the acoustic stuff on this album I thought, ‘I’ll do it and play mandolin on

it.’ I like the recording, but I’ve done it live since and I think I could do it better now.”

McCormack also covers, again acoustically, Jimi Hendrix’s ‘Angel’. “I’ve heard quite a few artists do electric versions, like Rod Stewart, but I did it at a barbecue and a lot of young people said, ‘That’s beautiful, who wrote it?’ And I thought, ‘Why don’t I do a solo, stripped down, bonfire/barbecue version of it? Nobody’s probably done that.’ It was just one take: I just went ‘Bang!’ and did it.”

There is, however, no song on Like There’s No Tomorrow with that title. “This guy said, ‘You play like Rory and like Gary Moore, like each solo is the last you’ll ever play. You play like there’s no tomorrow.’ And I said, ‘That’s a great name for an album!’ And also, with the world the way it is, with the likes of Trump and North Korea and the possibility of war, I just thought, ‘Well, it is like there’s no tomorrow.’ I did plan to write a song with that title, but I never got around to it!”

As a guitarist McCormack believes in improvisation. “I improvise my live shows completely,” he says. “When I hear shows back, I’m saying, ‘What the hell did I just play there!’ A lot of blues players can be formulaic. It’s the same every night. But I learnt from Rory who improvised and made every show different.

“And in the studio a lot of the takes, are live. You do the first take and get a great vibe, but you say, ‘I can do better.’ Then you do something else and then you say, ‘Let’s put another track down’ and you go through all that and then you think, ‘What the hell, the first one was it!’ Because you were just going for it.”

Discography

Winding Down and Playing Up

The Pretty Things

Part One

After what seems a lifetime, the band are winding down, giving up the crazy dash in the music lane and looking forward to a well-deserved time of relaxation and less hectic life on the road. A band we’re all gonna miss, Pete Sargeant caught up with Phil May for a chat about the past, the now and the road ahead. Efforts to arrange a catch-up chat with the group’s singer Phil May are rewarded, as he and Pete meet once more in London to talk about the rebellious band’s achievements and personnel over its colourful history

Verbals: Pete Sargeant Visuals: PR & Madfish Records

Phil, how are ya?

I’m OK. Good to see you.

How was the Hailsham gig on Friday?

They were a lovely crowd, really nice little theatre. It was sold out. Must be one of the few in the country that has been saved. Apparently, it was a pile of rubble. What normally happens is that allows the bulldozers in and promises are made but not kept. But they somehow got a grant to rebuild it. So pretty extraordinary for that to happen.

Well you do occasionally get some places like that, the Capitol at Horsham is a neat venue. Don’t know that one. We hadn’t played Hailsham before.

Brighton’s a great place to play for an audience, but parking down there is a real pain. That’s right. But the Komedia we’ve played and that too was lovely

So, are you looking forward to the further European dates?

Well, we’ve done quite a few. We’ve done France… and Germany, Switzerland. Australia we’ve done. Then on Wednesday we start in Holland and then we go on to play Scandinavia. Come back and do more in Germany. Then Spain

Germany’s always been a good place for The Pretty Things, Phil. Oh yeah! A good place for British Rock, I think. What they do is, for a long time, they give punters good value for money. Great facilities, great bars. Whereas in our places it’s often like someone has borrowed the venue and couldn’t do anything to it, as it wasn’t their venue. Germany though, they’re all purpose-built places, often run by the councils who have put money into them and they have decent PAs, good dressing rooms, production values they maintain. And anyone that goes there gets a very good deal.

My friend Maggie Bell plays out there with the Hamburg Blues Band boys. Phil, the Things are coming to the end

of this fabulous cycle..you’ve outgunned The Beatles and likely the Stones for numbers of gigs I would think..what do you think are the main achievements of The Pretty Things ? it’s a lot more than longevity, to a fan like me: (Ponders) I think, and I hope that integrity is major, in terms of what we’ve turned out. I was talking to Mark St John the other night and, you know, when you decide to make an album – it should be when you think you have something to say. Now the Pretty Things have never been forced into making an album. We only do it when it is time for us to say something.

And they’re all different! Precisely, and we kept moving, developing and to the irritation of quite a few record companies. And also – to be fair – to some fans, I would say. Initially, when we went in our psychedelic direction, we had a lot of fans saying they didn’t want to touch it!

I guess I was really ready for it, I was maybe the right age group… I read a thing with The Byrds’ Roger McGuinn, and he said albums should be like editions of a magazine, always changing… Yes, and otherwise you go stale, no new numbers to play…my old adage is that if we can’t entertain ourselves, what chance do we ever have of holding an audience’s attention?

The core is the stage performance – I know straight away when an act is enjoying performing, being creative as against going through the motions. Well, we’ve had moments where we’ve almost hit the buffers. When we came back from America after the second Swansong album, where we had ended up with half a tour and we sat in Lafayette in the middle of America, watching the record fall out of the charts. When you slip down that mountain, going back up again is not a given, it never is. All the radio plays we had attained, it was really sad because one place we got to, we got very stoned that night - the guy working for Atlantic, he met me off the plane – in

Atlanta, I think – and I was getting my suitcase. In this case it was the Crosstalk album, we got stitched up. We got on really well, nice guy, and we went to the radio station, did all that stuff. Then we went out that night, suitably catered for and about three in the morning he suddenly burst into tears. Saying he couldn’t do this any more and when he put us on the plane next day, he’d been ordered to stop doing all the plugging for our group. It had come from New York, they were dropping the record. The money was being diverted to raising Rod Stewart’s profile. He said he felt like a traitor. It felt so bad to him. Things like that happening, y’know, you don’t get it back. Crosstalk was in all the playlists. When they didn’t support the tour it’s like you can’t replace that. On the next album that comes along, it doesn’t start off from there. It’s from down there, again. You can make great music. It’s a bit like 80% sweat and 20% talent! With the business we’re in, whatever the album is you still need a lot of luck…that old thing of being there and at exactly the right time.

I want to jump out for a moment Phil and have a word about what you’re planning for the Indigo celebratory show in December, on the 13th. Bill (Nighy) can’t do it unfortunately, due to filming commitments – it was always subject to that. But we’ve got Van and David Gilmour joining us during the show.

Isn’t it going to be hard to pick a setlist for this one?

Not really – it picks itself, in essence. We’re going to do the segment with Gilmour in the middle, most likely. Like at Abbey Road on the album you have. That will involve Wally, John and Skip who were involved in making S F Sorrow. With

Dick and I. Then with Van, we’re going to do a blues thing. We haven’t decided yet what songs we are going to do. We didn’t want an extensive lineup of guests paying homage. We want to make it breathe, be more personal. I mean, Van and us – we kinda grew up together. When we were all eighteen-year olds.

Morrison hates so much – including journalists – BUT he always rated The Pretty Things, when asked who he dug. That’s right, Pete – he’s been loyal. And also, David, too. David has always stepped up to the plate, for us. So, it was really not so much names, more close personal friends, colleagues. Who out there do I really trust, and think of as a musical friend?

In Part Two, Pete and Phil talk about the great characters in The Pretty Things story…

The Grange

• Large 4 room recording area • 2 inch analogue tape 16 & 24 track •

• Classic Studer 827 & MCI (Quior version) JH16 tape machines •

• Radar 48 track digital - 96K/24 bit •

• 80 channel analogue automated Amek Rembrandt console •

• Vintage outboard • Classic 60s & 70s microphones •

Track to analogue - copy to 48 track digital for overdubs

Mix to analogue 1⁄2” Studer or 96K/24 bit digital

No multitrack tape charges. Residential with 2 self contained cottages

Past clients include: Eric Bibb • Sari Schorr

• Danny Bryant • Marcus Bonfanti • Don Airey Wille & The Bandits

• Colin Blunstone • Hot Club of Cowtown • Eleanor McEvoy

King of Harps Giles Robson

Last year, Blues Matters! attended a talk at Edinburgh Blues Club given by Bruce Iglauer, founder of Alligator Records, one of the largest and most famous independent blues labels in the world. With a catalogue of over 300 albums of mainly American artists ranging from Albert Collins to James Cotton, we asked Bruce if he would consider signing any UK blues musicians given that, since its 1970s inception, no British resident has featured. Without hesitation he replied, “Giles Robson, because he meets my criteria of passion, originality, amazing energy and sweat; above all he plays with feeling from the toes up.” Twelve months later Giles was signed up and his debut album for Alligator is the critically acclaimed Journeys to the Heart of the Blues with US legends Joe Louis Walker and Bruce Katz. After a decade as a professional musician Giles has achieved every musician’s ultimate goal and now has a worldwide profile and a rapidly growing international reputation as the best harmonica player in the business.

You must be thrilled at being signed up by Bruce for the Alligator label given that you are the first British citizen to have achieved this accolade. How did it come about?

What is it like working with him?

Yes, I am thrilled indeed. I’ve had great respect for the label for years. I had the idea for the album and its recording was funded by my Dutch label V2 Records. Once completed, we were looking for an American partner so V2 sent it to Bruce at Alligator who loved it and wanted to release the record. Bruce and his team are very meticulous, focused and incredibly experienced and hard working. It’s a great pleasure to work with them and have my playing featured on such an iconic and historical label with a great back catalogue of music and a continued level of success.

Tell us about working with Bruce Katz and Joe Louis Walker, their

individual qualities and the making of the album and subsequent tour. They are two of America’s finest blues musicians. Both have had incredibly prolific careers and have explored wide ranges of styles, but their main love is blues and they are filled up to their fingertips with love and passion for the music and this shows in the soulfulness of their performances. It was amazing working with them, for a couple reasons. Firstly, hearing their stories to each other about their musical experiences working with the large list of legends they have performed with and been given advice from. They include B.B. King, Chuck Berry, Robert Jr Lockwood, Wayne Bennett, Big Mama Thornton, Jimmy Smith, Ronnie Earl, Pinetop Perkins … the list is endless. It really helped me add knowledge and perception of the American blues music business and the artistry of its most famous artists. Secondly, just watching their approach in preparing

Verbals: The Bishop Visuals: Mickey Deneher

and selecting the songs in rehearsal and then executing them in the studio. It was a very organic process and with this high level of musicianship, with decades of studio experience, you just soak up the way they act and perform in the studio. They are incredibly casual but focused, and very relaxed: this came across in the performances on the album. As a musician these were experiences that will last me my whole career and have made me an even better musician. In terms of the tour, I get to sit behind Joe Louis Walker’s fretboard and listen/watch him play and sing, and just along from him there is Bruce Katz, and I get to join in too. It’s a joy!

I first saw you perform at Monaghan several years ago with the Dirty Aces. Can you detail the steps in your career since then?

I’ve only gone back deeper into the blues, the soul, the lyrics, the meaning and the grooves of the music. I went back and started to really concentrate on the twelve-bar format but add my own harp style over the top and it’s been wonderful. The older I get the more and

more I respect and am proud of the blues as a musical art form. I think it grows with you as you grow older and ‘real life’ kicks in.

How did you get started in the music business and who were your main musical influences and what did you learn from them?

I first started at home in London with a violin at the age of seven, then sax at the age of twelve. Then when I hit fourteen, I picked up a blues harp in Toledo, Spain, on a school trip. When I got back home two weeks later the amazing African American blues duo, John Cephas (guitar) and Phil Wiggins (harp) were playing in my hometown Arts Centre. Man, what an introduction to blues harp! I can still remember it to this day. The chugging harp boogie that they started the show off with drove the audience wild and then the magnificent show they delivered. I got to see a master of the art of my instrument, live in person, in my own hometown. Cephas and Wiggins were on Alligator Records at that time and now I’m featured on the label some 26 years later!

What made you choose the harmonica?

Although I played the violin, and the sax it was the rhythm and funky ‘street’ sound of the harp at 14 which knocked me out. When I was playing the sax, I was in love with the horn section arrangements of forties big bands. So, I think seeing that Little Walter and Sonny Boy copied a lot of horn lines in their playing might have been what inspired me. Also, I became aware that the harp, especially Little Walter, was in terms of blues music offering even more virtuosic and varied playing than a lot of the contemporary guitar masters at the time. In fact, according to Buddy Guy a lot of the guitar players were copying Walter!

What is the best musical advice you have received?

Two pieces of great advice in terms of a blues career are: it’s ‘A marathon, not a sprint,’ in the words of Joe Louis Walker, and Ray Charles’ advice to a young Quincy Jones, ‘Every music has its own soul, just be true to it.’

What advice would you give to relative beginners on how to develop?

Giles Robson, Bruce Katz, Joe Louis Walker

Journeys to the Heart of the Blues

Alligator

This is an authentic album of mainly 1920s to 50s blues classics featuring American Grammy Award-winning vocalist/guitarist Walker and virtuoso pianist and compatriot Katz who team up with UK harp ace Giles Robson to form the ultimate acoustic blues trio. Giles deserves this opportunity because his riffs, runs, wah-wahs, hand tremolos and use of the top end of the harp are exemplary. He also plays brilliant background rhythm harp when he is not impressing with solos. Papa Lightfoot’s ‘Mean Old Train’, popularised by Leroy Carr, puts Giles in the spotlight straight away as the harmonica maestro deploys vibrato and chugging techniques to recreate the sound of a steam locomotion building up speed and slowing down. The slow blues, ‘I’m A Lonely Man’ by Sonny Boy “Rice Miller” Williamson is sung magnificently in conversational style by Walker, complemented by intricate harp and sublime piano interludes. Robson and Katz are in their element with Jazz Gillum’s boogie-woogie, ‘You Got To Run Me Down’ which also includes some neat finger-picking guitar from Walker. Next up is the slow, dark, atmospheric Blind Willie McTell composition, ‘Murderer’s Home’, Robson’s piercing and at times screaming harp

Don’t get obsessed with equipment. Obsess over the ART – the playing, the meaning of the music and how to convey that meaning through the way you play. The phrasing, the rhythm, the structuring of solos, the space in the solo, the way a band works together. Concentrate on how to present your music to an audience, move them, amuse them and get them on your side and keep them on your side.

underpinning Walker’s haunting vocals as he sings, “I got to go to the chain gang, back to the murderer’s home. I would have been in a better shape mama, if I’d have let that reckless woman alone.” The sole original track, ‘G&J Boogie’ embraces much of Giles’ extensive repertoire of lung bursting harp playing with breathtaking skill, timing and phrasing. He entertains with his imaginative solos without ever losing the blues feel. The superbly arranged ‘Poor Kelly Blues’, the rhythmical backing harp cleverly changing pace, is a tribute to Big Maceo, as is ‘Chicago Breakdown’ a piano instrumental tour de force, the lightning, nimble fingers of Katz proving that the professor is at the top of his game. Traditional, down home blues returns with another inspired choice of song, ‘Hard Pill To Swallow’ by Son Bonds, an associate of Sleepy John Estees. The glorious finale is ‘Real Gone Lover’ by Smiley Lewis, but it is the Van Morrison and Linda Gail Lewis version which is better known. The album ends as it began with a contemporary, innovative take on traditional blues which enhances the original, often forgotten, songs of past masters and refreshes them for the current generation of blues fans.

The Bishop

How much feel and intuition dictates what you play next?

You’re always thinking on your feet when playing a song, how your playing can best

serve the song, and move the audience. You just let the thinking flow constructively with your playing and don’t let it trip you up.

On your Journeys album are you tongueblocking as opposed to puckering?

Yes, I tongue block but try to play the notes as accurately, and as cleanly as possible. Good example, and where I got a lot of this stuff from was Little Walter’s acoustic playing on his later singles for Chess.

Are your harps customised or straight out of the box?

Straight out of the box: I’m a proud endorser of Hohner Special Twenty Harmonicas. They really work for me and I think they are the best model out there. They have a wonderful rich, dark tone. I can’t think of a better harp.

What is your opinion on amps and what do you use?

All I need is an amp with 4x10” speakers like a Fender Bassman or a Deville to give the bigger bottom end wound. In a duo or trio setting I use a Honeyboy amp. It’s all down to the playing not the amp really, apart from the bass tone. It’s down to the playing, the phrasing, the solo construction, etc. That’s what moves an audience.

Talk us through the process of writing harp instrumentals?

Well G&J Boogie was jammed in one take: we didn’t rehearse it. I just said to Joe we’ll keep the turnarounds the same. In my mind I wanted to keep it short, in the pocket, and visit the upper register only once. And that’s it!

There are outstanding harp players on both sides of the Pond so who do you rate and who is your all-time great, and why? Is it true that all the best harmonica players are dead?

There are many great contemporary blues harp players, Steve ‘West’ Weston, Errol Linton, Rick Estrin, Jason Ricci, Aki Kumar, Will Wllde, Dennis Gruenling, Sugar Ray Norcia, my good friends Billy Branch and Sugar Blue –the list is endless. Are all the great harp players

dead? No! However, the harp never left the blues as the guitar did because no one knew how to technically play it in the seminal popular music decades of the sixties, seventies and eighties to an outstanding and creative level like the African American masters did. So since Little Walter the harmonica has never been at the center of a musical zeitgeist like the guitar has many times over.

It is clear from your shows that you are a serious student of the history of the harmonica and its progress as an instrument from America to Europe and back again. Can you elaborate on this historical musical journey? Simply put, it went from Germany, where it was predominantly a folk instrument in the 1890s, to the USA, and then African American musicians transformed it into an incredible expressive musical instrument. It was considered a crude toy and was elevated by the blues greats to the point where Miles Davis described Little Walter as one of the greatest musically creative geniuses of his time. It’s an incredible, inspirational story of the transformation of a supposedly limited creative resource! I’ll always be amazed by what was created out of basically nothing.

What is your next project and your plans for the future?

I’m planning my next solo album and beyond that my plan is incredibly simple, just keep on playing the blues!

Discography

Journeys to the Heart of the Blues – 2018

Roller Coaster – 2018

For Those Who Need the Blues – 2016

Crooked Heart of Mine – 2012

Eric Bibb may have found the perfect formula, where his own groovy contemporary blues fuses with African roots as well as reggae and gospel

About 15 musicians of the highest calibre, Americans, Europeans, Jamaicans and two African stars, the Malian Habib Koité and the Senegalese Solo Cissokho took part in “Global Griot ” , a most unusual treat and a milestone in Eric Bibb’s outstanding career.

A chat with Keeshea Pratt

Keeshea Pratt is a US blues-lady making waves following her recent success at the International Blues Challenge in Memphis. With a big voice, cool attitude, hectic diary and a wonderful new album Believe out, she managed to find some time in her busy US touring schedule to chat with Blues Matters!

How long did it take to write and record the album, Believe?

To record all the songs, I’d say about 2–3 weeks really, we already had some songs for the EP, so we had them, and a few more. So, in fact we’d already got about 7–8 songs almost done so we did that and in total it took about two months to finish everything, and we released it in May.

So, how did the band come together, how did you all meet?

My band is very much a cultural diversity. We have a Japanese trumpet player who knew nothing about blues – she’d never played blues. In fact, she’s a classical musician, but she plays trumpet in a big band and they would rehearse at the bar. It was like an open house and we were in the area talking to them. I wanted to have a mixture of players. I didn’t want just women in the band you might think that I’m an extrovert but really, I’m an introvert, and I don’t want to deal with a lot of drama, so we have to have the right kind of mix. I don’t mind a couple of women in the band and I don’t want an all-black band, an all African/ American band, I want a variety and it all just fell in place. A couple of the musicians had been playing together for a couple of years and we had been talking to the Saxophone player, so it all came about like that really.

What was your first introduction to the blues?

My first introduction to the blues was probably at birth. As I grew up, Saturday morning would be gospel playing from about 5.30 am until 9.30 am, then at 9.30 it was the blues. Saturday was always clean up day at my grandparents and it didn’t matter what you had to do but it started with gospel first thing in the morning, then it was the blues and that was my introduction to the blues through my grandparents. I was born into a musical family.

That’s answered another question, I was going to ask if there was a musical influence in your family, because on your album there is a strong gospel feel as well as the blues. Gospel and blues are very close musically because they both deal with the soul.

At what age did you start performing?

I started performing right after college about the age of 17. I was hired professionally by an international opera singer. She wanted to do an ensemble, a professional ensemble, so I did the audition because they didn’t have anyone to do the alto and I could do the alto. They called her up and said there is a young girl here that you need to listen to. Her voice is phenomenal. At 17, this was the first time

Verbals: Stephen Harrison Visuals: Ron Fontenot

I’d ever been away from home. She sat in the rehearsal. She listened to me in the rehearsal and then she rang my mom and said, ‘I want to take her with me.’ She said, ‘Keeshea has a remarkable voice,’ and they were going to places like Germany and Switzerland. She told my mom your daughter has something in there that many people of her age don’t have. My mom was reluctant because I was fresh out of college but then she told her how much money I could make and that kinda swung it for me. So, she hired us, and we went over to Germany. We would be doing stuff like Motown and Michael Jackson and Stevie Wonder and it just so happened when we did this stuff I ended up out front. We were there for about three weeks and people started talking about Keeshea Pratt, so I had to get ready. Then life happened. Life got in the way, dealing with the pressure of life, getting married, having kids and you lose sight of the gift. The gift that you have been given, so then you follow the path and get back into it.

Was it always an ambition of yours to be a performer, to be a singer?

Was it always my desire? Definitely, from the first time I ever saw Tina Turner on television on Saturday mornings at my grandparent’s house. I just couldn’t move. The next person I saw on television was Aretha Franklin, then came Gladys Knight and after that Etta James and as I got older everything fell into place. From the age of six I knew I wanted to be a performer on stage and travel the world, learning my artistry, then I started watching a lot of Billie Holliday.

When you perform live is it with the full 9-piece band or a slimmed down version?

When we play live it’s a 7-piece band, but I also

have a 9-piece band. When we play the larger festivals we always take the 7-piece band.

That’s how I’d love to see you play. With the full band and the horn section. It’s sometimes difficult to earn enough money to take the full 9-piece band on the road. So, we always try to take the 7-piece because it’s not about Keeshea Pratt, it’s all about the Keeshea Pratt Band. I don’t like to travel without them because I believe in them. I want people to talk about the Keeshea Pratt Band not Keeshea Pratt.

I totally understand that. It’s either all of us or none of us. Correct.

Are there any plans to come to Europe or England?

We are in the process of sorting out a tour, possibly in the Spring, when we finish the blues cruise. We really want to come to England and bring the Keeshea Pratt Band over sometime soon.

Who has been the biggest influence on your career? Would it be Tina Turner, Aretha Franklin and Etta James? Most definitely.

So, who is your favourite artist of all time?

I’m not saying this because she has just passed, but it would have to be Aretha Franklin because she could tap into the world of anybody’s music from the Beatles to Stevie Wonder. Whatever she touched just came straight through the radio. I don’t think there is an artist anywhere that she did not have an effect on, from jazz to gospel to blues to rock, just everybody.

Is there a new album on the horizon? Well we are really busy with the live stuff, but we have a few songs and are in the process of writing, but we are not ready for the studio yet.

Do you have a lot of live gigs right now?

Yes, we are in New York right now and are playing Las Vegas soon and have some big festivals coming up, so yes, we are pretty busy.

Let me just say that’s it’s been an absolute pleasure talking to you and I must tell you that when I reviewed your album I thought it was one of the best albums I’ve heard in 2018. It’s a stunning album! Thank you.

You lose sight of the gift. The gift that you have been given, so you follow the path and get back into it.

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Free Once More Paul Rodgers

Is it really fifty years since our Pete first spoke with Paul, at a Free gig in Surrey? It must surely be, and after a few chats over the years the pair catch up again to talk about the live album celebrating the songs of Free and other musical stuff.

Well great to be speaking again, Paul and thanks Cynthia for fixing. Congratulations on the chart placing for the Free Spirit album, she told me how well it was doing. Yes, the label Quarto Valley have done an absolutely blinding job getting it out there, Pete. The whole package is just wonderful, put together just so. For anyone who wasn’t there, the DVD just brings it all to you. They’ve made a fine job of it.

By the way, we see your Steve play over here from time to time. Yes, you live in my old stomping ground, so you get the chance.

You still in BC?

Yes, Vancouver, British Columbia.

Well, the Free Spirit set is out and available here now, and of course there are younger followers who never got to see Free perform. Pete Bullick’s aboard? In this line up, yes, its Pete Bullick, the drummer is Rich Newman, of course, Ian Rowley and Gerard Louis G.

We see Rich drumming with the Jefferson Starship guys and with Rhino’s Revenge, he’s a popular choice! Rich is an amazing guy, such a capable player! He’s technically very adept.

And he swings. Precisely, that in-the-pocket sound. Rich has such a grip on all that.

Reminds me often of Al Jackson, in Al Green’s band. Very much so. And Free songs need that feel, Al played alongside the Hodges brothers, didn’t he?

Yes, that’s right – the Hi crew. It was amazing to me that here we are with music that’s fifty years old and yet these musicians can bring it to life, make it sound now and vibrant, and the way they play it, that’s really what triggered my notion of doing shows, purely the way they played all the Free material. For me, it really was like stepping back in time. Right back, and it was definitely the true spirit of Free. How it should sound, full of life.

Verbals: Pete Sargeant Visuals: Arnie Goodman

There are some tracks on the album that really hit home, like Love You So. What made you pick that? Well, you know all of the songs came from everybody’s suggestions for the project –

“Why don’t we do this? Why don’t we do that”? Some of which work better than others, inevitably. Therefore, we tried out a lot of things, to see what would shape up.

Part of the process. We finally came to the conclusion, if you like, as to what would make the perfect set to take out and perform. We did in fact try different things throughout the tour. The songs that are on The Royal Albert Hall performance, represent really a culmination of the whole tour, distilled, I guess. It had come around to that collection at that point. And that’s what I aim for, really. I wanted to make sure that we captured a good one. In a good place. The Albert Hall, well it’s such a great place to perform.

We’re heading down there next week for Dionne Warwick. Wow! that’s going to be a terrific show!

The other track I was really happy to hear was Catch A Train. Oh, yeah! We hadn’t actually played that one before. We kicked around a bit with it, in rehearsals. But we came to the end of the show at the Albert Hall and I just said to the boys, “Let’s just go for it…see how it goes” the audience were getting set to leave. We came back on and started it and there was a gasp! (Laughs) It was a great moment, actually.

If you remember, a few years ago you and I were discussing potential live choices for your tour and I suggested I’ll Be Creeping as an opener and some others, hence the Live in Glasgow album!

Oh yes, I do recall! Well, you know, so much of that material, me and Andy Fraser, we were writing all the time, every chance we had. We’d start a session with nothing and come out with a couple of finished songs. We just wrote constantly, we were a Lennon and McCartney thing. It was a very creative period of time.

Yes, I knew Andy very well in later years. You two are different personality-wise, but it’s that blend coming together, that mutual spark. Yes, the magic was there. It’s a shame, we drifted apart eventually. Initially though we were the very best of friends, it was just so creative, positive. Andy would come up with these amazing rhythmic patterns (Paul sings an emphatic riff) and I would be thinking “What on earth could I sing over that?” Then I just sang “Woman!” and the song was arriving, out of the air. I haven’t heard anybody do anything like that, either before or since.

He used to say to me “Give me any kind of tune and I will find the groove!” And that I think is how you made what you did together and also why he got on with Robert Palmer. (Warmly) Yeah! I loved Robert Palmer, a great guy, a fine artist. Sweet chap to know, made quality recordings over and over.

Robert knew damn well that if he hung around with The Meters and Little Feat, good things would happen in the studio. What’s your favourite track on Free Spirit?

Let me think, Pete, you mentioned I Love You So. For me, that was a very powerful song. It did actually bring a couple of people to tears. A couple in the front row, it was heart-rending. I contacted them afterwards to check they were OK, and they actually apologised. What had happened was their son had died when some sound equipment fell on to him in an accident. The song was played at his funeral. Hence their reaction. See, they hadn’t heard the song since. They were surprised that I would do it. So, suddenly, there they are hearing it live. It just broke them up. The music has a lot of history to it.

Whew. I thought Fire & Water was a good performance. Yes, it was, and it was nice when I said to Rich give us a drum break here as opposed to a drum solo (Laughs). There’s a difference! It had a lot of power, just that.

Reminded me of Mickey Waller, Jeff Beck’s drummer who I did some gigs with and I asked him about the coda-break on I Ain’t Superstitious, he shrugged it off as “just a fill” but…it’s classic! Oh wow! I just LOVE that Beck record Truth, the whole album, who was the bass player?

Ronnie Wood

Yes, and on that Rock My Plimsoul and it was so fabulous! They just syncopated together, so very well. What a group. I think that Jeff Beck Band, with Rod Stewart. Oh and…

And Nicky Hopkins who had been all over the first Who album, uncredited. That’s right! He was on there too, I saw the band at The Marquee. Those recordings back then, they set the bar. That’s where it was at, it was a very powerful influence on Free, we aspired to sound that good, Koss found it so inspiring, well, we all did.

Discography

(only studio albums listed)

Heartbreaker – 1973

Free At Last – 1972

Highway – 1970

Fire and Water – 1970

Free – 1969

Tons of Sobs – 1969

Ralph McTell & Wizz Jones

It’s all too easy to think of Ralph McTell as Mister ‘Streets of London,’ an iconic song from the late 1960’s that seems to resurface almost every few years with recurring relevance, but McTell is way much more than that. With hundreds of songs, countless albums and half a century in the business, he has always been a bluesman at heart. Londoner, Wizz Jones, is another equally grounded UK bluesman who has always been involved with one of his oldest buddies, Ralph McTell. Indeed, Jones is often credited with naming McTell, due to his love of the music of Blind Willie McTell, and many UK bluesmen are reported as suggesting he has influenced their own careers over the years. Even The Boss himself, Bruce Springsteen, has been known to close huge live shows with a Wizz Jones song. Recently, the pair got back together after many years apart to record a brace of albums. Blues Matters caught up with them both for a long-overdue chat.

Verbals: Iain Patience Visuals: Tom McTell and Laurie Lewis

Speaking to Wizz Jones, a guy even the great Eric Clapton is reported as quoting as an influence, it’s impossible not to return to his own London roots, picking guitar, and being immersed in the emerging folk music culture of the early 1960’s. Jones is one of those guys who led the way, busking on the streets of Paris, finding rare blues recordings and figuring out how to work them into his own burgeoning repertoire. ‘John Hurt, Big Bill Broonzy, Sleepy John, Reverend Gary Davis, all those guys were there, putting out some incredible music. It wasn’t always easy to find here in London, back then. But there was always Dobells record store and other musicians who would turn up with something new, something different, maybe,’ he recalls.

Jones has in many ways, sadly perhaps, remained firmly rooted to the underground London city pub and folk club circuit. While others, many old buddies of Jones’, like Bert Jansch, Richard Thompson and John Renbourn have all gone on to acquire near-legendary status on a global stage, Jones has somehow managed to slip just below the radar, a fact that he wearily acknowledges with a resigned shrug. When I mention Clapton’s oft stated admiration of his music, Jones is philosophical and claims that to his own personal knowledge, he’s never met the guy or been in any way involved with him.

But Jones has always been a roots musician with a remarkable passion and flair for blues. Anyone unsure about his credentials could do no better than catching his fiery take of Corrine on YouTube to get a general idea of just where he comes from. For many years he has picked acoustic guitar always accompanied by his driving, stomping footfall, a sound and element that is pretty much central to his work and output down the years, and one that has long made him a revered festival, live-gigging performance musician.

He talks about the huge difficulties in working as a musician these days, in a digital age,

difficulties that have always been evident, he believes: ‘I don’t know why I still go on. I can’t afford to retire, I suppose. I don’t have a pension to fall back on. There’s never been much of a living in this really. And as I grow older, it gets harder. I’m nearing 80 now!’

His latest work with Ralph McTell, whom he first knew as a great, close buddy, and worked with back in the sixties, has led to the release of two recent albums, About Time; and About Time Too. Both feature a range of tracks that cover most acoustic bases from straight-on folk and general rootsy music to outright acoustic blues. Jones is clearly delighted to be once again working with his old mate after all the years apart: ‘I’ve known Ralph for ever, it feels like. In many ways these albums with Ralph could be seen as the highlight of my own career,’ he quips, with more than a hint of serious irony.

Of course, it’s inevitable that our chat turns to the extraordinary live set by Bruce Springsteen in Berlin in 2012. The Boss closed his set on the Wrecking Ball tour before an enormous, full-auditorium crowd, with an explosive cover of Wizz Jones’ own composition, always a liveset favourite and now an essential, When I Leave Berlin: Well that was a real surprise. I don’t know how it came about. But it would have been great, much better, if he’d actually given me the credit, said it was my song!’ he says with a laugh at fickle fortune.

Turning to Ralph McTell is a bit like meeting an old friend. I’ve admired McTell’s simply superb ragtime-blues fretwork for more years than I care to remember, and for my money, he is truly one of Europe’s finest acoustic blues pickers. And while he remains, if not burdened, positively identified by his 1960’s hit song, Streets of London, he has always turned his hand to straight-on, full-tilt acoustic blues. Most albums hold one or two traditional blues tracks and often more, with two particular releases, Blue Skies, Black Heroes and National Treasure, in 1988 and 2002 respectively, both

I don’t know why I still go on. I can’t afford to retire, I suppose.

being traditional acoustic blues releases where McTell covers the likes of Robert Johnson, Big Bill Broonzy, Lead Belly, Honey Boy Edwards and others with consummate ease, ability and an evident burning blues passion. With this background evident in his work over the years, I ask who he cites as major personal influences. The list includes many who fit the general blues fans’ bill: ‘I’ve always been a big fan of Blind Willie McTell, of course,’ he laughs before adding, ‘and Muddy Waters, Robert Johnson, John Hurt, Blind Blake, Brownie McGhee, Gary Davis. All those guys had their own way of doing it. It just grabs you.’ I mention a photo I’ve come across many times of McTell sitting alongside Reverend Gary Davis, picking a 12-string guitar, and he immediately laughs with pleasure at the memory.

‘Yea, I know that one. I met Gary Davis only once in London in around the early 1970’s, a few years before he passed on. It was a good guitar and he offered to sell it to me because it saved him having to take it back home to the US. I turned it down at the time. If only I’d known!’

McTell considers that all of his own personal favourites and influences shared at least one thing in common: they didn’t just play blues ‘…they broke the mould, they broke out of the basic blues format and changed the music.’ Leading to, as he views it, ‘…an

improvement.’ McTell usually always plays his own take on Blind Arthur Blake at his live sets with his own track, Dry Bone Shuffle, a virtuosic bit of guitar picking that echoes the searing, complicated finger-picking of Blake himself. Always a show-stopper in many ways, McTell recalls how it took so much effort to get the piece down pat, listening repeatedly to Blake and another hero, Blind Boy Fuller, till he got it down to a satisfactory level.

McTell’s general choice of guitars again

echoes, mirrors the blues sound, with Gibson’s mostly being favoured though he does smile at the thought of having a Martin signature model now available: ‘I often turn to Gibson J45’s, and J50’s, both great overall guitars with a deep, full bass sound, what’s needed for blues work. But I do have a few Martins too, including an RM50 signature model. When this project arose, Martin asked what spec I’d want or aim for. Basically, I gave them the measurements etc, for a Gibson. So, my signature Martin is a bit like a Gibson, I suppose, with a gorgeous, warm tone. I also have an absolute beauty, a 1921, slotted-head, Martin 00028. It’s stunning, a twelve-fretter. What a guitar.’

He made the 1988, Blue Skies, Black Heroes album as a tribute to all those guys whose work and music inspired him as a youngster and whose importance has always been central to his own thinking and playing. Followed up a decade or so later, in 2002,

by National Treasure, McTell this time turned his hand to picking a National Steel guitar, with its distinctly Delta-inspired slide sound. Again, the album stands as his own personal testament to the guys who fuelled his interest in blues, and who helped him find his own blues feet and passion.

In the past he has recorded at home in his kitchen in Cornwall where he achieves a singularly satisfying shimmering blues sound. He seldom, if ever, feels the urge to revert to slick studio production values nowadays, preferring to aim for a sound that is warm, soulful, with a laidback immediacy that makes the music feel right. Working once more with his old musical buddy from Croyden in their shared youth, Wizz Jones, McTell believes they have successfully created the right mix and sound that guarantees enough of a raw edge to the material while also retaining an inherent warmth and integrity:

’It was great to record with Wizz, especially after all these years. For some reason or other, we never recorded together before. The two albums were great fun to make, full of songs we both love and have known and played for many years individually. We both came out of the skiffle years, you could say, so there’s a sort of loose, skiffle-cum-blues feel to them both. I’ve never understood why Wizz has never got the recognition he so clearly deserves. I only hope that by our working together on these albums, he might get a bit more now. That would be my own hope. That would be great.’

Discography

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“This posthumous release sees Roger Hill deliver a CD-worth of the most gorgeous jazz-blues,... the magic tripped effortlessly off his fingers”

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Victor Wainwright

Victor Wainwright has been shaking the blues world for many years now. With a big-sound backing band and an always evident love of the music, he delivered a wonderful album earlier this year on Germany’s Ruf Records label. With the self-titled Victor Wainwright and the Train, he moved up a notch, registering his presence and power with a wider, global audience and an eye on the European end of the blues business.

Verbals: Iain Patience Visuals: Jan Venning

The sun almost literally blazed down on an over-exposed Colorado stage. With temperatures easily topping 30C, or around 105F as the Yanks prefer to measure it, Victor Wainwright hit the stage and set out on what was to prove to be a literally blistering live set. Based around his excellent Victor Wainwright and the Train release, this is a guy who works his nuts off on-stage, smiling, laughing, thumping his keyboard with an unexpectedly wild abandon and sheer blues focus. The packed stadium crowd were with him all the way, cheering wildly and delighted by his apparent quality, passion and power.

The stage had no cover, no shade or shadow, relief or respite from full sun but Wainwright blasted ahead, slowing the pace almost reluctantly it seemed from the sidestage viewpoint, to pour liberal bottles of water over his keyboard in an attempt to cool the thing down – a forlorn hope which led to him confirming backstage after the gig in the delightful relief of his air-conditioned, tour bus: ‘That’s another one scrapped,’ he laughs, pointing out the numbering on the Korg as being number 16 (written on its front), ‘So, my next one will be 17. It happens regularly. I have to change my keys when they become too damaged or give up on me.’ And having just watched the absolute pounding he gave number sixteen, it came as no surprise, though in this case it was the water that had mostly caused the damage, as he cheerfully explained: ‘It was just so hot. Amazing, I registered it at 105 degrees,’ he says, with a shrug of his ample shoulders, raising his hands and showing me his fingertips, which were badly blistered. When I suggest it was because of his pounding the keys, he bellows with laughter and assures me it happened because of the temperature of the keys themselves. ‘It was the keys, they were so hot, almost too hot to touch. And there is no cover here to help, so it happens.’

Now based in Memphis, Wainwright originally comes from the Deep South bluessoaked region of Savannah, Georgia, a state with a fine blues tradition and heritage. In recent years he has picked up major awards at the Memphis BMA’s with the BB King Entertainer and Band of the year, 2016, and the Pinetop Perkins Piano Player of the year in 2017, both mighty illustrations and reflections of his staying power and versatility and blues quality. Clearly more than pleased with his current career trajectory, he beams when I congratulate him and single out the beauty of his current release: ‘Wow, that’s real cool. Really appreciate that. We had a great time making the album. It all went down just so easily, it was just so good in the studio and everything just seemed to fall into place real easy,’ he explains. When I tell him that, by chance, I know the producer, Dave Gross,

personally, he is even more animated: ‘Wow, who’d have thought that? How come you know Dave? He’s such a talented guy, a great guitarist and simply wonderful, awesome producer. He got exactly what I wanted, steered us along with no hassles or problems. We all had a great time working with Dave. I’ll give him your best regards when I see him next.’

I ask if he misses the buzz of Georgia, now he’s enjoying life in Tennessee, both different states with decidedly different vibes: ‘I’m loving Memphis. Who wouldn’t? It’s got such

a great history. There’s Beale Street, for a start, there’s blues behind every door! There’s always something going down, some great music in bars or clubs. I catch what I can but don’t get out as much as maybe I could or should. But, it gets kinda tiring, especially when you’ve been out on the road, like this, here. I’m in Colorado now but we’re driving back down to Memphis today, overnight. That’s a few days just on the road. Georgia’s also great and I love that too but since moving to Memphis, I feel, well, more energised

again. It’s like a second youth, a rediscovery of the music and the passion’s right back in here,’ he laughs, tapping his chest vigorously.

seminal influence on his own personal musical evolution: ‘Jerry Lee Lewis, now he was a real influence on me and my music, I just loved his stuff, still do, in fact. And there’s always Doctor John, with that swampy New Orleans, Louisiana sound and vibe,’ he confirms.

‘But Pintetop was really my biggest, he was like family, and he just helped me so much, showed me so much, helped show me the way, I guess. I started out playing with my father, I was about thirteen or something at the time.’

And having just caught the guy’s live set, it’s hard to disagree, for this is a guy who is clearly passionately involved, enjoying himself, loving the music, the crowds, the fun and the feeling. Looking back over the past decade or so, it’s possible to see how Wainwright has moved always forward, always looking for a new challenge or area to explore and exploit. From straight-on, boogie-woogie piano styles and out-takes, Wainwright has explored the edges of roots music, always with boogie at its heart while delving increasingly deeply and happily into the blues genre. Now, he feels, he has hit the sweet-spot, where good music, hi-energy dynamic and blues meaning collide: ‘I reckon, I’m at a place where the music means more than ever before to me. It’s where I feel best, creative and confident with a real belief in myself, my great band and what the future might bring.’

Wainwright is right to feel that the band is sound; with Pat Harrington on guitar; Billy Dean (something of a Victor Wainwright lookalike, whom I initially introduced myself to in error) on drums, and Terrence ‘Sweet Tea’ Greyson on bass, this is a band that knows what it’s about and delivers roaring, boisterous, raw-edged and vital music from rock ’n’ roll through boogie to blues and general roots, an outfit with genuine power and purpose. For Wainwright himself, blues music was always likely to figure large, as both his father and grandfather were blues players and one of his own piano heroes, Pinetop Perkins, was a family friend, who also mentored the young Wainwright for some time. As a result, blues music was an inevitable destination, though he also singles out rock ’n’ roll as being a

But Wainwright is not a guy who is happy or prepared to be pushed into any particular, or single musical box. Instead, he takes an open-eared, open-to-new- ideas approach to the music and believes that: ‘Blues is whatever we want it to be…and good music is always the target, the aim.’ We talk briefly about a mutual buddy, the late Otis Clay, who also had a similar outlook and belief. ‘Yea, Otis Clay got that right. It’s like being an entertainer. It’s always gotta be the best you can give, the best performance you can deliver. That’s what this is really all about. You gotta work hard, keep the people, the audiences, happy, keep them with you. I believe that for this music to grow, to reach out to new audiences, we have to always keep pushing it forward.’

As we prepare to part company, Wainwright tells me he is hoping to hit the UK and Europe sometime later this year or early next year. He loves the thought of playing in the UK again and knows the love of music, and blues, remains strong over here: ‘Yea, I don’t know the details but I’m sure we have some dates lined up in the UK and then also in Europe. I’m really looking forward to getting back out there and having a blast, meeting new people, audiences and having a great time. Bring it on!’

Discography

Victor Wainwright and The Train – 2018 Beale Street to the Bayou – 2009 Piana from Savannah – 2005

I reckon, I’m at a place where the music means more than ever before to me.

R.I.P. Tony Chilcott Red Lick Records

It is with heavy hearts that we inform you of the passing of much-loved blues aficionado Tony Chilcott, of Red Lick Records in Cardiff, Wales.

Tony Chilcott was the Managing Director of blues specialists Red Lick Records since 2008, along with wife Julie.

Tony was a leading specialist in blues and rare, hard to find music and his expertise and considerable knowledge will be a great loss to the blues music community.

We have been asked by his wife, Julie, to release this news to let their many loyal and regular customers know of his passing. This already appears on our website.

The Red Lick office is closed for the time being and all condolences should be forwarded to sales@redlick.co.uk

If you would like to make a donation in Tony’s memory then please do so to his chosen charity – City Hospice, Cardiff, who were a great source of comfort and support to both Tony and his family.

Donations can be made at www.cityhospice.org.uk

Albums, DVDs & Books

The big blues reviews guide — accept no substitute!

Martha Fields Dancing Shadows

Independent

Martha Fields is from the deep south of America although this recording was completed in France, with her French based touring band, the musical content though is deeply rooted in a classic Americana sound, where Martha’s heart is clearly based. I’ am unclear why Martha is in exile from her homeland although this does provide her with plenty of material for her songs, two in particular are; Oklahoma On My Mind & West Virginia In My Bones, these definitely pull at the heart strings and emotions. All fourteen tracks have been written by Martha who has also produced the album to a very high standard, she is a very commanding singer who is well supported by a talented band who play the traditional Americana instruments superbly, the bias across the album is probably Country music which is not my personal favourite type of music but I did enjoy this album from start to finish, the opening track Sukey has the strongest Blues feel to it, with less twang than the others. In conclusion this is an excellent album of Americana music, all fourteen songs are strong and in some cases memorable, I cannot get the upbeat chorus of Hillbilly Bop

out of my head, as previously noted the musicianship is top notch and special mention should go to Manu Bertrand who highlights his skill and versatility by playing an assortment of acoustic instruments including Dobro, Banjo, Mandolin and Lap Steel, star of the show though is Martha Fields, if there is a better Americana vocalist I have not heard her.

Adrian Blacklee

Raphael Wressnig

With Alex Schultz

And James Gadson

Chicken Burrito

PepperCake Records

A glance at the handsome smile of Raphael Wressnig tells you all you need to know. It says he is confident of his keyboard skills, testified by winning Best Organ Player Of The Year in jazz bible Downbeat five times, four of those consecutively. It also indicates that he would have no trouble knocking out seven superlative blues / jazz cuts on one day, and this record is the result. If the tracks are sequenced as recorded, then it’s no wonder that the cheeky funky fun of Chunky Thighs soon gives way to the spell-binding Get Down With It, by which time the trio have found their groove, and move along with it

with the ease and skill offered only to musicians at the very top of their playing abilities. The musical bed for Wressnig is the peerless drumming of veteran (nearly eighty) James Gadson who has provided beats for the likes of Ray Charles, Marvin Gaye, B.B. King – the list goes on – and his concise beats and fills are the unsung but utterly essential backdrop to the mastery of Wressnig’s keyboards. Not forgetting the shimmering guitar work of studio wizard Alex Schultz, rounding out the sound with always tasteful Steely Dan-esque guitar parts. The skill here is the subtle underplaying from each musician – they can let rip and dazzle and blind everyone with how skilful they are, but they reign it in, and feed the sound and the groove, and that is where the real skill actually lies. They make it sound so easy, so effortless, that any three guys with a few hours and a studio could do this –and of course the exact opposite is the real truth that shines through this all-too-short (only seven tracks) but perfectly executed selection. If the motto ‘Always leave ’em wanting more … ‘ was the thought behind this release, then it is well founded. Perhaps they made some more music that day / night. Let’s hope so.

Andy Hughes

Anthony Geraci

Why Did You Have To Go?

Blue Duchess/ Shining Stone

There’s a problem with this review – how do I stop it from turning into a long list of names? Pianist

Anthony Geraci has played with most of modern blues’ biggest names such as Ronnie Earl, Otis Grand, Sugar Ray Norcia, Duke Robillard, Monster Mike Welch, Walter Horton, and Kenny Neal to name just a few. This release is the follow-up to the acclaimed Fifty Shades Of Blue issued by Delta Groove back in 2015, and Anthony has called on vocalists Sugar Ray Norcia (a long-time and frequent collaborator), the consistently excellent Sugaray Rayford, the torch singing blues woman Michelle “Evil Gal” Wilson, the under-rated Willie J. Laws, former Roomful Of Blues frontman Brian Templeton and the versatile Dennis Brennan. Musicians he has enlisted include most of those just named, plus Kid Ramos, Michael Mudcat Ward, Jimi Bott,

Khalif Wailin’ Walter Nothin’ Left To Lose PepperCake Records

I don’t know where this album came from but I have to say that every minute of it is classy soul tinged Blues. Walter takes all the vocals as well as some superb guitar and he is very ably assisted by Daniel ‘The Funkmachine’ Hopf on bass and Jesse ‘Dr J’ Prokopowitz on Hammond and keys. Adam Grzelak adds some subtle drums and the horn sextion adds some real groove when called

and horn players Sax Gordon and Doug Wolverton (plus others). Stylistically the music ranges from smooth 50s California rhythm and blues (try Angelina, Angelina) via New Orleans (Long Way Home) to down-home Memphis – Fly On The Wall finds Anthony playing Ike Turner to Kid Ramos’ Willie Johnson, a wonderful shuffle with Time’s Running Out which, like the lengthy slow Chicago blues of My Last Goodbye, reunites the original Sugar Ray & The Bluetones, and a detour into Blue Note territory with the cool A Minor, Affair for the finale. And I haven’t mentioned the old-time vocal and piano blues of Baptized In The River Yazoo. Oh heck, here’s another list. This album is highly recommended, extremely listenable, excellent, first class, worth your money – take your pick!

Norman Darwen

taking me in a lot of different directions simultaneously. The real Blues arrives on track 5, One Last Nerve with some Stevie Ray tinged guitar but I actually felt I would rather hear more of that great soul but instead he gives a New Orleans tinged Papa Legba’s Lounge and shows he is nothing if not flexible. Superwoman takes the listener back to the groove again and it is definitely where he is at his best. The album closer Can You Feel My Groove is divine, a disco flavored funkfest that should get the deadest bum up and dancing. I really cannot praise this one highly enough.

Andy Snipper

The Barefoot Doctors Next Patient Please

Groove Sound Music

upon. The opener is a wealth of wahwah and deeply soft vocals and the song develops into a rare trance mix that draws the ear in to his tribute to Hendrix. I’ve Made A Change is a gorgeous horn led soul number with whispering organ behind Walter’s sweet chocolate vocals and leads naturally into a dense guitar led number Why Did I Do It – think The Rumour with Ernie Isley on guitar. At this point I found myself completely unable to do anything other than concentrate on this marvelous music,

Swing, good time music, blues and jazz seem to be what the Barefoot Doctors are prescribing on Next Patient Please. A talented band that includes 5 singers, flutes, saxophones, two guitarists and a tight rhythm section, they cover a series of blues and rock songs by the likes of Ray Charles, Keb Mo, and a few leftfield choices such as Patti Scialfa’s Looking For Elvis two Sandi Thom songs, in This Ol’ World, and Belly Of The Blues which allows Myke Clifford to show his skills as a flute player to maximum effect. Everyday I Have The Blues is strongly sung by Chris Newman, who also provides much of the sterling guitar work, particularly during the ensembles reading of Eric Bibb’s minimalist Don’t Let Nobody Drag Your Spirit Down. Ray Charles’s I Don’t Need No Doctor is a jazz blues workout, showing the vocal talents of Stella Hensley, and Cristal and Mikala Newcliff of to good effect. This is a band that would suit the live stage, where they can often be found during their nationwide

tours. If this rollicking set is anything to go by, they should fill most of the dancefloors that they play to.

Ben Macnair

Layla Zoe Gemini Independent

Layla Zoe that ballsy brash Canadian bluesy rock phenomenon returns with a double-sided CD release. There have always been comparisons to sounding like Janis Joplin but she has her own unique style and interpretation of the blues genre and her sound is in no way contrived she is one of the best in the business. First side is called Fragility and is mostly stripped back acoustic guitar played by Jan Laacks and Layla’s stunning vocals. Ten self-penned tracks of raw intense emotions. The lyrics are very personal and a lot of places Layla is dealing with a self confessional at times. Every track has a message and in places the message is given with a visceral vocal it can be very inspiring and reflective to the listener and their life. So many high points here. She Didn’t Believe opens the Pandora’s Box of blues, a hauntingly beautiful song, where she confronts her own spirituality. This theme continues on I’ll Be Reborn Blues a song rooted in redemption. Turn This Into Gold has a hook to it and fine monologue. The Deeper They Bury Me is a highlight, the lyrics very powerful and politically motivated, true story about Hermann Wallace one of the Angola Three, now if that isn’t the blues there is no hope for anyone. Mumbai is a personal postcard of reflection. The Good Life is slow hypnotic blues. Freedom Flowers has a solid base. Another highlight has to be the awesome Let Go with a simple but effective arrangement with piano and searing vocals, just play it on repeat

it’s that good. Up to the Hill Country for last track Rainbow Pacman And Unicorns couldn’t even attempt to interpret the meaning behind this but has a more positive feel a love song.

Courage is the second disc and the nemesis of the first, this is full on blues rock at it’s height showing her or the blues genre split personality. Weakness starts at high level, about

Mike Zito, Vania Sky & Bernard Allison Blues Caravan 2018

It must be said, this year’s edition of the BC touring crew was a bit special. We were at the London show at The Borderline, so caught up with Mike Zito and Bernard Allison and met the delightful Vanja Sky. This CD and DVD release finds the team out at Koblenz, at the Café Hahn and dynamically charged it is, too. As regards the twelve tracks on the CD, things start with the full ensemble on Low Down & Dirty a juiced-up stomper. Then Vanja leads the group on All Night which she announces as ‘rock’n’roll’ and employs a fine biting tone with a hint of delay. Her voice is a sensual weapon, indeed. Next, Do You Wanna takes on a spiky ride whilst Married Man is a folky tune, a breathy vocal with soulful slide motifs and the group in stealthy mode. A mini-set of allure and promise. Mike then

helms the next three numbersKeep Coming Back showcases his pokey slide style, maximum dynamics being Zito’s forte. Wasted Time rocks out Texas-style and a hint of Johnny Winter, no bad thing..ever. Make Blues Not War is a Muddy style workout which I have played on stage with Zito and as usual it rocks the crowd. Enter Bernard with the instrumental In The Open and it’s a tumble of gritty riffs and subtle runs that emphasises his skill and wit as he quotes a War tune and various Freddie King licks. Rocket 88 nods to the rolling boogie material that started all this, in the early Ike Turner era. Then The Way Love Was Meant To Be a beautiful slow-funk selection with an excellent vocal that evokes Little Milton or even his Dad, Luther. So far, so impressive. The whole crew then deliver Life Is A Bitch and its choppy wah’d tread. Finally. Serious takes us on a phased and reflective journey, showcasing a Luther classic with true tenderness and a light touch. The DVD has nineteen titles including Tom Ruf’s introduction and embraces Sky’s take on Rory’s Bad Penny. Superior stuff throughout this release.

Pete Sargeant

Ruf Records

a relationship breakdown a prelude to the rocky tracks to come, full of great guitar riffs and clashing cymbals. Dark World has a great bass riff and rousing chorus full of explicit content. Bitch With The Head Of Red no holding back on this one with a classic rock twist. Gemini has a blues riff shuffle full of funk and she overdubs her vocals very different. White Dog has percussion a plenty played by Dirk Sengotta and Jan Laacks belting guitar solo. Another highlight is Automatic Gun she screams out the lyrics backed up by a tight band, heavy and in your

Charlie Wood Tomorrow Night

Perdido

The nicely expressive singer, pianist and songwriter Charlie was born in Memphis in 1967, and spent a few years in New Orleans honing his chops before heading back to his home town and playing in Albert King’s band for around a year. Having gained a strong reputation, he then had a residency as leader of an organ trio at King’s Palace on Beale Street – with the likes of BB King, Rufus Thomas, and Georgie Fame sitting in – before relocating across the Atlantic to London almost ten years ago. This album shows what he has learned over the years and just what he is capable of. Some of the songs are originals, others are from the repertoires of BB King, Howling Wolf, Otis Redding, Al Green (the Bee Gees composition, How Can You Mend A Broken Heart, recorded by Al in 1972) and Bobby Bland – yes, you might have guessed that Charlie has

face. Are You Still Alive Inside is a powerful rock ballad. The final track is Little Sister which tones down the volume taking a reggae beat, showing a mellow side, an antidote to the previous heavy side. This has been a huge undertaking of a project, which may have been better as two separate releases but it works. There is something here for any music lover so many layers and great way to discover the conundrum that is Layla Zoe.

Colin Campbell

Sandy Carroll Blues & Angels

Catfood Records

something of a talent for classic Memphis blues and soul. The opening track, which is also the title track, recalls the great Mose Allison, not just in its cool approach but also in its perfect blending of blues and soul, whilst the following number, Stay With Me, has a tinge of 70s Stevie Wonder (the ballad side) to it, though it also contains some very bluesy guitar work; the mellow One By One also has tinges of Stevie. Funky track The Good Stuff bears witness to Charlie’s time in New Orleans, and BB’s Never Make Your Move Too Soon is a fine percolating blues, whilst others lean towards a smoother jazz sound. The album closes out with a killer selection of the soulful Members Only, a refreshingly different than usual cover of Killing Floor and Otis’s intensely soulful These Arms of Mine. Great stuff!

Norman Darwen

Following three best-selling singles in the Indie Blues Charts and her last album reaching top spot in the Roots Music Reports Contemporary Country Chart, Blues & Angels marks Mississippi born singer/songwriter and keyboardist Carroll’s return to her blues roots. Wrapped In An Angel typifies an album which is full of blues themes but not necessarily presented in a traditional blues format. Sandy sympathises with everybody who has trouble and pain, calling on spiritual healing powers leading to rejuvenation, the atmosphere intensified by Will MacFarlane’s sensitive guitar punctuations. From the outset, the album has a fresh contemporary feel, with Rick Steff’s fluid keys underpinning the brilliant vocal harmonies on Soak Me In The Spirit. The ‘Me Too’ movement is at the heart of the mesmeric Don’t Like It with its powerful message. Blues All For Myself is the perfect vehicle for Sandy’s husky, expressive voice which Ricky Athas enhances with his piercing, restrained guitar solos. The temperature rises with the catchy Somebody Gotta Dance whilst Slings And Arrows is an atmospheric, enigmatic ideally suited to Sandy’s exceptional vocal range. Bernard Allison provides punctuated finger picking guitar on Headin’ Home with its clever changes of pace. The finale is a true, delicate, heart-rending love song, Mississippi Me, dedicated to Sandy’s husband. Grammy winning producer Jim Gaines deserves plaudits for the outstanding production, engineering and mixing of this highly recommended album.

The Bishop

Orion and The Constellations Alive Independent

Orion DiFranco vocals and guitar, is a former steel worker from Columbus, Ohio, who worked hard by day and practised his Blues licks hard at night. Having formed the band, they released their debut album, 10 Years, in 2016 and Alive, their follow up draws the music into a solid core of Blues and Funk rock. Primarily a trio, Jason Rau on bass and Erik Rau on drums, they have added Kevin Ashba on keyboards and this gives an added depth to their overall sound. The resulting album is a true reflection of the hard drinking, hard-working blue-collar life. Song titles reflect this, Steel Mill Poet, a song recalling Orion’s years in that industry where he recalls “It’s not about the few, it’s about the many”. A reflection on the selfishness of bosses and a challenge to get people to think of others. Drinkin’ Hole is a short song but tells the age old story of hurt at seeing your lady in the arms of another man. A solid rocker with an expanded guitar solo mid-way through. In Beauty Queen, Orion laments his sorrow at falling into a deep dark hole after spending all his money on alcohol, all because of his love for a beauty queen who got the best of him. Midnight Blues is the classic twelve bar rocker that will have the dancers on their feet in no time at all. Best track here is a slow Blues that drips with feeling and emotion. Act Of War is the classic Blues story of neglect and rejection and Orion’s playing wrings that feeling from every note bending string. Orion has a great voice, and whilst this album suffers by its length, eight tracks logging in at just over twenty-six minutes, overall, the band nail their sound to the wall.

Merv Osborne

Chris Youlden & The Slammers Closing Time Proper

So just over thirty years ago, legendary blues vocalist Chris Youlden and a razor-sharp band assembled in the studio and cut a fabulous set of recordings which only now see the light of day. At his recent Troubadour show in London showcasing many of these numbers, Chris’ voice seems stronger than ever. Anyway, we, his friends and fans can at last own these tracks. Sugar Coated Love – in recent performance – prompts a funny tale about Lazy Lester from Chris. It’s a rolling groove of a number and Youlden does it justice, with superb Malcolm Mills drumming. Number Nine Train pounds along like a Sun Studio classic, Paul Riley’s bass to the fore. I Wanna Stay Alive is an original with Dave Briggs and Will Stallybrass twanging away on the electric guitars and some keyboard work from Geraint Watkins, no less. The relentless beat and sheer grip on what a number like this needs is a joy to hear. On to Trickbag which I think was a Meters staple. The moody syncopated rhythm is hard to resist and why would you! Chris shoots some stealth into the story, with great results. Fool’s Paradise, the Mose Allison classic has lovely background harp and Youlden puts just enough

Kat Danser

Goin’ Gone

Black Hen Music

I do wonder sometimes if, in other

jazz into his handling of the wistful lyric, hitting the middle eight with a resigned shake of the head. Beautiful group music. Next up is Tell Me What You’re Gonna Do is snappy and full of staggers whilst Don’t Let Me Be Lonely Tonight is the James Taylor composition and really suits the Youlden pipes. Nervous Breakdown is voodoo rock’n’roll with chugging guitars, evoking Johnny Kidd or Gene Vincent. Roll With My Baby is a sprightly shuffle. I Ain’t Got You is familiar to Yardbirds fans and here the Billy Boy Arnold tune gets a belting workout and sparkling piano. In The Middle Of The Night rocks out with clenched fists and a Creedence vibe. Come On rattles along in vintage Jimmy Rogers style, Youlden’s singing bringing a swaggering bite to the tune. Next up, Percy Mayfield’s How Deep Is The Well? with lyrical piano and sighing Hammond. Chris is at his most distinctive here, such a honeyed voice! Let’s Talk About Us is I think an Otis Blackwell number Anda galloping boogie with a Southern jukebox sound. Sweet Love On My Mind hits that Sun/ Carl Perkins rocking ambience.you almost expect Brian Matthew to speak over the end!

(This edition adds different 1991 versions of three of the cuts )

Pete Sargeant

countries, some reviewer sits with a pile of new releases thinking ‘why have I never heard of these artists’? Well if they are anything like me it’ll

BLUES Top 50

be the very newness which they will find interesting and stimulating. So it is with all but two of the current batch of albums which awaited me recently. I know nothing about Kat but I like her album a lot. Whilst she hails from Edmonton, Alberta this album has a thread of a road trip through the deep south of the USA running through it. Goin’ Gone which opens the running order of this her fifth CD since 2002 sets the tone for what follows. Slightly swampy with shades of simple rockabilly gets you in the mood nicely to hit the road along with her and her crew of “mechanics” (the band in other words). Wailing harmonica, solid upright bass, fiddle, sax and tasty drum fills back this talented lady throughout. She has a clear vocal delivery bordering on a deep sweetness which suits these ten story tunes perfectly. I think all but one, Train I Ride, are originals but whatever the case this is a terrific album which entertained me a lot. Standout cuts for me were Memphis Tennessee (no not Chuck’s one), Hol’ Up Baby, Light The Flame with some fine voodoo sounding slide distorted guitars and sadly the last cut Time For Me To Go. I didn’t want this professor of music to go. Yes she has a PhD in Ethnomusicology for goodness sake. So she sure knows and loves her Blues and Roots music which underpins all her endeavours. Bet her classes are great to attend but for now get this CD.

Graeme Scott

Mike Farris Silver & Stone

Compass

Records

On first listen to this latest offering from Mike Farris, I must admit to being maybe just a bit too neardismissive, with my mind too firmly fixed on his last album, Shine For All

the People, in 2014, a 2015 Grammywinner that tends to make for a more critical approach than is surely necessary. However, after a few runs, Silver & Stone makes an impression, turns you around and genuinely delights. This is Farris very much doing what he does at his best, taking a shot at R&B--soul music, deeply rooted stuff, with a full-on, hi-energy Stax–Memphis horn sound blasting out with its inimical strength and glory. This should come as no great surprise given Farris’s personal history as a Tennessee-born roots musician. From his days as a singer with Stevie Ray Vaughn’s backing outfit, Double Trouble, to his work with Nashville’s Cumberland Saints featuring top sidemen like Sam Bush, Byron House, the McCrary Sisters and Gill Landry, Farris has always remained totally anchored to a roots tradition that leans heavily towards the spiritual and spirited at every opportunity. With Silver & Stone, Farris has again delivered a simply superb album that shimmers and glistens with nuggets of genius and brilliance, a release that just might see him once again in the Grammy-award contenders ring.

Iain Patience

Paul Dougherty Monumental – The Songs Of Tommy Dougherty Bake It Black Records

A year after the passing of singersongwriter/ organist Tommy Dougherty, his son pays tribute with a collection of songs written in the 1980s and ‘90s. They’re a varied bunch ranging from easy-going swing, harmonicaheavy blues, groove-based soul and sentimental country. Your Pants draws on Stevie Wonder-style clavinova funk, Fat Lady is reminiscent of Frank’s Wild Years Tom Waits with its ramshackle baladeering and Mexico Beaches,

the real stand out, which he leaves until the end, has a great chilled out Ry Cooder vocal delivery. Dougherty the younger certainly knows how to put an emotional song across and on Roses For My Lady his voice reaches new heights. He also plays almost everything on this album which is also self-produced. Unfortunately the backing instruments are frequently too quiet and the songs suggest a bigger production that would suit a live band. There’s some fine guitar playing as well as funky keys playing that are often too low in the mix. The album is a heartfelt tribute as well as a wide-ranging display of Tommy Dougherty’s versatility as a songwrite

Jack Goodall

Liam Ward Band Uprising

Green Bullet Records

Liam Ward is a former columnist on harmonica matters for Blues Matters and this is his band’s first album release (although Liam’s other band The Rumbletrutters have released an album of acoustic jug band blues). The band is based in Wales and wrote all the material here. The basic quartet is augmented by keys on most tracks and by sax and trumpet on four; backing vocalists assist on half the ten songs. What’s The Big Deal makes a terrific opener with the horns a key ingredient on the catchy shuffle, Liam’s tasty harp work also catching the ear. Gaz Davies lays down some attractive drum patterns on I’m Gonna Fly, Liam playing some lungbusting stuff before No Delay opens with Martin Hill’s low key bass, a foot-tapping guitar riff and a rousing chorus, the lyrics painting a rather dark picture of excess: “we know we’ve got to pay”. Wild Places is the centrepiece of the album, a slow blues which looks back with rose-tinted

Colin James Miles To Go True North Records

Hard to believe, but this is Colin James’ nineteenth release and for this one he keeps to his true traditional blues roots. There are twelve tracks on this one, mostly covers but he pens two songs. These being I Will Remain which has a soft lilting guitar reminiscent of Albert King and the second being, 40 Light Years, a steady rolling tune with a soft snare drum played by Geoff Hicks. Both songs include a very proficient horn section that keep the rhythm going throughout this release. Colin decided to pick up his old red GibsonES-335, like one he had as a teenager and well the results are stunning. This is really a follow on from the

much acclaimed Blue Highways release but more mellow and tuneful a real treat. There are two versions of “One More Hill” starting and ending the release, a funky full electric tone and a stripped down acoustic version which is very authentic, and also a tribute to James Cotton who Colin had seen perform this at a young age. Colin James loves his music and sings so soulfully throughout with a tight backing band. The Muddy Waters Still A Fool is up-tempo and his vocals are gritty just like his guitar playing. He plays slide on the Arthur Crudup interpretation of Dig Myself A Hole, a classic track. Ooh Baby Hold Me a take on the Howlin’ Wolf track, stays pretty true to the original. This is a fun release and homage to Colin’s early influences. His guitar playing maybe is never better than on Black Night; it’s just wrapped up in raw emotion. An outstanding release and bringing new energy to classic blues tunes, a treat.

Colin Campbell

Rachelle Coba Blink Independent

glasses at the past, Matthew Llewelyn Jones playing some great guitar and the horns joining in on the second half of the tune. The band changes style for The Insidious Kind which has a funky backdrop, the horns underlining the chorus as Liam sings about some of the abuses that people put up with; Matthew pulls out a lively solo as the rhythm changes pace in the middle section and Liam follows suit with an interesting solo that ranges far and wide across the

registers. In Filthy Rich Liam has a go at some of those who make a fortune but then turn cold to others and Hack Hack Hack appears to attack the press for its intrusions into our lives, the final number with the horns. The title track Uprising closes the album with a bright, jazzy instrumental. Throughout the album Liam sings clearly and plays some excellent harp, well supported by the rest of the band. An enjoyable debut!

John Mitchell

You will not be left high and dry by Rachelle Coba’s album Blink! This follow-up to her debut album Mother Blues confirms Rachelle has a voice that has something to sing about. Rachelle sings with passion, soul and has an edgy sassy tone that blends with authenticity to the honky-tonk piano accompanying her on the opening track High And Dry. Half way through we are joined by dobro guitar played by Jimmy Dobro as the roots of the delta are explored on River Of Blood. This is Rachelle singing to you on a personal level we can hear the Mississippi flow, visualize the levees, this is the power of the blues when sung with feeling and power. We are back among the ghosts and can hear the cries of people that never got free, a truly powerful and emotional number. How do you follow that? With the title track Blink which ups the beat with a drum, guitar and keys intro that has a swirling tone. Her voice changes as she delivers the number with an air of vulnerability we see another side of Coba, reflective and gentle. The album is one to explore taking your time to listen as the shaping of blues is explored with Shuffle Ya we have a shuffling funky number that celebrates that we all like things different and this album certainly picks up the variations of life. Blink is eleven classy tracks that captures the blues taking you on a journey of textured tonal sounds reflecting the power of her songwriting skills, vocal prowess and guitar playing. If while listening to the album time goes by in the blink of your eye then the solution is put Rachelle on repeat.

Liz Aiken

Hollow Log Dirty Deal

Hollow Log is an acoustic blues outfit based in Aberystwyth on the west coast of Wales but they have a lovely rural style of blues that is based in the deep south – of the USA. The title track opens with some tough slide guitar and a vocal that sounds like it has come off a Furry Lewis, Robert Wilkins or Frank Stokes 78. Guitarist and singer Richard Maggraf Turley wrote five of the eleven songs here, singer/ guitarist John Barnie provided the short – just 50 seconds - closing track Strollin’ (which is actually a solo piano instrumental by John), and “Trad” the remaining five. Dilwyn Robert-Young also supplies some fine blues harmonica playing, firmly and admirably keeping to his supporting role, and the band’s overall approach ranges from the tough sound of 20s and 30s Mississippi with slashing bottleneck guitars to the rather more gentle and restrained sound of some of the Memphis blues artists (try Spider Blues). Roll All Day references Robert Johnson, though perhaps filtered through the very early 50s Chicago sound of Johnny Shines or Robert Jr, Lockwood. Lucy keeps the Memphis vibe, though this time with a hint of rockabilly. I have to say that this is an extremely enjoyable set of vintage styled blues. As the sleeve notes state, these songs would not sound out of place in a 30s juke joint – and the sleeve notes are just about right on that.

Norman Darwen

J W.

Jones

Live Solid Blues Records

A Memo (Nothin’ But Love) is the opening track on this live CD. A nice easy introduction that doesn’t really prepare you for the blues power this band creates.

J W. Jones has tremendous vocal

and guitar skills that become more evident as the album progresses. Need You So Bad has a more traditional blues feel to it. One can easily note the influences of B B King here with such a tight band playing behind

him Jones is certainly a very capable blues player. I Don’t Believe A Word You Say has a more rock/blues start but then when you least expect it drops back into raw blues showcasing a blues guitarist of exceptional skill.

Down Home Blues New York

Wienerworld 4 CD Box

Actually, the full title of this epic collection also covers Cincinnati and the North Eastern States. These were very influential regions in developing the blues and one of the wonderful things about this fascinating compilation of 110 tracks, a true labour of love by aficionado Peter Moody, is the sheer one-off recording obscurity of some of the 37 artists included. Sure enough, some big names are here; such as Brownie McGhee, Sonny Terry and Champion Jack Dupree, but it’s the lesser known performers that provide you with the bigger picture. That picture is of a tough, long-gone world of small smoky urban bars and rural juke joints, the down-home foundries where blues was cast. The scholarly, illustrated 80 page book by Chris Bentley which accompanies this reveals many new angles on branches of the blues which are often overlooked, for example, those artists who didn’t migrate from places such as Mississippi to Chicago. Here are forgotten gems from performers from other places, such as Florida, the Carolinas, Georgia and Alabama. Fortunately, with modern TV we’re in the age of bingeing, so it’ll be no problem to work your way over five hours through these four disks. If you’re

looking for rarities, there are plenty; how about Skoodle-DumDoo and Sheffield’s Gas Station Blues; classic stuff with harp and acoustic guitar, recorded in 1943 when the US rationed gasoline. There’s plenty of fine piano playing in this age before screaming guitars - for example tracks by Alonzo Scales and the atmospheric Doctor Gaddy and his Orchestra. Or how about the stripped back guitar and fine vocals of Doug Quattlebaum’s Don’t be Funny Baby. You can cut a rug to several lively tracks by Cousin Leroy, and some of the artists’ names alone will draw you in - Guitar Nubbit, Guitar Crusher, The Bees or Lick, Slick and Slide (what a great band name...) Reading Chris Bentley’s book as you wander through this musical archaeology site will give you hours of blues pleasure, as it must have done for compiler Peter Moody. Here are voices who were briefly heard, singers who may have made just one recording, yet laudably preserved for posterity. This is the blues as raw as it comes, a worthy addition to any blues fan’s collection.

Roy Bainton

Covers of Howlin Wolf and Bob Dylan tunes only highlight what a great live band these guys really are. Moanin At Midnight by the aforementioned Wolf is damn near perfection. Then relaxing easily into a soft Dylan track with annoying ease. You’re Gonna Need Me again demonstrates wonderful guitar and vocals which Albert King would surely approve of. The beauty of a live album is that the artist can put everything into the performance that

sometimes doesn’t come across on a studio album. And that’s what makes Jones and his band so good. That’s Alright slows down to a virtual crawl. A stunning performance of a stunning tune this is as blues as blues can be. I was struggling with picking a favourite track because they are all so good, but I must concede that this is my favourite on the album. The final offering on the CD is I Might Not Come Home at All. A rockabilly feel to start with which

Dr. Helander & Third Ward

Meat Grindin’ Business

Mutant Music Production

Blues, comes in many shapes and forms from acoustic to rock, from slow to fast. You can be sitting on a porch or dancing down the dance hall on a Saturday night Blues is a genre that captures it all. Where does Dr Helander & Third Ward fit into this variation that is the discography pf the blues. Definitely electric and fast but not rock as we explore the opening instrumental Hawaiian Boogie complete with bird whistles. So if you expect a repeat of his previous acoustic album Country Boy you will be disappointed as this is 100% electric blues. The ten track album is mainly new and original songs but he does sneak in a couple of covers including a wonderful

version of Lightnin’ Hopkins’ Death Bells, taking us back to the roots of the blues, with the great Charlie Musslewhite’s harmonica singing over the guitar. This understanding of Hopkins’ blues is unsurprising as the trio’s name is inspired by Hopkins who lived and worked in Houston’s Third Ward District. The track Woman’s Trust has strong guitar and harmonica combination with the harp skillfully played by Little Willie Mehto. The beat picks up with Gene Girls a foot stomping ‘you want to move with the rhythm of the guitar’ number. They close out the album with the rockiest track Don’t Be Messin’ With My Bread fast moving electrifying blues that tips its plectrum to Rory Gallagher. Dr Healeander & Third Ward are referred to as a super group of Finnish Blues, they certainly bring a wealth of understanding and capture the essence and spirit of the blues in every number and everyone enjoys a boogie.

Liz Aiken

then leads into a medley of snippets from artist such as The Rolling Stones, Led Zeppelin, Roy Orbison and Chuck Berry to name but a few. A novel way to finish what is a fantastic live album from a fantastic live band.

Stephen Harrison

Barbara Blue

Fish In Dirty H2O

Big Blue Records

Barbara Blue has been singing the blues for a long time. Starting in Pittsburgh, then on to Detroit before winding up in Memphis where she’s been performing for the last twentyone years. Just head down to Beale Street and that’s where you’ll find her. Folks such as Ronnie Earl, Bobby Rush and Taj Mahal hold her in high regard and on this, her eleventh independent release it’s easy to see why. Because that girl can sing! The oddly named Fish In Dirty H2O is largely a set of originals and co-writes and along with a red hot band it makes for a really enjoyable listen. It’s a fine stew of blues, soul and funk and it’s easy to hear why she’s such a popular live draw as it really is the sound of fine night out. From the opening salvo of My Heart Belongs To The Blues which has a touch of gospel to it, right through to the closing cover of the Robert Johnson chestnut Come On In My Kitchen she rarely takes a wrong step. In between there’s a neat gender change of on Angeline which she turns into Johnny Lee which comes along with some great backing vocals and Ms. Blue really lets rip on one of my favourites, Accidental Theft, which showcases a voice that has lived a life. I’m not sure about the guest rapping on Fish In Dirty H2O but then you get the slow blues of Walk Away and all is forgiven. Great songs and great performances; what more do you need.

Stuart A Hamilton

Bob Daisley & Friends Moore Blues For Gary - A Tribute To Gary Moore

Edel Music

Gary Moore passed away almost eight years ago, this album pulled together by bassist Bob Daisley is a fitting tribute to the renowned guitarist and vocalist who actually released his first blues album Still Got The Blues on a suggestion from Bob in the late eighties. The use of the term “friends” is often overused but in this case these are more than friends they are Rock & Blues gods making this a really exceptional showcase for Gary Moore and his music, in his life time he released two albums in respect to the great influences Peter Green and Jimi Hendrix had on his guitar playing, song writing and singing, now he is the focus for this tribute thirteen track album. As you can imagine there is plenty of driving guitar led music on show here but there is also raw emotion, especially on the song Still Got the Blues which is sung superbly by Daniel Bowes, the guitar soloing is also pretty spectacular from John Sykes, this has always been a stand out Gary Moore song and this rendition is up there with the best. Other than some promo information there are no details of which artist played on which track but I’m pretty certain that Stan Webb takes the lead on Torn Inside while Steve Morse and Ricky Warwick have fun on Parisienne Walkways which is technically not a blues track but has some beautiful guitar playing and as such has to be included as it is a truly memorable song. Special mention should go to Gary’s sons Jack & Gus who perform on the funky This Ones For You, there singing and playing shows tremendous promise and this heartfelt song sits comfortably with the rest of the tracks. A tremendous collection of Gary Moore’s Blues music, stand up

Duster Bennett

The Complete Blue Horizon Sessions

Floating World Records

Duster was a star of the late sixties British Blues explosion but unlike contemporaries at the time like Savoy Brown and Fleetwood Mac he took a purely raw acoustic take to his interpretation of what blues music meant to him. On this retrospective two CD release with forty four songs, this incorporates his three original albums, Smiling Like I’m Happy,Bright Lights… and 12db’s and also includes some singles. It has been remastered by Duncan Cowell and Blue Horizon boss and erstwhile Duster Bennett producer Mike Vernon. It has a very informative booklet and biography by Alan Robinson. Duster died in a road traffic accident at the age of twenty nine. The collection starts with him alone playing such tunes as Hard To Resist and Things Are Changing. Then he is joined by Ham Richmond on piano on Trying To Paint To It In The Sky. He is joined by Peter Green, John McVie and Mick Fleetwood for some tunes including Times Like These. Jumping At Shadows is just outstanding and shows what a great one man band he really was. The single Raining In My

Heart certainly is a strange choice but like his harmonica style there, vocally he sounds wry and witty. His second release was a live one and really picks up that raw vibe and there is even a version of God Save The Queen by a rowdy audience before Duster gets on with business on “She Lived Her Life Too Fast”. He is joined by Peter Green on bass guitar on Talk To Me and on Bright Lights, Big City he is joined by Stella Sutton soon to be Mrs Bennett. I Chose To Sing

The Blues is a highlight from his third release 12db’s full of grinding rhythm and blues hooks. Also That Mean Old Look has biting lyrics. It is the Kinks cover Act Nice And Gentle that proves to be very funny retrospectively but a track he was actually better known for in general. It is the sweet harmonica on On Reconsideration that is so memorable. He remains one of the best British blues composers of his time, a real innovator of the blues and major influence to so many. This hits the right note in so many ways, a joy to hear.

Colin Campbell

Bob Daisley you have done him proud.

Adrian Blacklee

Robert Connely Farr And The Rebeltone Boys Dirty South Blues Independent

Robert Connely Farr grew up in the small southern town of Bolton, Mississippi, home town of Charlie Paton and the Mississippi Sheiks. Now living in Vancouver he performs as a solo act and with Southern Rock / Alt-country outfit Mississippi Live & the Dirty Dirty. In 2017, Connely met

IBBA Top 50

Mississippi blues icon Jimmy “Duck” Holmes in Bentonia, Mississippi, at Jimmy’s old juke joint, the Blue Front Cafe. They struck up a friendship and since then Jimmy has been mentoring Connely in the Bentonia Style of the blues, an obscure style featuring odd tunings and mainly in the minor key. Holmes learned directly from Henry Stuckey, who taught Skip James & Jack Owens. Connely teamed up with Canadian producer/ songwriter Leeroy Stagger recording an album of ten songs written during this mentorship, titled Dirty South Blues. Farr is joined by The Rebeltone Boys, Michael Ayotte Keyboards, Tyson Maiko Bass, Kyle Harmon Drums and Evan Uschenko Lead Guitar adding extra texture to the usual Bentonia sound. opening the album with an understated rhythm with a swampy feel is Ode To The Lonesome, Farr’s vocals add bite as he bemoans the controversial elements of the south, on the grittier Dirty South Blues and the more haunting Magnolia, my favourite track is Blue Front Cafe a moody tale with some subtle guitar, some good keys from Ayotte meander around a beautiful cover of skip James Hard Times Killin Floor, Harmon’s simple but effective drums/percussion rhythm makes Lady Heroin a highlight, Jimmy ‘Duck’ Holmes almost lost the track Just Jive, here co-written with Farr, it’s a foot tapping juke joint jive that will surely get Jimmy’s approval, Cypress Tree Blues holds a deep rhythm while Farr wails and Ayotte’s swirling keys add to the tone, lifting the pace a little with southern rocker Yes Ma’am, before Hey Mr Devil a slower ballad with Farr lamenting his lost love to the devil, a fine closing number on a marvellous little gem of an album I really am enjoying, well worth looking into. Shirl

Johnny Rawls I’m Still Around Third Street Cigar Records

The grooves are all classic R&B and soul, the brass section is turned up full, the songs are all self-written, and the singing is full of soul, nuance and emotion. With a voice that owes a lot to Sam Cooke, and Al Green, and Memphis singers, I’m Still Around is full of joy, foot tapping beats and stories about life. Opener Running Back To You starts as a manifesto to love, with an unrelenting beat, whilst What You Do To Me is another feel good blast. Darling I Love You is pop soul, which borrows from The Band’s The Weight, in its ascending chords, Do-Do-Do is a slower song that Rod Stewart would kill for, and the title track I’m Still Around is as much about love as it is about Johnny Rawls career. Dancing Tonight is a spirited call to arms and Holding On revisits People Get Ready with its soulful vocal, and progression. Rock With Me Baby has a totally different sound, with driving rock guitar, until the chorus. Although the touchstones of these songs are often evident, there is enough to allow Johnny Rawls, and the talents of his band to shine through.

Ben Macnair

Deb Rhymer Band Don’t Wait Up Independent

Well what about a slice of uptown West Coast blues with more than a twinge of gutsy strutting vocals, certainly sounds good on this recording, certainly a good mix of tunes on this new release. Deb Rhymer has been making a name on the Canadian blues circuit and is heavily involved with the Victoria Blues Society. She is an undoubted talent and on this fun mix of ten songs she

has co-written six tracks. She is a blues shouter with a sense of humour and a nucleus of three other musicians in her band. These are Kelly Fawcett on guitar, Andy Graffiti on drums and Clayton O’Howe, very accomplished. Heartache And Trouble has good rhythm and fine horn section mixing with sultry vocals. Let Your Heart Decide opens with a funky riff and steady bass another well written song. The Elmore James cover, Cry For Me Baby has a happy shuffle vibe with trademark guitar twang. Highlight track has to be Don’t Wait Up, a slow melodic number, showing Deb can get sleazy and won’t be pushed around, sweet guitar meets sultry vocals. The James Brown cover of “I Got You (I Feel Good)” is a competent interpretation. Moving on to Just Enough Blues, this showcases some fine piano from Wynn Gogol. Her own There’s The Door has a good shuffle and Randy Oxford’s trombone solo adds a dimension to the song. The final track Giving Me The Blues is another slow old school blues tune. It has the feel of an old smoky blues club, with heavy heartfelt lyrics. Overall a very good mix of songs and styles, Deb Rhymer shines through as a vocalist with attitude, a good listen.

Colin Campbell

Alastair Greene Live From The 805 Rip Cat Records

This southern Californian based power blues rocking trio comprises singer and guitarist Greene, Jim Rankin on bass and drummer Austin Beede. Following their critically acclaimed 2017 release Dream Train comes this live recording in front of a sold-out hometown crowd in Santa Barbara, California. This album celebrates 20 years of Alistair’s career with 20 tracks, including original songs drawn

Eric Bibb Global Griot

Dixie Frog Records

Smooth-singing, US bluesman

Bibb’s latest offering is a full twenty-four track double disc release. Already receiving plaudits and murmurings about it being his best release to date, it’s hard to listen without some preconceptions burrowing their way in. And yet, while it is certainly one of Bibb’s best releases, I’m not sure I’d go quite as far as saying it’s his best yet. Because Bibb is a guy who always has his eye on the prize, a man with a musical mission and a passion to match, always ready to deliver yet more quality and the occasional surprise. With Global Griot, he has certainly pulled out some surprises that nevertheless seem almost familiar to those who know and admire his work. The title, Global Griot holds a clear hint at what to expect inside here, with an all-enveloping Afro-blues vibe and his ever-melodic fretwork coupled by his mellow vocals, dripping like

from all five of his studio records as well as a few covers. The Sweetest Honey sets the scene for the maelstrom which follows as immediate comparisons are made with Cream, followed by Big Bad Wolf with its vocals and distinctive riff reminiscent of Alvin Lee. To be associated with two all time greats on the first two tracks is a deserved accolade but Greene soon proves that he is uniquely talented on Red Wine Woman and Back Where I Belong which showcase his superb finger picking skills. Blues purists will

buttered rum on a winter night. In many ways this is an album that we could have expected from Bibb, helped by Habib Koitio and Soko Cissokhu on kora, Bibb pulls in a few old, back catalogue numbers, here given an Afro twist and rhythmic roll; his version of Needed Time, always a perennial favourite for Bibb, is genuinely outstanding. At other times, Bibb covers some older, familiar songs that we all know and love, probably from his own New York childhood influences from the likes of Doc Watson, Pete Seeger and the folk revivalists. And though I’m reluctant to suggest Global Griot is Mister Bibb’s personal best to date, there’s one thing that seems a certainty: Bibb is taking us somewhere special here and moving on with this remarkable release.

Iain Patience

and earning tumultuous applause from his legion of fans. Worth checking out if you are not familiar with the band: it is a pity that their autumn tour of Europe did not include the UK.

The Bishop

Hometown Blues Free Spirit

Independent

particularly enjoy the guitar solos on 3 Bullets and Love So Strong. This is not a ne-man band, however, as dextrous bassist Rankin proves on T’Other Way and Beede demonstrates during his funky innovative drum backing of Big Boss Man. The many highlights include First Born Son with guest vocalist Chris Chalk, the quirky Shoe On The Other Foot, Last Train Around The Sun and a stonking version of Lawdy Mama. The show ends with Walking In Circles, Alastair giving a master class in slide guitar reminiscent of Elmore James

Can Brazilians play the blues? Well, kinda, if this lot are anything to go by. Granted, this self-released CD is rough and ready most of the time, in the sense of ‘anything other than slick’. But that’s never been an automatic musical negative in my book, with the energy and enthusiasm more than compensating for the high kitsch quotient and even the occasional amateur hour dreadfulness. Daniel Werneck’s vocals make it 100% plain that English isn’t his native tongue, but somehow that only adds to the charm. Oh, and it probably helps if you like Santana, because HB’s axeman Victor Barros is patently a huge admirer of Mexico’s favourite sixstring merchant. I was much taken by the opener and title track, Free Spirit, which explodes in its opening seconds, diving straight into a unison guitar, bass and harp unison riff, prior to rocking out a bit and then boogieing some. Mariachi sends the band out on a dorian mode odyssey, combined with mighty strange lyrics. Who knows what is meant by ‘I am not a member of the botox club and she loves me’? And who cares anyway? There is more unintentional comedy gold in Show You My Voodoo, when Werneck implores ‘I ain’t no genie but I got a lamp/If you rub it you will understand’. You all know what he’s getting at, ladies. I have no idea why I enjoyed this one so much but enjoy it I did!

David Osler

Gina Sicilia Heard The Lie Blue Elan

I well remember back in 2016 receiving an EP from this young lady and playing tracks from it on my radio programme for a while. Looking now I see that this is in fact Gina’s eighth release with the first being in 2007. Eleven cuts, all new apart from one fabulous cover, all showcase the sultry vocal tones which Gina brings to proceedings. So we get underway with the title track and how many times have we all been in the position of coming out of a relationship where your opposite number clearly does not expect to be dumped soon or to hear the lies coming at them. Hey ho! That’s life I guess. How many Times tends towards the Soul element but it is a measure of the control in her delivery that you can still hear the Blues chops cutting through. I like the timbre of Gina’s vocals very much. She obviously feels at home riding the line between all the different genres which surround her whether Blues, Soul, Gospel and Jazz and having those skills allows her, and the production team, to vary what kind of songs to include. Just have a listen to her take on Mick Ralph’s Ready For Love. Where Paul drove the song along in a pure heavy Rock vein here R&B is the order of the day. Just shows that a good song can stand different treatments. Light Me Up has almost a modern dance vibe which is slightly at odds with the rest of the album. There is a duet with fellow stable mate Janiva Magness, Brighter Day, which has a faster tempo and Man In The Sky has the best vocal performance of this tasty collection of songs.

Graeme Scott

Eric Lindell Revolution In Your Heart Alligator Records

Lindell is one of those US pickers, writers and performers who already has a significant following in the USA. With Revolution in your Heart, he has delivered a twelve-track offering that is explosive at times, and always manages to hit the spot, with some strong writing, vocals and fiery fretwork. Always full of drive and raw edged blues, Lindell romps across genres with striking rock-stylings, soul, and even passing hints of modern Americana all worked together

Geoff Achison Sovereign Town Jupiter2Records

Australian bluesman Geoff Achison has brought out a totally different release from previous with his backing band The Soul Diggers, this one is personal stripped down acoustic and laid back to the point of pure relaxation. Emphasis here is on the lyrics and his smoky growling yet sweet interpretations of these twelve songs. Only Walk Away is a cover of a Ben Harper song sung with bitter emotion. This is a true and honest gritty slice of Australian folklore. A lot of songs pertain to the gold rush in Victoria and you join him on his journey straight away with Skeleton Kiss, an organic mix of Andrew Fry on upright bass, Geoff on acoustic guitar, Dave Clark on drums and guest vocalist John McNamara. Miniature Men sets a mellow tone, a feature of this release. Crisp vocals on the love song Wandsworth Bridge are very evocative with a sweet guitar solo. Stand out track is Sovereign Town, the finger style

with absolute mastery. Recorded in Louisiana, the album has a swampy undercurrent at times and a clear New Orleans beans and chilli sauce feel rattling around in the thick soupy gumbo. Part of the beauty of this release must surely be the down-home, front-porch picking that seems to echo from Lindell’s command of the music and his assured delivery. And though this gives the album a delightfully loose and easy vibe, there’s nothing loose or easy about the excellence

guitar picking resounds, a real contrast. Misha Bella is a fine jazzy instrumental number full of different rhythms with Liam Kealy on Hammond organ, interplaying with great guitar riff. Tempo change on “Small Town Crime” more funky and upbeat changes the tone a bit. Geoff plays many a guitar and on World Of Blue he uses the slide to perfection. Sleepwalking exhibits some talented acoustic licks again. Another mellow instrumental Hand Of Faith next. Rescue The Past has a good bass line and electric slide. Last tune is Coolbardie Sunrise, showcasing deft fingerstyle play again, this man has made his best release to date. Very refreshing to hear him change styles throughout and not putting his dial to ten. A real contender for awards it is that good, kick off your shoes and listen to a man in tune with his music.

Colin Campbell

and experience that runs through the entire project from start to finish. This is another of those albums that anyone with a love of hi-quality, top-dollar blues with an at times country-caper edge, could probably do no better than grabbing a copy of this one and hitting repeat with volume cranked real high.

Iain Patience

Ian Parker –Spoonful Of Gold Blues For Willie

Eye-Pea Records

The joy of this job is endlessly discovering gems of music and players that you know you are going to love for a long time. This record, and Ian Parker who made it, are gems indeed. For this album, Ian has visited the depthless back catalogue of blues legend Willie Dixon, and produced a series of interpretations of his very own. Of course, that means covering songs that have enjoyed serious success in other hands – none more than I Can’t Quit You Baby, legend of the Led Zeppelin cannon. There’s no future in trying to ‘copy’ the Zep masterpiece – so Mr Parker wisely opts not to try. Instead, as they say on tedious talent shows, he ‘made the song his own’ with an excellent arrangement topped by his own wonderful vocal and some seriously delivered blues guitar tastefully deployed in all the right places. The Etta James pearl I Just Want To Make Love To You receives a similarly muscular arrangement, with Morg Morgan’s bluesy piano driving everything along. You need a classic blues voice to pull off this song – happily

Dry Johnson Long Live Them Blues Vol 1

Connor Ray Music

Terry Dry (bass) and Matt Johnson (drums)have been playing together for nearly 20 years and were Mike Zito’s first choice rhythm section when he started a smaller size band based in Texas. This CD was

Ian Parker has one, and it shines on this song like no other, with another masterful guitar solo to stamp his personal mark on another classic blues masterpiece. This is a brave project, taking such an influential artist and reinterpreting his work, but Ian Parker and his band have managed to succeed in spades, not only respecting the legend of the material, but stamping their own individual musical personalities on each of the songs. Credit also has to be given to the mixing and production team who have made an album with crisp clear sound and strong vibrant arrangements which admirably serve both the master composer, and the respectful and tasteful versions the band have put down. Willie Dixon’s reputation is already assured – this album will do the reputation of Ian Parker and his band nothing but good, and they richly deserve it. This could have been pale imitation – it was vibrantly coloured innovation. Wonderful.

Andy Hughes

recorded mainly in Houston and the production (by Terry and Rock Romano) is excellent, a spare sound which allows the drums and bass to take equal billing with the guitars. Quite why they decided to open with a mock answerphone message is hard to imagine, but skipping rapidly over that we get to Daddy’s Got A Cadillac, a duet between Zito and Annika Chambers which makes a strong start to the album as the pair spar over who gets to drive the Caddy and who “rides a mule”; inevitably Annika wins the argument! Trudy Lynn runs through a long list of Texan blues players past and present on the title track, Steve Krase adding atmospheric harp and The Mighty Orq on guitars, all three labelmates on Connor Ray. Another Texan guitarist, Jonn Del Toro Richardson gives us a great trio version of Johnny ‘Guitar’ Watson’s Hit The Highway, the only cover on the album, everything else being written by Dry. The rest of the album takes us down to the seedier side of town, dealing with chaotic lifestyles and nightlife: Kevin ‘Snit’ Fitzpatrick delivers a rocking Drunk Girl With A Tambourine; Dry himself sings Trashy Women & Cheap Guitars (Zito on guitar) and Juke Joint (Mighty Orq playing pedal steel as well as electric guitar); Orq takes the mike for Too Many Hipsters, another rocker with cynical lyrics about youngsters; James Wilhite fronts on guitar/vox on I Walk Alone, a reflective blues; Zito returns for the catchy instrumental Fried Chicken and album closer Little Bird is just Dry on acoustic guitar: “them blues ain’t nothin’ but a cheap suit drinking in a beer joint with a whole lot of dues to pay”. A solid album that puts Dry Johnson in the spotlight – roll on Vol 2!

John Mitchell

The Wildcat O’halloran Band New York City Chill Independent

Following the 2017 release of Hot Pulldown, which is still receiving deserved attention, we have the Wildcat striking again with a twelve track album. The album has nine original numbers written by Wildcat O’Halloran and three covers that stretch the versatility of the band. We are joining The Wildcat O’Halloran Band taking a break with New York City Chill. We hit the road with a stylish melodic instrumental with the Emily Duff’s Sax adding that tonal texture as we hit the Van Wyck Expressway. This is no stressed out ride, it is measured in tone and texture taking the easy listening route with guitar notes curling around the rhythms we are making progress to being chilled in the ‘Big Apple’! The drums open up on Can’t Get It Like That with the gentle caress of the drum as Mark Chouinard gives us his boom and then the beat and textures grow as Will’s vocals join the party in his distinctive spoken personal style that connects to the listener whose feet will tap on every blues bound number. The title track with keys now being added to the Wildcat sound with a jazzy blues number with orchestrated multi-instrumental lead breaks between the vocals that are full of blues musicality that makes the ears sit up at listen. The album is strong, it is the skillful playing and blending of musicians that make the album swing, the Cat’s vocals are not the strongest but he knows how to deliver the lyrics that create the sound we love to hear. Every track has a new dimension and the version of Willie Dixon’s Don’t Go No Further is an interpretation that is full of the vim and vigor that defines the band. Closing out the album with Waiting Awhile. We

Juke Joint Kings Riding With The Juke Joint Kings

Independent

This C.D. is their first studio album with all their own material without covers or the need to have anything other than their own hard work and it is to their credit that they have come up with a sort of 21st century Blues album with a hint of soul too. I’d had the pleasure of reviewing another of their albums some eighteen months ago and that one improved with listening since it was a “live” one and that audio minefield usually has some plonker trying to get his/her voice onto the recording. This is an altogether different offering and it has, like good wine, improved from an all-round perspective with age and quality. The opening track is the source of the album title Riding With The Juke Joint Kings and kicks it off with a vibrant and very lively concoction of all their instruments to demonstrate their innate ability as a

group. The third track Baby Don’t Go was imbued with a sensuality allied to a soulful vocal rendition by Chris Saunders and emphasised with the harmonica playing of Brian Williams, and whilst I loved all the tracks this one hit the spot for me. The fifth track Jerkin’ My Love Around has so many doubleentendres to my mind or is that just my mind? Nonetheless, it shimmers in the listening and it made me sit up and pay attention from the mood I’d wallowed in with track three. Boilerman Blues on track six complements the previous one and is more bluesy in format and shape. Sara Saunders hits all the spots with her Bass throughout as does Graham Hyde on guitar and Steve Lawley on drums. There is support too from John Spence of the “Blues Band” in this all-round wee gem!

Tom Walker

know we will not have to wait long before another album joins this pairing. Blues that is as it says on the tin not innovative but has that foot tapping determination we love to listen to.

Liz Aiken

Tia Carroll Brazil Sessions Independent

Over the past decade Tia Carroll has been making a big name for herself in the Bay area of United States. On this recording there are eleven tracks

all covers of classic rhythm and blues, soul and big band songs. They were all recorded on a Brazilian tour, and in the studio, she did in 2014.She has a new band now, Tia and four very accomplished musicians. On this recording she played with the prestigious Igor Prado Band. She has headlined lots of Festivals with her band and shared stages with Ray Charles and Jimmy McCracken. She has a powerful voice and has a very sassy stage persona and been likened to the legends like Tina Turner. The sound on some of these recordings

Lindsay Beaver Tough As Love

Alligator Records.

You’re Evil, being the opening track on her debut album immediately hits you straight between the eyes with drums, guitar and harmonica. And when you consider the fact that Lindsay Beaver plays the drums and is the lead vocalist and she has gutsy raw lyrics to go with her gutsy raw voice. Too Cold To Cry has a ‘50s sound to it as do a few tunes here. But put that alongside a blues voice that this lady has it gives it a superb edge. I like this song. I like this song a lot. You Hurt Me definitely brings out the best in her voice. The fusion of rock and roll and blues and her heart and soul ripping through this song leaves you in no doubt this is where her talent lies. Song-writing and powerful raw vocals alongside a great bunch of musicians is surely going to serve her so well in future adventures. Don’t Be Afraid Of Love has Little Richard all over it. Boogie woogie style piano and hollering like a woman on a mission Lindsay Beaver would certainly make Little

the Igor Prado band. Finishing with a visceral version of I’d Rather Go Blind this is a top class release, caught live and raw this is the real deal.

Colin Campbell

could have been improved but there is no doubt she is in control from the moment she comes on stage. You Hurt Me opens this release and her vocals send shivers down this listeners neck a feeling that resonates through the recording. Animal has a funky beat, some mean keyboards and Igor Prado guitar licks underpinning the consummate front person. Blues Woman is Chicago style with Marcelo Naves on harmonica. This steady rolls into It’s Your Thing, pure funk. How Sweet

Richard sit up and take an admiring glance. Dangerous is another boogie style song as well as being one of the seven original songs on the album.50s guitar and harmonica side by side is a masterstroke made to sound easy by great musicians. Lost Cause for me is the best song on the album. Pure raw blues with pure raw emotion. This is where great lyrics great vocals and pure talent collide and explode. This relatively new lady of the blues has emotion and power in abundance. Alongside Brad Stivers on guitar and Josh Williams on bass a talented bunch of session musicians help to make a truly wonderful debut album. Mean to Me finishes off the album in style. The memory of Scotty Moore immediately pops into your head when you hear the guitar work. And that ain’t no bad way to finish a debut album. Stephen

Cedric Burnside Benton County Relic Single Lock Records

Harrison.

It Is features a rocking saxophone solo by Sax Gordon and a real soul vibe. If I Can’t Have You, is laid back blues, here she duets with JJ Jackson, just sublime a real favourite. Let The Good Times Roll Segway’s into a great version of Rock Me Baby. Love & Happiness is a real crowd pleaser with Tia playing the crowd well. The band cranks it up on Midnight Hour again segwaying to a dazzling Knock On Wood. Mr Big Stuff is another live one, Tia getting down and dirty with

Best known as the grandson of the legendary R.L. Burnside, Grammynominated Cedric continues the North Mississippi Hill country blues tradition and reinterprets it for the 21st century whilst keeping the grooves wild and the guitar interludes raw. Although drummer for his grandad it is the other half of the duo, Brian Jay, who takes the role of manic percussionist, excelling on tracks like Ain’t Gonna Take No Mess as well as providing magnificent slide guitar. Burnside’s clipped vocals and staccato guitar picking are stunning throughout, the height of the bar set with the opening track We Made It exuding passion and energy. The lyrics reflect the timelessness of the music: “Didn’t have a toilet, didn’t have a bath tub. Walked three miles every day, to have water in the house for another day.” Cedric’s special qualities are the introspection, honesty and integrity which permeate every song from the upbeat Get Your Groove On to the new single Hard To Stay Cool and its painful expression of family loss. Never forgetting his heritage, Death Bell Blues is a tribute to his own ‘Big Daddy’ and performing it as R L Burnside would have done. The poignant Call On Me is written for his three daughters, telling them how he provides support for them even though he is away touring most of the time. Whilst Cedric covers pain, deprivation and hardship through his music this is anything but a depressing album because as he explains:

“The blues is about surviving through these hard times, telling the world what you’ve been through and how you came out of it.” The descriptor ‘real deal’ is often over used but in this case it describes perfectly an outstanding and fascinating piece of blues which is both contemporary and historical, performed majestically by Burnside and Jay.

The Bishop

Adam Norsworthy The Circus Moon

Skyfire Records

Everyone Round Mine is the opening track on the album. A very nice warm folky feeling with acoustic guitar and violin in the background and a sweet soft vocal delivery from Adam Norsworthy giving the listener a peaceful easy feeling, no pun intended. Healing Hands has the addition of electric guitar making the song livelier than its predecessor. I think the real talent of Norsworthy is in his song-writing and mellow delivery but please don’t think that is a slur on what is a good album, he is an artist of some repute that is for sure. This is his third solo album and all songs are originals written by Norsworthy, with each track I’m beginning to like this album more and more. As with Jobtied & Boatless this is a grower of an album. Folk style storytelling obviously come easy to him and for that he should be applauded. Mary’s Song is just a very short but loving tune that shows an even softer side to the artist but it’s still very well written. Let Your Red Hair Fall is a strong tune both lyrically and vocally. I get an olde worlde feel coming through then when you least expect it, the electric guitar shows up with some force making the song rock a bit more freely. Tip Toe showcases just how a singer-songwriter should

deliver a song that is acoustic with an Americana/Roots style. Not so much a blues album by any means but a very good album all the same. When the Sun Goes Down is a beautiful slow ballad. Violin and acoustic guitar in perfect harmony with soft sweet lyrics and a voice to match. It’s as if the artist is treating us to his inner most thoughts and feelings in a matter of minutes. I must admit the album grew on me track by track. A nice peaceful insight into the mind of a great song-writer.

Stephen Harrison

Maria Muldaur Don’t You Touch My Leg

Last Music Company

Wow, what to add? Wonderful release from a lady who is now something of an old-timer, a music industry veteran who started out way back in the sixties New York/East Coast roots scene, hit the jackpot with an eponymous release and the soft-sell sound of Midnight At The Oasis, before returning to her own musical roots. Muldaur has in essence always been a blues lady. Married for some time to now-legendary acoustic picker and sideman, Geoff Muldaur, she recorded a few albums with him, each with a solid roots base and hints of blues. More recently she has returned to blues, where her heart has always remained. A huge fan of Memphis Minnie, she has continually explored and developed her own sound and take on the music. A few years ago, she turned out the simply superb

Lawrence Lebo Old School Girl

On The Air Records

Lawrence Lebo - a 30-year-plus veteran of LA gig circuit - teams up with some sophisticated studio players for a short-but-sweet halfhour set of largely self-written tunes that hop genres with effortless ease, often embracing a pop sensibility while they are about it. And while she is no born in the Delta blues belter, her voice is just right for the material. Give Me A Try is boymeets-girl song which sounds like it

release, Richland Woman Blues, featuring many of her old buddies like ex-Loving Spoonful frontman, John Sebastian, and Rev Gary Davis student and picker, Ernie Hawkins, thereby firmly creating and highlighting her own blues love and passion. Now, with Don’t You Touch My Leg, she has again delivered an album that hammers home that point with power, passion and consummate class. Muldaur’s voice has become stronger, punchier, and this release with its pre-war sound and elements, reflects her passion and just how comfortable she clearly is in the area these days. Tracks are raunchy, randy, horny and humourous and always delivered with a bursting beauty and quality. This is an album to grab and truly enjoy. Simply wonderful stuff!!

Iain Patience

Michael Bloomfield Living In The Fast Lane

Angel Air

This album is being released by Angel Air in the UK and is a re-issue of an album with the same title released in 1981 with the addition of a bonus track Maudie, this album was originally released shortly after Michael’s death in 1981, it contains material recorded over several years but predominately around the min 1970’s, the bonus here is that the supporting musicians include Mark Naftalin who Michael played with in the original Butterfield Blues band. Unfortunately from a Blues purist perspective the material is a bit of a hotchpotch of musical styles, there are a couple of Blues tracks but probably fifty percent of the material relates to Soul, Funk and Gospel songs which while highlighting Michael’s musical versatility is disappointing as he had a real feel for the Blues. The pick of the material is the self written song Big C Blues which is a slow Chicago blues that highlights some sumptuous

could have featured in the Billboard soul charts, somewhere circa 1965.

Zydeco-flavoured Stop Shouting Your Business comes in two versions, the first dubbed explicit because it use the word ‘shit’ once. That wouldn’t be a quibble, save for the fact that this CD weighs in at less than 30 minutes. The title track is the bluesiest on the album, featuring guitar work deliberately intended to conjure up the spirit of BB King. Top marks to Tony Mandracchia as the man responsible. The only cover, oddly

restrained slide guitar playing by Michael and is one of the few tracks where he performs the lead vocal, in addition Mark Naftalin provides some wonderful duelling Piano. The bonus track Maudie is an excellent song written and sung by Frank Biner who also sadly left us too early in his life, it has a much harder rock edge to it and some gritty lead guitar playing from Michael, of the non blues material the track Roots is the most enjoyable with its infectious funky soul beat, very reminiscent of the Temptations in their prime. This album was certainly not one of Michael’s best releases and as noted is light on Blues material but notwithstanding this it is a very enjoyable and varied album that incorporates some talented musicians whose playing is impeccable.

Adrian Blacklee

enough, is Stormy Monday, and I’m not sure what it’s doing here. While it’s well enough performed, it doesn’t really bring anything to the party. Still, no denying that Ms Lebo is not only an old school girl but a classy vocalist to boot. This recording would be best savoured in the small hours, on one of those occasions when you would rather pretend to be in an uptown supper club than a Mississippi juke joint.

David Osler

Steve Mignano Lucky 13 Independent

Following 2011’s Grey Sky, Steve Mignano releases his second album Lucky 13. Recorded entirely live in his home studio on the banks of the Mississippi, the album is certainly loud. It shows Mignano to be a powerful live performer especially when jamming with drummer Jerome Harris and bassist Mike Perez. The track Lucky 13 bears a resemblance to fellow Louisianan Sonny Landreth’s Speak Of The Devil complete with impressive guitar playing. The lone cover, Bo Diddley’s Before You Accuse Me is unexceptional 12-bar blues fare when stripped of the energy of the original and though Mignano’s playing is sprightly as ever, it feels like he and the band are better suited to rock-blues. The instrumental shuffle of Hack Boogie finds them adding some muscle to a Freddie King style work-out. Snarling Dog has Mignano’s wah-wah’d strat sounding like Hendrix while he compares himself to a wild animal. There’s nothing particularly unique about this album but it does serve as a good advertisement for Mignano as a live act.

Jack Goodall

Scott Sharrard Saving Grace We Save Music

If you like your rocking blues deeply within the Southern Rock area then this album is most certainly for you. It’s a cracker for sure. For years Scott was MD of Greg Allman’s band and here he has surrounded himself with some of the cream of Memphis and Muscle Shoals musicians for and album which just has quality stamped all over it. Nine new tracks by Scott, one by the hugely underrated Terry Reid (original choice of vocalist for

Led Zep) plus the last song written by Gregg are what you will get for your hard-earned readies. High Cost Of Loving You gets us underway with punch horns, Hammond, slashing guitar licks from Scott and typical honey sweet BVs all held together at the back by the master of the skins Howard Grimes. We are all too aware that the cost of being musicians often means long tours on the road taking us away from loved ones. Terry’s Faith To Arise describes the longing felt by one player for his home. Lovely slide work here before Scott moves on to the slow blues which is the title track. There is no doubt that Scott possesses a fine set of vocal chops as well which he brings to the fore throughout. Taj Mahal shows he can still deliver the goods as he steps up to the mic for Everything A Good Man Needs written by Gregg. A perfect blend of fine song, blues with soulful horns you will be hard pressed not to be grooving around your pad as this plays. So it goes throughout this brilliant album and if you feel the need for salvation look no further than the Gospel infusion that is Sweet Compromise. Fabulous stuff indeed.

Graeme Scott

Whitney Shay A Woman Rules The World

Little Village Foundation. The opening track speaks volumes Ain’t No Weak Woman is the mantle on which this album should be placed. Co-written with A.J. Eros as are three other tracks this is a belter of an opener. Giving you an insight into how good this lady is and how good the musicians are around her you already get the feel where this album will take you. Love’s Creeping Up on You is another song co-written with Eros. Joining Whitney on vocals is Igor Prado who complements her voice

and the playing of this fine group of musicians so well. Soulful with a touch of power it really is a great track. The title track A Woman Rules the World is simply sensational. I’m not sure about her ruling the world but she sure rules this album with ferocity. Obviously surrounding herself with top

Midnite Johnny Long Road Home

Mosher St. Records

Midnite Johnny’s CV on his website (www.midnite-johnny. com) makes interesting reading. He was born in the Bronx into an Italian family, who relocated to South Florida and ran a blues bar, where Johnny started his love affair with the blues. He is also refreshingly honest about his influences, quoting Jeff Beck, Eric Clapton, Carlos Santana, JJ Cale and Stevie Ray Vaughan along with some blues greats. His latest fifteen track CD reflects the above influences and it makes for very pleasant listening, containing some self-penned numbers, some blues standards and some reworkings of blues classics. Your New Occupation is a relaxed blues shuffle bemoaning a partner’s choice of career. (You can figure it out for yourselves!) and showcases Johnny’s fluid style on the Fender Strat. Slow Burn is what it says, a slow blues number, but with a lot of background depth provided by backing vocals and some brass. Crazy Mama is an imaginative reworking of the classic J.J Cale song. (A bold challenge, which not everybody would choose to accept!). Long Road Home, the

musicians and a top producer helps but you still must step up to the plate when called upon. Believe me she does that so well here and throughput the rest of the album. It seems that with every track the album just gets better and better. Get It When I Want It is a 70s style tune, but it still

title track, pays homage to Muddy Water’s Rollin’ and Tumblin’ and does a great job thereof, and allows Johnny to show off his dexterity with the slide. Lookin’ Good is a great instrumental track, with a lively sax break from Stan Waldman. The track Tired of Foolin’ Around is a jolly rumba blues style take on the Albert Collins number Too Tired, again with some great slide from Johnny, who doesn’t sound in the least tired. Track ten is a brilliant reworking of Harvey Mandel’s 1971 Baby Batter, which is definitely on the funky side of the blues and both shows Johnny’s versatility and shines a light on a much under-rated guitarist, whose work is definitely worth checking out. I imagine a live version of this would be memorable. Another great classic on the album is Johnny’s acoustic version of Big Bill Broonzy’s Key To The Highway. Johnny has now relocated to the UK and on the basis of this album would be well worth catching live.

Steve Banks

Nakia Blues Grifter

Kiachia Records

Have you ever experienced the shock of opening a Jack-in-theBox? Well that is what this CD did to me. It looks nothing special, man with microphone but when the disc hits your CD platter it explodes with passion. What you have here is Nakia-out-of-Austin, Texas! On the menu are blues and soul classics. Imagine if you will The Allman Brothers Whipping Post converted into a dirty lowdown soul work-out infused with great sax playing and you begin to feel the possibilities on this disc. The songs were recorded using old ribbon mics with analog mics and tape machines and mostly all live together in the same room. The project has taken some ten years to materialise in all so you can also feel the love in embodies and energy it has taken. Songs by

Otis Rush (Doubke Trouble), Elmore James’ Yonder Wal starts

slow and builds to smoulder with stinging guitar break and terrific horns. Woman Don’t Lie by Luther ‘Snakeboy’ Johnson echoes in then stomps and funks along and another great guitar break so you cannot stay still. Gimme Some Of Yours from Bobby Rush and M. Middlebrook is treated to a soulful rendition here and certainly pops along. Ten tracks in all with the sleeve notes declaring eight plus two bonus to make the ten. Every groove is dynamite, every note is vital, each tone hits you and this makes for a really fine CD. I seriously look forward to his next project hoping it does not take another ten years to get done and meanwhile do highly recommend this album to you all

Neil Downe

initially a little confused as Good Paper Of Rev. Rob Mortimer used to be an Americana inflected rock outfit. There’s a little of that to be heard on the wistful High Ground, but the bulk of the material falls into a soul or funk bag. Delta Side of Vicksburg sounds, from the title, like it should be a piece of Americana, but it is in fact a big, brassy, up tempo soul stomper, as to is the frantic closer, When I’m Gone. The three-man horn section throughout the album add a 60s soul revue feel whenever they come in; on the album’s only cover track, Rob transforms Tom Waits’ quirky Such A Scream into a number undeniably out of James Brown’s funky bag. Then there is You’re My Radio with its elements of 60s and 70s soul, plus a short guitar interlude that recalls classic southern rock; On I Hope, that southern rock feel is even more pronounced, and She Can’t Stand Me has just the merest hint of the late, great Otis Rush in the guitar break. I’m not sure what Rev. Rob’s Americana fans will think of this album, but BM readers will love it.

Norman Darwen

retains the blues vocal grit that Shay has been blessed with. Horns keys and the rhythm section gel easily and effortlessly together. If the band and Whitney Shay stay together for the long haul, then we are in for a treat both recording wise and playing live. Empty Hands is another tour de force of a ballad. Raw emotion just pours out of her vocal chords like a fine wine. Add that this fine bunch of musicians and you have a wonderful feast. Get Down with It finishes off what is a stunning debut album. Boogie woogie piano fine guitar gospel type backing vocals and the voice of a future blues icon round off a brilliant entry into the

world of blues. A truly brilliant album. Stephen Harrison.

Good Paper Of Rev. Rob Mortimer Lock It Down Tight Independent

Singer. guitarist and keyboards player (including a mellotron here!) Reverend Rob Mortimer is indeed a certified reverend; he is also an undertaker, which explains what might otherwise be a slightly macabre sleeve. He is based in Greenville, Mississippi, which should surprise no-one who listens to this eleven track CD. I was

Detonics Raise Your Bet Naked

Detonics are a band from the Netherlands playing West Coast Blues, Swing and Boogie in a fifties style. The five-piece band all dress the part and obviously enjoy what they do, which is immediately apparent on listening to the eleven tracks on the album. It opens with Swing King, which fairly zips along with some swirling organ backing from Raimond de Nijs and some nifty guitar work from Jeremy Aussems. However, midway through the bouncy track, there’s a spoken interlude from vocalist, Kars van Nus, which emphasises

the band’s Dutch origin. (American) English has become the language of choice for the Blues and, naturally, everybody feels obliged to sing in some version of it. However, words such as “the” and “rhythm” are notoriously difficult for some non-native speakers to pronounce. Put them both together and you have a real challenge! Once I was over the linguistic issues (I imagined I was in a bar in Amsterdam, listening to a local band having a good time.) I started to enjoy the album a lot more. Out Of Sight is a shuffle blues number, which has a tight feel to it. Butter Side Up is a boogie-woogie style piece of rock “n” roll, which fairly zips along with some great guitaring and lovely keyboard work. (This would go down well live.) She Is In Command is a rumba style eulogy of some lady who is well and truly in charge of the situation, which again takes me back to Amsterdam, but not necessarily to a blues bar! Can’t Get Enough is a fastmoving bluesy number with some great harmonica from the vocalist and lyricist Kars van Nus. Bullet Through My Heart is a slow blues number on a tragic theme; being shot by a lover. My Dad Taught Me To Rock picks up the pace again, with an autobiographical narrative theme. Route 101 has overtones of Ghost Riders In The Sky, but did have me wondering why a Dutch lorry driver was going from San Francisco to LA. I’m sure this band would be great to see live.

Steve Banks

The Bob Lanza Blues Band Kids, Dogs & Krazy Women

Connor Ray Music

Now see this is my sort of thing. Down and dirty Texas style blues with oodles of Hammond B3 and some honking harmonica. Which is what you will find on this fifth album

from Bob Lanza. It’s been produced by Anthony Krizan who first came to note with the Spin Doctors back in the day and who went on to write songs for Lenny Kravitz. That seems odd until you find out that they’re old friends and that Krizan himself is firmly rooted in the blues. The album itself is a mixture of covers and originals with turns at a couple of tunes done by the Fabulous Thunderbirds which makes a lot of sense, unlike Walking After Midnight, the Patsy Cline hit. But it works as do most of the songs here. It certainly helps

Taj Mahal Sounder

Varese Saraband Records

This album will suit those true aficionados of the Blues genre, since it is that music in its purest sense. Sweetpapa Tee or his other pseudonym of Taj Mahal has brought together the music and songs of the Grammy nominee soundtracks for the film “Sounder” which was made circa 1972. This album also features performances on four of the tracks by the legendary Sam Lightnin’ Hopkins. Mahal himself played a cameo role in the film which deals with the harsher realities of life in the deep south of Louisiana so the music is of the period and is truly blues in both mood and lyrics. Hopkins opens the album with Needed Time which features simplistic lyrics as a cry for Jesus to return to aid their strife. This is swiftly followed by an almost master class in the art of the harmonica by Taj Mahal, though the title I found disconcerting Sounder Chase a Coon until you realise this is the dog

that the backing band, which sees Lanzas rhythm section of Vin Mott on harmonica and drums and Dave Lockhart on bass augmented by some fabulous Hammond B3 organ from John Ginty as well as guitar work from producer Krizan, is firing on all cylinders. Of the originals it’s the title track and the James Cotton tribute Hey Cotton that work best with the slow blues of Not The Man I Used To Be a close runner up. It sounds great from start to finish with an excellent production which saw them getting to record and play on some fine vintage

chasing a racoon for the cooking pot. Lightnin’ Hopkins reintroduces the fundamental blues with an extension of Needed Time in track three. All the tracks on this album tend to take you on the journey of the film and the sharecropping family it is centred round. There’s no sophistication in the lyrics, merely a reflection of a really dark period in the history of the deep south where the negro was treated infinitely worse than his/her white equivalent even during the Depression. I’m not going to pick any particular track as a favourite as I feel that does a disservice to the album as a whole. In my time of reviewing for the magazine this is album represents everything that truly is of the time of the Southern States Blues and embodies perfectly the genre.

Tom Walker

Vargas Blues Band King Of

Latin Blues

Warner Music Spain

Javier Vargas has been at the top of his game for many years now. The guitarist, vocalist, songwriter has 27 albums to his credit since 1991. Born in Madrid but growing up in his formative years in Argentina and learning his trade in Nashville and L.A. he has absorbed the sounds around that he blends into his own Latin soaked blues. This release sees Javier showcasing four brand new recordings with a careful selection of previous cuts, the 15 tracks forming a wonderfully cohesive flowing master-class in soulful blues. The title track, one of the new titles, opens proceedings and immediately sets the tone for the album. Laid back grooves abound with dexterous Santanaish fills and runs. The Santana feel continues into Cowards Knife, the vocal building images of hot city nights. Another of the new songs, Don’t Let The Children Cry has a rockier intro and builds into a heartfelt cry for freedom, a theme that recurs throughout the album. Welcome To The World is next, this new song brilliantly delivered vocally by guest Paula Gomez who gives it a contemporary jazzy feel. Back To The City is basically a love song but given added zing with a superb brass section and leading us perfectly to the last of the new tracks, Passion Blues. More

exquisite brass mixing with haunting vocals create a blues jazz amalgam that’s sticks around in your head. Other highlights include New York City Blues, a slightly more traditional blues of wistful regret but delivered in distinctive Vargas style and a solo midway that he nails. How Verso Are You? Includes guest appearances by Devon Allman and Reese Wynans reminding us of the plethora of top names who hold Javier in such esteem. There are also a couple of Spanish language tracks and some beautiful instrumentals including the six and half minute Tierra del Vino opus and the climatic Buenos Aires Blues that closes the album. The whole album is an uplifting affair with a message of world peace and freedom. With only one track under the four minute mark Javier always has time and space to stretch out without ever being self-indulgent giving everything a relaxed classy feel. Perhaps sometimes on previous albums he has tried too hard to show all his skills, he can certainly rock out with the best, but here the whole project glides together and carries the listener along with it.

Steve Yourglivch

Duke Robillard on guitar. Harpist Billy Branch and BB’s bass man Russell Jackson, the listener can expect much from this release. And there’ll be no disappointment. Things kick off with a real Chess style groove, Branch playing like Paul Oscher and a perfect vocal key for Kenny who for my money sings like a softer Freddie King. The piano runs tinkle away as the steady bass keeps things in place. I Knew I’d Be Playing The Blues is the title. Start Rockin’ is sprightly and a very Noo Awlins sound. How ‘Bout That has echoes of Albert King with its rueful lyric. Dig that Hammond and electric piano over the snappy bass and then here comes Duke with a spiky solo! I Like That Woman nods to Ray Charles with another ace vocal whilst Jimmy & Johnny is a delightful jump blues telling of a pals’ falling out over a female of course. Make Up Your Mind takes a Jimmy Reed tempo and sounds very Memphis Slim in style on the vocal. These cats make it sound so very easy. Lake Country Boogie has a slick jazz style about it, with a rich horn ensemble and sparkling piano. Mr Blueberry Hill is a paean to Fats and well-handled, observing the Domino sound and rolling rhythm. An Old Brick Wall has a 50s jukebox vibe. That Girl Needs Help finds Branch back on the harp and is my favourite here, with its dark edge and memorable middle eight. I could hear our pal Errol Linton tackling this one. That Raggedy Shack is back to the dancehall strut, an ensemble vocal working well. The parting shot on the record is a live rendition of Georgia On My Mind. So very traditional but so very entertaining

Pete Sargeant

equipment. But it’s the music that counts most and when the band lets loose this turns into a raving romp of a record and one that is hard to resist.

Stuart A Hamilton

Kenny ‘Blues Boss’ Wayne Inspired By The Blues

Stony Plain Recording Company With his piano-pounding international reputation and guests like

Bryan

Bryan Lee was a fixture in New Orleans for many years before being driven out by Katrina and is now based in the Tampa Bay area of Florida. Blind since the age of eight, Bryan has been a standout guitarist for many years and is a devout Christian, this album fulfilling a long-standing desire to make a blues/gospel album. Initially inspired by a dream in which Bryan envisaged a musical setting of the Lord’s Prayer, the album features nine tracks recorded in Bryan’s native Wisconsin with local musicians, including keyboard player Jimmy Voegli and dobro player Greg Koch, plus two older recordings made in Norway in 2011. Both recording sessions display an informal ‘live’ feel as Bryan urges his bandmates to greater heights, introduces the soloists, including his catchphrase “I’m gonna squeeze my baby” - his guitar! The Lord’s Prayer is played over a soul-blues tune and an extended Jesus Is My Lord And Saviour closes the album with a rousing shuffle. Now 75, Bryan plays some good guitar here, always with a rhythm player in support, and Jimmy Voegli’s piano and organ play an important role in the music, as do the backing vocalists (dubbed ‘The Lee-ette’s’) who raise the gospel flavour on half the tracks. Highlights include the title track which is a poem by Richard Draper set to music, a gentle gospel/blues amalgam with superb slide dobro by Greg Koch, and The Gift, a rocking autobiographical song that recounts Bryan’s personal journey. Bryan reprises an older song

Don’t Take My Blindness

For A Weakness in which he emphasises that he is just as capable as a sighted person when it comes to life, love and music. On Mr Big Bryan questions why a rich man is never happy with his lot and New Orleans rhythms feature on several tunes. For those who may not share Bryan’s faith

the Christian lyrics are surrounded by a superb blend of blues, soul and Rn’B music, making an enjoyable listen whatever one’s beliefs.

John Mitchell

Celso Salim Band Mama’s Hometown Independent

Sometimes you just want to hear good traditional blues and let your mind drift free in that moment. On this release that is just what you get, an eclectic mix of traditional blues played as it should be by a top class band. Here though there is only one cover of the gospel track, In My Time Of Dying. The other eight songs are written by singer and guitarist Celso Salim. Now based in Southern California this Brazilian bluesman knows his stuff

Julian Sas 2000 – 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 Pts. 1 & 2 are a complete recording of a

a wonderful tone to his guitar playing very moody and soulful. His band include Brazilian lead singer Rafael Cury, Mike Hightower on bass and vocals, Lynn Coulter on drums and David Fraser on keyboards. Guests include, Darryl Carriere on harmonica on the powerful Chicago blues song Locked Out In Misery. Mo Beeks also shines on Hammond organ on the driving opener, Mad Dog a stunning song and sets the tone in lyric content and musicianship, grabbing the listener’s attention straight away with a jaunty realism. No Need To Be Alone just oozes emotion in the delivery with some fine guitar picking. Got To Find That Babe has a real Southern type feel to it, very laid back beat. The boogie woogie style of Down The Aisle is a real toe tapper with various solos showcasing a band happy to diversify

live concert showcasing extended versions of many of the studio recordings. Twilight Skies Of Life was another studio recording and then Dedication Pts. 1 & 2 is another live recording, notable for a fifteen 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 have 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

their musical style. The title track is just sublime, “Mama’s Hometown” takes you on a musical journey, that you feel everybody is welcome on and the Dobro playing melts along with good harmonies. Best Of Luck slows the tempo down on this slow piano driven blues ballad sung full of passion with a sweet rhythm and classic weeping guitar riff. A release that is pure blues to the core, this has it all, a very uplifting release, superb musicianship, a must for any collection.

Colin Campbell

George Lilly And The Half-Fast Allstarz Thinkin’ About You Baby Snaky Gator Music

The mood is blues mixed with New Orleans. Of full brass and stinging guitar. Of songs you have heard before but want to hear again. From All Your Loving, heavy on the brass, or Catfish Blues with its stomping drums and syncopated Hammond organ, or the jazz chording of Parchman Farm. The album closer, a live rendition of Walking the Dog shows how good this six-piece is out of the recording studio, with strong soloing and singing from George Lilly. Although he has been singing and professionally for more than 50 years, there is the energy and musical ideas of a man who still has plenty of energy left. The original songs, such as Thinking

About You Baby and Just

Because sit well with the covers on the album. There is plenty on here to interest Blues fans, from the choice of material, to the guitar and keyboard soloing, whilst the thumping beats and the brass section add a New Orleans style and swagger to proceedings on this album which is always likable, with all tracks carrying a certain easy charm.

Ben Macnair

Full Fat In The Dark Independent

Full Fat are a new name to me but on this showing that demonstrate some fine chops. Hailing from Aberdeen, they are a three piece who have been around for a couple of years, mainly known in Scotland and the North East. Musically they hit a very tasty groove based on Francis Urquhart’s bass and Simon Rattray’s drums while Fraser McKain creates a strong funk with his rhythm guitar. I really like the feel of this band – they don’t set out to dazzle you with screaming playing but really work well together as a unit and the EP, recorded ‘live’ in the studio works because of that closeness. The opening track Le Funk kicks like a mule with a really strong dance groove that reminds me a lot of Double Trouble in the way they set a steamy bottom line – these guys aren’t dummies. There are rockabilly elements to their sound and even on a slow blues – Come Break My Heart – the sound has definite echoes of the fifties recording sound. Doctor Longhair – inevitably dedicated to the fine Professor – is pure rockabilly and they make a much bigger noise than you might expect from a three piece. My personal favourite track is Temper Temper which really kicks into a low down and dirty gear and then suddenly kicks into a high speed ZZ Top-esque boogie. Lots of potential here and an EP that bears a lot of listening to.

Andy Snipper

Rob Poole Fear Has No Dominion Mask of Anarchy Records

Rob Poole is a UK acoustic based musician who writes original material and performs it beautifully, he has a fairly laconic style which demands your attention, he is not a full-time

musician but has spent a life time playing in various diverse bands from Punk to Country as a jobbing guitarist, his full time profession is a psychiatrist. This is his debut album release on which he covers mainly acoustic based Blues/Folk, over the fourteen tracks he mixes his guitars playing a variety which includes several Resonator’s and the more standard Taylor 310 plus a Burns Steer electric guitar, his sound and lyrics are very fresh but he does generate a mid 1960’s feel. Rob has noted that his first influence was Jimi Hendrix, who got him interested in playing the guitar which was soon heightened by hearing albums by Bukka White and Bert Jansch, which is where the material on this album more closely sits, his vocal style is like a watered down Tom Waits. The majority of tracks follow the acoustic route although there are some subtle electric bursts, particularly on the track Dark Caught Me Here which is very menacing, particularly with a touch of slide. While there are a couple of instrumentals on the album it is the vocal tracks that stand out as these give Rob an opportunity to incorporate some life experiences and humour with his lyrics, the song Wired But tired is superb with its absorbing story line, the final track though is an instrumental whose influence is clear to see in its title; Fear Has No Dominion (slight return).An exceptional debut album.

Adrian Blacklee

Colin James Miles To Go

True North Records

Hard to believe, but this is Colin James’ nineteenth release and for this one he keeps to his true traditional blues roots. There are twelve tracks on this one, mostly covers but he pens two songs. These being I Will Remain

“The vast majority of the blues songs that truly transcend the genre and form part of what we might broadly define as popular culture came from Dixon’s pen, from his mind. The music contained on this record represents a tiny sample of Willie’s work. You may notice the homage also being paid to other artists who have inspired me over the years – often through their outstanding renditions of Willie Dixon songs. Those influences are all there in the mixing pot, but I hope that on balance, this recording comes across with a good measure of myself in there too.”

Ian Parker October 2018

This could have been pale imitation –it is vibrantly coloured innovation.

Blues Matters

‘Wonderful’ Cerys Matthews Radio 2 Blues Show

For fans who love his blues this is the album they’ve been waiting for.

Blues in Britain

Available NOW from www.ianparkermusic.com

Fri 25 Jan: RICK ESTRIN & the NIGHTCATS (USA)

Blues Foundation (USA) 2018 winners `Best Band’, `Best Song’, & `Best Traditional Male ‘

Sat 23 March LUCKY PETERSON & the ORGANISATION (USA)

The Real Deal! Lucky is one of the most authentic, & creative blues musicians in the world today!

Sat 8 Dec CREGAN & CO

`If you can’t afford my tickets, see these guys, they’re just as good at half the price! –Rod Stewart

Sat 27 April DR. FEELGOOD

Now in their 5th decade, and still one of UK’s very best rocking blues bands!

Sat 23 Feb DEREK NASH Band with NOEL McCALLA

Stevie Wonder songbook performed by Noel McCalla (Earthband), with Derek Nash’s superb band.

Sat 9 March

ANDY FAIRWEATHER-LOW & the LOWRIDERS

With his own superb band, Andy also plays for Eric Clapton, Roger Waters, Bill Wyman

The best live music in Surrey! Wilfrid Noyce • Godalming

Photo by Peter Vroon

which has a soft lilting guitar reminiscent of Albert King and the second being, 40 Light Years, a steady rolling tune with a soft snare drum played by Geoff Hicks. Both songs include a very proficient horn section that keep the rhythm going throughout this release. Colin decided to pick up his old red GibsonES-335, like one he had as a teenager and well the results are stunning. This is really a follow on from the much acclaimed Blue Highways release but more mellow and tuneful a real treat. There are two versions of “One More Hill” starting and ending the release, a funky full electric tone and a stripped down acoustic version which is very authentic, and also a tribute to James Cotton who Colin had seen perform this at a young age. Colin James loves his music and sings so soulfully throughout with a tight

backing band. The Muddy Waters Still A Fool is up-tempo and his vocals are gritty just like his guitar playing. He plays slide on the Arthur Crudup interpretation of Dig Myself A Hole, a classic track. Ooh Baby Hold Me a take on the Howlin’ Wolf track, stays pretty true to the original. This is a fun release and homage to Colin’s early influences. His guitar playing maybe is never better than on Black Night; it’s just wrapped up in raw emotion. An outstanding release and bringing new energy to classic blues tunes, a treat.

Colin Campbell

The Wolves Live It Up Widesmile Music

Fancy listening to a musical collision between Black and Blue-era

Stones and 1970s English pub rock acts of the Ducks Deluxe and Ace ilk, flavoured by Hammond stylings and raw-edged vocals? You’re in luck, amigo. Live It Up - an alloriginal set from Leeds four-piece The Wolves - should be right up your alley. It’s a high-quality offering in all departments, dominated by jump, soul and funk grooves instead of common-or-garden 12 bar workouts, and was still growing on me after several plays. In particular, singer and keyboard player CJ Smith impresses throughout, thanks to a pleasingly bluesy voice and the ability to make his organ sound like Ray Manzarek or Booker T Jones, as appropriate. Guitarist Tim Lyttle eschews flash and over-extended histrionics in favour of simple but effective pentatonic work, while rhythm section James Heggie on bass and Richard Ferdinando on drums are likewise disciplined. The strongest candidates for earworm status are the title track and Watch What You Do In The Night, both of them funky muthas. Rhythm Of The Streets is built around an open G riff rather obviously nicked from Keef, and while One Way Ticket To The Blues owes a certain debt to the Ain’t Too Proud To Beg chord progression, the guest harmonica contribution and female backing vox make that easy to overlook. Oh, and the artwork - a nod to the classic Stones sleeves of the 1960s - is a cut above.

David Osler

HELP US STOP ONE MAN BEING KILLED EVERY 45

Showtime

Carlisle Blues/Rock Festival Carlisle, UK

28–30 September 2018

Another fantastic blues weekend in Carlisle, organised by Nick Westgarth. The class of acts on the bill is second to none, with an eclectic mix of blues-centred music incorporating rock, r’n’b, funk. All-round fantastic entertainment for a sell-out weekend. So much to cram into a review, and still buzzing from the overall atmosphere, let’s get things started…

Friday Session

The Crown & Mitre ballroom

was packed. A grand venue, great acoustics, excellent sound and lighting. Catering and bar facilities also good, all planned well, so with audience in place the anticipation level is high and it’s time for action!

Redfish started things off, a local, five-piece band mixing traditional r’n’b, funk, roots, soul, all served hot! Starting with Bill Wither’s Use Me Up, immediately crank the volume, the bassline played by Rod MacKay has toes

tapping from the start, this is the feature of a tight set with very good musicians on every track. Their take on Sonny Boy Williamson’s ‘Gave You All My Money’ exhibited the manic piano talents of Fraser Clark, a man deep into his music and adding drive to the big sound. ‘Messin’ With the Kid’ was a highlight, marrying gutsy Stumblin’ Harris frontman-vocals with a sweet guitar riff from Martin McDonald. The band rocked on Magic Sam’s ‘Every Night Every Day’ with a deft guitar solo. Their enthusiasm and infectious grooves made this an uplifting musical experience, great

The Stumble by Colin Campbell

crowd pleasers, a real treat. Another smooth change and introduction to the much anticipated nine- piece ensemble, The Chris Bevington Organisation. Garnering much acclaim and success in the blues scene in the UK and beyond, this was a much-anticipated set. Chris Bevington and his band, from Stoke on Trent area are top class musicians and the set incorporated rock, blues, jazz, rhythm and soul with strong backing vocals. Unfortunately, there had to be a replacement for guitarist Jim Kirkpatrick who is usually the corner stone of the band and yes think it was safe to say the overall sound sometimes dipped, and the band’s chemistry initially faltered, but as

the set developed confidence oozed and the sound level increased. Jordan Swann did a great job filling in, mixing licks and riffs with guitarist-vocalist Scott Ralph, truly making their mark on the blistering ‘Coming Down with The Blues’ followed by a brilliant version of ‘Tin Pan Alley’ and a fitting tribute to Albert, BB and Freddie King on ‘5 Years.’ Horn section nudged in on the tight ‘Better Start Cookin’ featuring jump joint piano. As the heat in the ballroom rose, a core of the audience hit the floor, dancing, and a particular favourite, ‘Ain’t Got Nobody to Love,’ resonated well. They finished with ‘Rollin’ a crowd pleaser.

Elles Bailey and her band up next, with Elles rousing

the eager crowd with a soulful, belting opener ‘Let Me Hear You Scream.’ She incorporated a new track ‘What’s the Matter,’ a slower bluesy number. An excellent cover of Levon Helm’s ‘When I Go Away’ harkened to that Stax appeal with familiar piano riffs by James Graham. The highlight track, however, had to be ‘Perfect Storm,’ with a Muscle Shoals nod.

Joe Wilkins provided deep slide to another new one, ‘Medicine Man,’ with a primal beat. Again, the guitar riff in ‘Shackles of Love’ proved stunning. ‘The Road that I Call Home’ is going to be the title track of Bailey’s new release due out next Spring, a fantastic drum beat that penetrated the room and kept

Tom JJ Band by Colin Campbell

the audience rapt. The band finished off with ‘Wildfire’ which smouldered. Elles is a fun-loving person and loves to give joy to people. Looking around after the set, she got that balance right, certainly a class act. After another quick change, Ian Siegal Band, the headliners for Friday. His latest release All the Rage has received plaudits and he played a few from that plus associated favourites and crowd favourites. What you see is what you get: Ian Siegal has real stage presence, a three-piece band with attitude, they played a blistering set to a hugely appreciative audience. Kicking off at lightning speed with ‘Shotgun Rider,’ great melody, then straight into ‘I Am the Train,’ which chugged along with Dusty Cigaar interplaying guitar. Each song was greeted with whooping and excitement, highlighted when Ian Siegal blew the place apart with slide guitar licks on ‘Shit Hit.’ His growling approach to ‘John the Revelator’ shook the ballroom. ‘She’s Got the Devil in

Her’ was pure Mississippi Hill Country. He even managed to get through ‘Gallo Del Cielo’ barely stopping for breath. Final song, ‘Sweet Souvenir’ is a sweet tune that had the audience spellbound. A great blues showman closed a great day’s entertainment.

Saturday Session

First on stage, a couple of local musicians playing mostly old standards sharing acoustic and electric guitars, Jon Bowie and Phil Saunders. A particular favourite a stripped-down version of ‘Johnny Goode,’ a slow reinterpretation had many of the audience wondering what song it was with seemingly a great enthusiasm. A balanced set list also included ‘Serves You Right to Suffer’ with soft lyrical portrayal. With some great fingerstyle guitar playing, they finished with a shuffle take to ‘Eyesight to the Blind.’ Carlisle Delta blues opens Saturday’s showcase, an overall enjoyable start satisfying the crowd. Next up was Glaswegian funtime five-piece with sax appeal,

Deke McGee Band got the afternoon party going with an up-tempo set covering all genres from rock’n’roll to big band swing. Tracks included ‘Stay a While,’ and rarities like Eddie Vincent’s ‘Kidney Stew.’ Deke, a superb frontman and sax player fronts a band that simply just has that rhythm, guaranteeing a smile and a toe-tapping time. Tunes turned into jam sessions showcasing the undoubted talents of each player - a highlight being their own composition, ‘Little Bit of Love.’ The crowd were dancing to ‘Jumpin’ Jesus Holy Cow,’ a wonderful boogiewoogie piano accompaniment. ‘Jambalaya’ got a jump-jive treatment with some solid drumming by David Stone. From Shrewsbury, breaking waves in the modern blues scene, The Rainbreakers, brought heavy blues-rock tinges, crossing a divide with bags of soul for good measure. Featuring tracks from their debut release, ‘Face To Face.’ ‘Lost with You’ had good hard driven tempo; ‘On My Knees’

The Rainbreakers by Colin Campbell

moody and dark with accentuated bass. All guitarists joined in on ‘Take It or Leave It’ for a big sound. ‘Waiting on You, Moving On’ was the best tune, mixing a slow, soul vocal with trance-like fretwork. These guys have an inspiring rhythm and groove. One cover they absolutely nailed was Gary Clark Junior’s ‘When My Train Pulls In’ - sheer brilliance and a deserved ovation. Next came The Stumble, firm Festival favourites who continued to raise the roof with their r’n’b mix, soulful songs and solid saxophone from Simon Anthony Dixon, one of the best in the business. With Paul Melville on leading vocals they also have

one of the best frontmen. After a break it was time to catch the sounds of Northsyde a four-piece band based in North East England. Fronted by vocalist-songwriter Lorna Fothergill, lead guitarist virtuoso Jules Fothergill assisted on bass, with Ian Mauricio and drummer Hayden Doyle. ‘Who’s Been Talking’ was very mellow and had almost serene vocals to it. Jazzy type blues came in the form of ‘Tuesday’s Past.’ There was even an odd touch to the interpretation of Phil Collins ‘In the Air Tonight,’ dark and menacing but highlighting the lead singer’s strong vocal range mixing with soulful guitar. But, it was

the band’s cover of ‘Today I Sing the Blues’ that really shook the rafters. The guitar interplay on the Allman Brothers ‘Winning Post’ was electric in all senses. A rousing ‘Smokestack Lightning’ ensured a good set; their style is eclectic and a joy to hear.

Veteran Mike Vernon and The Mighty Combo worked songs from their latest release Beyond the Blue Horizon, old school r’n’b. with young Spanish protégé on guitar, Kid Carlos, who resembles a young Peter Green. But it was frontman Mike who glued this together with many a monologue to introduce such covers as the Brook Benton ‘Kiddio.’ Opening with ‘We’re

Mike Vernon by Colin Campbell

Gonna Rock This Joint,’ the band kept good tempo, a highlight being ‘All by Myself’ which had a Fats Domino stamp. At times, however, it felt that Vernon was going through the motions - but to each their own, and the audience joined in on ‘Be on that Train,’ a piano boogie rag. The songs came fast, punchy and upbeat finishing with ‘Hate to Leave, (Hate to Say Goodbye).’ Thorbjorn Risager and The Black Tornados, hit the stage next. Fun from start to finish, this has to be one of the best gigs in town, so talented they set the bar at its highest with a masterclass opening with ‘If You Wanna Leave,’ Thorbjorn shredded some notes whilst growling out the lyrics. Joined by Peter Skjerning on slide guitar - just wonderful. The funky strains of ‘Paradise’ with horn section had the dance floor full and the crowd stayed there for the whole captivating set. ‘The Hill’ a new song had a steady beat, followed by the ethereal ‘China Gate.’ They left the stage to a standing ovation, no better compliment to be paid. This was their second Carlisle visit and it won’t take a lot of persuasion for a repeat turn. There was a late Jam Session on downstairs in a badly-lit, seedy part of the Hotel, a fitting place to have an impromptu add-on. This featured Redfish with various guests including some of Saturdays headliners plus some stage crew, including, of all people, Matt Long from the award-winning Catfish.

Sunday Afternoon Session

Sunday session was a small walk to The Old Fire Station, now a top-class Carlisle venue, smaller but modern with good quality sound. First on, London trio, Tom JJ Band played a mix of traditional Chicago blues with Fabulous Thunderbirds covers. A good stage presence, Tom’s guitar shredding was exemplary. Next band were introduced with a warning this will be loud. And it was. The newly formed SibunMalone Band, with Innes Sibun on lead guitar, Marcus Malone, lead vocals and guitar, drummer Chris Nugent and on funky bass, Winston Blissett Knien from Massive Attack. They have a perfect blend of in-your-face rock and soulful, rocking blues. They tore through the first numbers, ‘One Woman Man’, the cover ‘Come Together’ and the awe inspiring down and dirty version of ‘House Of Blues.’ This had guitar solos aplenty from the no-holdsbarred approach of seasoned guitarist Innes Sibun.

Next to entertain was a thundering three-piece outfit, The Todd Sharpville Band. Unfortunately this took some time to get into rhythm as Todd had to borrow a lead guitar. But once started he went into overdrive on the likes of ‘If You’ve Ever Been Mistreated,’ his vocals raspy and clear with more than a touch of bitterness, just what was needed. The trio blistered through ‘Five Long Years’ and ‘World Full of Trouble’ ending the set with ‘God Loves A

Loser.’ A powerhouse trio with, Mark Mondesir (ex-Jeff Beck) on drums and grinding bassline played by Andy Tolman. Downtown blues rock as it should be, very loud and a good response from the crowd. Todd then introduced the headliner, Wayne Baker Brooks. What a showman, his stage presence was immense, clad in black with feathered hat, the real Chicago deal. Just a few bars and you are over The Pond in a Chicago nightclub. Otis Rush had sadly passed away over the weekend and Wayne paid a particularly fond rendition of ‘I Can’t Quit You Baby,’ absolutely jaw dropping. Sharpville played his heart on this one, loads of reverb and interplay - a fitting tribute. ‘I Can Read Your Mind’ was also a big favourite, sharing guitar solos and smoky vocals. The set kept blossoming with ‘It Don’t Work Like That,’ pure Chicago swagger, loved by the audience. As was the case, with the downright funky ‘You Make It Easy, Baby’ included a walk around the crowd, sitting with the crowd, before getting up on stage to finish with a shuffle. What a performance. The perfect ending to a perfect blues weekend. Everyone went home in the knowledge they had witnessed something wonderfully special. Thank you, Nick Westgarth, and the team, for a brilliant time. May your success continue. It’s hard to believe there was a better blues festival in the UK this year!

Colin Campbell

Mitch Laddie Band by Stuart Stott

The Edinburgh Blues’n’Rock Festival Corn Exchange, Edinburgh, Scotland

22 September 2018

The festival started quite low key with Charlotte Marshall and the 45s in the unfortunate graveyard slot of opening act in the early afternoon. Nevertheless, the Glasgow based, Australian chanteuse and her 6-piece band brought their unique blend of retro, smoky jazz, blues and country songs to the Scottish capital and left with an enhanced reputation. The songs are quirky and carefully crafted, epitomised by the balladic ‘Dig My Love’ and the powerful ‘Miss Jane’ with their excellent brass and keyboard interludes.

A blues festival deserves the best in UK blues and the Jensen Interceptors and Mitch Laddie Band provided this in abundance. Authentic, down home blues from America is a specialty of the Interceptors which they mix with original material. The personnel have both the musical skills and depth of understanding of the genre to transport the listener into the blues heaven of Sonny Boy Williamson, T-Bone Walker and Muddy Waters. John Bruce is the godfather of the Edinburgh, indeed the Scottish, blues scene, a troubadour whose 6-string wizardry is world class, his slide guitar technique exemplary. Front man, harmonica player Gary Martin’s trills, riff, runs, wahwahs, hand tremolos and use

of the top end of the harp are breath-taking and he is just so solid and plays some lovely background rhythm harp when he’s not impressing with his solos. His rasping vocals aren’t bad either and yet he has an easy listening, conversational style of singing. If all that is not enough then Ritchie O’ Donnell is on hand to supply killer Hammond organ and keyboard accompaniment and solos in his inimitable fashion. Singer and guitarist Mitch Laddie along with bassist Rhian Wilkinson and Matt Connor on drums are leading the way in contemporary, innovative blues, setting new directions. They are all brilliant instrumentalists who play together in perfect synergy, the ultimate power trio with plenty of light and shade and seamless changes of pace and mood. Songs from their new album, Another World, are well received by the appreciative Edinburgh open minded blues fraternity who responded noisily and enthusiastically to Mitch’s diversity of guitar tones, techniques, grooves and pace which complement his subtle vocal phrasing. The back catalogue is also revisited with a hard rocking version of Marvin Gaye’s ‘Inner City Blues’, the finger blurring fretwork and pulsating rhythm interspersed with periods of calm, all magnificently arranged and executed. This Laddie’s progress has been phenomenal, and the band is on course to become the most prodigious talent from the north east since Eric

Burden and The Animals.

The rock in Blues ‘N’ Rock is amply provided by the dynamic Rising Souls who are deservedly gaining an excellent reputation throughout Scotland and further afield. If there is a better singer and frontman than Dave Archibald, then he must also be better than Paul Rodgers. This young band start off as heavy as Zeppelin and whilst there are dark, intense metallic sounds in there, the original material is varied and includes prog rock in songs like ‘Walk On’ with its tempo changes reminiscent of King Crimson. Their Set Me Free CD and new release ‘Who Are You?’ are well worth checking out.

In many ways it is a doubleheader festival as Dana Fuchs is frequently topping the bill in Europe and her native America. Since forming her own record label and surrounding herself with the best Memphis musicians, she is in the same star ascendancy as her compatriot Janiva Magness and Beth Hart. Like Hart, Dana bares her soul and feelings as she deals with recent family bereavements and personal demons as well as celebrating the joys in her life such as being a mother. Fuchs immediately engages with the audience and talks and sings with sincerity and from the heart. Despite the vulnerability, her strength always comes to the fore in her astonishing, powerful vocal performance. Songs from her latest album, Love Lives On

feature prominently, starting with the slow burning ‘Ready To Rise’ followed by the soulful, poignant ‘Callin’ Angels’ and the gospel tinged, moving tribute to her dad, ‘Faithful Sinner’. A harder edge is evident in the impassioned ‘Sad Solution’, her anger with the American political system expressed through her throat shredding vocals and the screaming saxophone of Tyler Kashenero. Two magnificent covers steal the show as Dana storms her way through Redding’s ‘Nobody’s Soul But

Mine’ before signing off with a sensational stripped down version of Cash’s ‘Ring Of Fire’ by which time emotions are running high both on stage and in the auditorium.

Nearly, half a century after Woodstock, two original members of Ten Years After are back on the Edinburgh festival stage, drummer Ric Lee and keyboard player Chick Churchill. Alvin died in 2013 after a long and illustrious solo career whilst virtuoso bassist Leo Lyons left to form the outstanding

Hundred Seventy Split. They are replaced by Colin Hodgkinson, the veteran, highly respected, former Alexis Korner bass player and the talented singer and guitarist Marcus Bonfanti, who fronts one of the most exciting and innovative bands in the UK. Bonfanti’s performance is sensational with every solo and lick greeted with tumultuous applause. His powerful vocals bring a refreshing dimension to Alvin Lee’s compositions as he never tries to imitate the covers. For example, ‘I’m Coming On’ would surely have gained Alvin’s approval as it showcases Marcus at his awesome best, leading from the front with his charismatic presence. The major highlights of the performance are the faster version of ‘Choo Choo Mama’ which ends the show, the audience having demanded an encore; Colin’s exquisite bass and vocal solo as he takes to the stage on his own, and an exceptional set of semi-acoustic songs. The latter includes the catchy ditty, ‘Portable People’ and the jaunty ‘Losing The Dogs’, supported by sumptuous, intricate bass and acoustic guitar work and Ric Lee’s impeccable brushwork on snare. Sadly, Chick is still recovering from open-heart surgery and a recent stroke but still shows flashes of keyboard brilliance, his indomitable spirit and willpower an inspiration. Sprightly septuagenarian Ric with his 10-minute solo and athletic antics on drums plays with the same energy

Dana Fuchs by Stuart Stott

and enthusiasm as he did in the 60s when he set out with Chick, Leo and Alvin to change the world. The fact that most of the audience ecstatically cheer the distinctive opening bars and groundbreaking, timeless riffs of Alvin’s songs shows why the festival organisers, Edinburgh Blues Club, made such an inspired and popular choice of headliners with such wide appeal. These four musicians are keeping the name of Ten Years After alive for future generations and will encourage blues and rock fans of all ages to check the original recordings as the 50th anniversary of Woodstock approaches.

The Bishop

European Blues Cruise

11–15 September 2018

New cruise line, new ship, same old blues? With a year’s break since the last cruise, some big changes have been made to the European Blues Cruise. A new option was made available to choose departure/ arrival port, with departures from either Genoa, Italy or the French cities of Nice and Marseille and vice versa on return. This year also saw a major transition to a new cruise line operator in the shape of Italian-based cruise giant MSC Cruises, and consequently the experience of a whole new, bigger, ship to play on! Aptly named for a musical voyage, our ship MSC Orchestra can

luxuriously accommodate up to some 3200 passengers on its 13 decks, each named after a musical instrument.

After boarding during the baking heat of a Provence afternoon, by 5pm the Orchestra slipped away from the Marseille quayside and nosed into the inviting blue waters of the Mediterranean Sea. The pool deck was already filled with loungers and swimmers when the opening performance of the Blues Cruise hit the poolside stage with a bang. Big voiced chanteuse Nora Jean Bruso stepped up and took us on a blues voyage of her own, from Mississippi to Chicago. From the very start of Nora Jean’s set, the basking crowd were lured out of their loungers and swimmers climbed from the pool, and filled the dance floor, swinging to the hot vibe Nora Jean was putting out. In a unusual supporting

role, man of the moment Toronzo Cannon, acting this trip as musical director, briefly stepped forward to wield his signature “Chicago Way” guitar and add a few cutting licks. Handing over to the legendary Carl Weathersby to turn up the heat even higher. things got so hot in fact that Toronzo had to fan Carl with his trademark hat… Between Nora Jean’s big, operatic voice and her heartfelt delivery plus Carl’s sizzling guitar, this was an outstanding opening show that really set the party off with style.

From a Mississippi girl turned Chicago blues singer, we now turned to a member of one of Chicago’s favourite blues dynasties, Wayne Baker Brooks, son of the great Lonnie Brooks. In the glitzy, sparkling surroundings of the R32 Bar, which was more reminiscent of a reborn Studio 54 in its disco heyday

Nora Jean by Jennifer Noble

than a blues joint, Wayne and the band did their very best to give us the real Chicago club feel - and they succeeded! Among some of the more familiar Chicago standards, Wayne paid a rocking tribute to his father, a slice of real old school R’n’B from his Guitar Junior days, “The Crawl”. In Wayne’s words, it was a way of explaining “Where I’m from and where I’m at” introducing some of his own more contemporary take on the blues. In any event, whether old songs or new, it was more than enough to persuade the audience to hit the dancefloor

and show their appreciation. What a great opening day! Day two and the featured attraction was Carl Weathersby, occupying the grand space of the “Covent Garden Theatre”, an imposing two story theatre style room. Guitarist and singer, Carl has been a fixture on the Chicago scene through his many years as guitarist for Billy Branch’s Sons of Blues and subsequently his long running solo spots at the world-famous Kingston Mines. Carl’s style is easy, unhurried and fluid - he has a way of creating space in a song to

let the full expression of the soul of the music grow. An example; during “I’ll Play the Blues for You”, a string broke. What might cramp another player’s style gave Carl freedom to let his mellow vocal take over and dropping low and gentle, he drew and teased the audience into focusing all their attention on each note and phrase -it really felt like he was playing for each individual listener. So when, with guitar string replaced, he dialed the intensity and volume back up it hit hard, letting loose a torrent of blues from the

Carl Weathersby by Jennifer Noble

low and middle range rather than screaming from the top frets. Wonderful, awe-inspiring stuff - and it wasn’t only the audience appreciating the artistry; I could see drummer Pooky Styx exchanging grins and headshakes of enjoyment with keyboard player Luca Chiellini. Another intense moment in Carl’s reading of “I’d Rather Go Blind” - epic, funny and moving all at once - I’m sure there were few dry eyes in the house as the crowd rose to their feet to acknowledge a wonderful performer.

A nightcap in yet another venue (this ship was certainly blessed with choices) - “The Shaker Lounge” - with the sounds of one of Chi-town’s most glamorous performers, the charming Liz Mandeville. Looking (and sounding) sassy and sparkly Liz kicked off a lively, engaging set of rock’n’roll-tinged blues with Toronzo Cannon providing some additional muscle in the guitar department. Liz is a great storyteller in between numbers, and when she shared her story about staying at the Riverside Hotel in Clarksdale, and sleeping in Muddy Water’s bed... well, I won’t spoil the punchline but you had to be there! As well as guitar and vocals, Liz also plays a mean frottoir and used it to good effect in a promenade around the crowd, setting the room clapping to an infectious Cajun beat. And not to leave out the only member of the house band not mentioned so far, Liz pulled out a cover of “All About That Bass” for the rock

steady bassman Dave Forte. An uplifting end to day two. One of the fun features of holding a festival on a cruise ship is the closeness of the fans and the artists, we are all literally - in the same boat! The Pro-Am jam is another way to share a bit of love for playing the blues and the fans really appreciate the chance to show off some licks on stage with the professionals. Thanks to Joe Harp, Dave the Drummer from Barcelona, and even your humble reporter for stepping up with Toronzo, Fabrizio Poggi and the band. There was an additional treat after the jam. Nora Jean Bruso had not been scheduled to perform again until Friday, but by popular demand from the people disembarking on Friday in Genoa, her set was brought forward so that they could hear her again - they were so knocked out by her short appearance earlier that they wanted more! Nora Jean did not disappoint, easily overcoming unavoidable announcements over the PA as the ship left Palma de Mallorca. Where the large dance floor in front of the stage might have been something of a barrier earlier, Nora Jean claimed the space as her own, getting up close and personal with the crowd occupying the low, comfortable booths scattered around and equally getting down with those moved to dance. Nora

Jean produced the highlight of the day - a show-stopping, indeed heart-stopping, extended rendering of John

Mayer’s “Gravity” pulling in Gospel influences

- shades of Mahalia Jackson - and for 12 golden minutes

Nora Jean held the room in a spell. What a remarkable performance - once again there could not have been a dry eye in the house.

Well, there was nothing if not variety on offer from the Blues Cruise lineup. Moving out of the softly lit Shaker lounge into the brightly sunlit R32 lounge, its position perched upon the stern of the ship providing 270-degree views of the wide-open Mediterranean, was like waking from a dream. Fortunately, the music was no dream, with recently Grammynominated harpist Fabrizio

Poggi in the chair, accompanied by fellow Italian guitarist Enrico Polverani. Fabrizio’s 2017 nomination was for the album “Sonny and Brownie’s Last Train”, recorded with Guy Davis and the love for Sonny Terry was evident. It was easy to imagine sitting on a front porch in the summertime in Carolina as Fabrizio rolled out a pure, sweet harp tone. It was also a great background for the guitar playing talents of Carl, Toronzo and Wayne to jam along to. A very mellow, pleasant afternoon indeed. As afternoon and evening melted into night, the search for the Piano Bar was on, rewarded by the sight and sound of the remaining European contributor to the bill, Italian maestro Luca Chiellini. Now resident on Chicago, Luca treated us to an hour of grand

piano-mashing, audience-clapping, rug-cutting blues and boogie-woogie, pretty-much single-handedly (not counting a rare tambourine turn by Wayne Baker-Brooks!). And so, to bed…

Our port of call at the beginning of day four was the busy Italian seaport city of Genoa, historically known as the home of Christopher Columbus. It was interesting to ponder what kind of blues there might have been if he hadn’t made those voyages 500 years ago. Coming back to the present, the Ligurian coastline provided a stunning backdrop through those wide-angle glass walls of the R32 Lounge as we once more headed out to sea to the sound of Rip Lee Pryor

son of Maxwell Street School harp master, Snooky Pryor. Rip brought some of the feel of that legendary Chicago location to the boat, accompanying himself on guitar, harp and stompbox just as earlier generations of sidewalk performers would have done.

As all things must pass so the last day of the 2018 cruise came along, but not before one more, big blowout - the now traditional Big Jam, featuring all of the artists, in turn and all together. Marshalled by the untiring Toronzo Cannon, a procession of artists took their turn. The ladies went first, Nora Jean Bruso and (Liz Mandeville backing up on frottoir) sharing the dance floor with happy dancing couples, then Rip Lee

Pryor arrived turning up the harmonica heat, he in turn giving way to Wayne Baker Brooks rocking round the dance floor and eventually Liz Mandeville working the mojo, until the entire cast took the stage all together in a glorious cascade of music.

Once more the European Blues Cruise team, under the leadership of Lisa Panoyan, director of the Marseille Blues Society had created an exciting, and varied program featuring some of the best blues talent from Chicago and beyond, presented in an enjoyable, friendly atmosphere. The festival is still young, and things are evolving every time, but the fundamentals of good music, great performers and a supportive audience are all there. Roll on 2019!

Glenn Noble

Guy Tortora Band

Leek Blues and Americana Festival

Foxlowe Arts Centre

Wednesday 3rd October

This is the sixth year of the Leek Blues and Americana festival, a fantastic celebration of blues and Americana music. Tonight, was the official opening night and what an opener it was. First on stage were an Americana acoustic duo, Dave Luke and Chuck Micallef, that eased everyone into the evening with such great laid-back gospel/country music that made the audience feel right at home. Then the main event of the evening’s proceedings began as Guy

Tortora and his band took to the stage in this wonderful, welcoming theatre. Wayfaring Stranger from the album

Prodigal Songs was the first number. A fantastic acoustic track with just Tortora playing slide acoustic guitar and bass player Costa

Tancredi for company it was a brilliant way to start what would be a wonderful night of music. Wonderful vocals from Tortora just washed right over the audience, giving a warm feeling. Joined by keyboard player Janos Bajtala and drummer Pete Hedley we were treated to a wide selection from the back-catalogue of this wonderful foursome. Cotton Was King from the 2008 album, Living on Credit, told a story of a time when it was the most important industry of its time only to be abused by rich owners making downtrodden lives seem normal. Virtually every song told a poignant story in Guy’s own words only to be matched by a wonderful four-piece band. A cover of Blind Willie Johnson’s Soul of a Man, for me, was the outstanding song and performance of the night but that takes nothing away from the rest of the gig. Songs like Sanctified Love and Willie Dixon captivated us all in this serene atmosphere from an artist that should be far more well-known. Finishing with a cover of Honky Tonk Woman, featuring superb slide guitar, the result was an evening I won’t forget in a hurry.

Stephen Harrison

Blues at Sea Sweden

20–22 October

With weather again fine for the third year running, July Morning’s, Viking Lines, Blues at Sea 2018, was yet another excellent bit of blues and fun. Setting off from Stockholm, we reached Finland before high-tailing it back to the Swedish capital, with pretty close to non-stop blues music all the way. This year’s event kicked off with a band I have long admired, Sweden’s very own Karin Rudefelt & Doctor Blues. This is a band that

delivers full-tilt, open-throttle blues with rocky undertones and an evident passion for the music that shines at every turn. Their recent albums have been strong and focussed and the live set was delivered in a similar, confident, assured way. The set was followed by a decidedly different style of music from Italy. Sicilian eight-piece band, Jumpin’ Up Swing and Jive, simply took to the stage and went for bust, with a rip-roaring set that veered across various genres but mostly concentrated on what might loosely be called Rockabilly at near

its best. In many ways the set reminded me of last year’s Si Cranstoun gig, with similar approach, material and feeling. The band warmed the packed hall nicely and ripped through a sixty-minute set all too quickly. As the evening rushed towards its close, Mississippi blueslady Nellie Tiger Travis took the stage by storm, with a gospel-edge and raw, gutsy vocal delivery that easily had the huge crowd eating out of her hand. Travis was, if anything, at her best when lowering the fevered tempo, a bit, slowing down the pace and pumping out

soulful blues covers including a particularly fine take on ‘I’d Rather Go Blind,’ where she really excelled. Swedish bluesman, Roffe Wikstrom, also turned out a fine blues set with his band, an outfit that always performs solely in Swedish – resulting in a huge amount of entirely understandable, local support from the heaving crowd. Meantime, another two Swedish bluesladies picked up the pace on another stage, with Lisa Lystam and Ida Bang pushing out a mighty fine set with Lystam’s Family Band guitarist/partner, Fredrik Karlsson, helping out with some quality fretwork and backing vocals. Lystam and Bang clearly work well together, feeding from each other and almost always managing to hit just the spot with their music. The Factory Smokers Street Review, an eclectic three-piece band that covered bases from Mississippi Delta, to swampy, funky Louisiana sounds and touches of New York blues and rock, with cigar-box guitar proving an effective weapon of choice. Bill’s Boogie Band, headed by another Swedish national treasure, harp-ace and singer Bill Ohrstrom fronting a four-piece outfit, also went down well, as he generally does as a cruise regular with a significant Scandinavian and national following. On the return leg, a few bands positively delivered outstanding sets including the highly unexpected and eclectic Kjell Gustavsson R&B Orchestra. This is a band that propels everything along with a

riotous, delicious power and purpose delivered by a ninepiece band with full horns, squeeze-box, and anything else musical thrown into the boisterous mix. With hints of US band the Mavericks, at times, Gustavsson’s R&B Orchestra genuinely have something few can match and in some ways, for me, proved to be unexpected near show-stealers. Joined for a few numbers by bandleader Kjell’s daughter, Tove Gustavsson, they provided a welcome, warming blast of simply fine, down and dirty damn music. Swedish duo, Baba Blues, joined by a sitar player, picked up the hungover breakfast crowd with a set that was acoustic-driven and featured some excellent fretwork and fiery vocals, the sitar adding unexpected flourishes and touches reminiscent of Michael Messer’s Mitra, at times. As the boat worked its way through the beautiful Stockholm archipelago on a cloudy and breezy morning heading for the quayside, one of Scandinavia’s finest bands held the stage with ease. Finland’s Wentus Blues Band delivered their usual, topdollar live set featuring a wide range of blues material from the southern Delta to Chicago, with absolute ease and assurance. This is a band that in my experience never fails to deliver, always a pleasure

and a highlight to any festival or event. Material, mostly from their current release, Throwback, included a batch of the late Eddie Kirkland’s tracks, numbers generally overlooked these days but which self-evidently deserved a reappearance and hearing. To close the event Wentus backed US singer, Barrence Whitfield, a blues dude from Boston with a growling, soulful delivery and a stagepresence and confidence that only comes from many years’ experience out on the road. Whitfield clearly enjoyed himself, working the crowd with more than a hint of class and control, his voice hitting both ends of the register from bassy to near-falsetto, while also delivering a high-powered set backed by a simply excellent band currently playing

Nellie Travis by Jan Venning

near the very best, after over thirty years together.

Iain Patience

Wentus Blues Band with Barrence Whitfield Borlange House of Blues, Sweden, 18 October 2018

This was a real bit of luck and a chance opportunity to visit a genuinely lovely blues venue in a rural town in Dalarna province, Sweden, about an hour and a half from Stockholm. En-route to the annual July Morning, Blues at Sea cruise-gig, I stopped off for a few days with ex-Brooklyn bluesman, Brian Kramer, our own ‘man’ in Sweden. Kramer is a recent implant to

this area after 20 years living and playing in the Swedish capital, Stockholm. As we were all at a loose end one evening, he checked out the schedules for the House of Blues in nearby Borlange and we profited from the chance to catch one of Scandinavia’s most accomplished and significant blues bands, from Finland, the Wentus Blues Band. Nearing the end of a three-week tour of the region backing US singer, Barrence Whitfield, they had a booking for one night at the venue where Kramer, himself, now also plays as a weekly blues spot, with various guests, from USA and/or Stockholm. Sadly, due to an advertising mix-up, the gig was light on audience but, thankfully,

high on quality. Wentus is a band that seldom fails to deliver top-dollar sets and tonight was no exception. With shades of Chicago, the Delta and all blues points in between, they delivered a pulsing set matched by Boston’s Barrence Whitfield, a guy with a fine vocal range and a sense of humour that shone out as and when needed. Those of us fortunate enough to be in attendance benefitted from a set that ran for around an hour and a half without a break, following on from a short opening set by the venue’s owner and his sound engineer, a set that was bluesy in thought and sound but featured a substantial slice of Americana and Johnny Cash at its core. This is a truly

Wentus Blues Band & Barrence Whitfield by Jan Venning

delightful venue, walls plastered with framed photos of all the great bluesmen and a bar that was reasonably priced and well-stocked, ideal for any blues lover and highly recommended for a future visit. I, for one, will be back.

Iain Patience

Roxy Magic Lichfield Arts Concert Review

6 October 2018

With the distinctive vocals and songwriting skills of Bryan Ferry, the sonic squiggles of ambient music pioneer Brian Eno, rock guitar, jazz and classical saxophone playing, and a solid rhythm section, Roxy Music were always going to be a band that stood out from the crowd. Since forming in 1970, Roxy Music have had an incredibly successful career, forging the path from their glam and art rock beginnings to mainstream notice, with Bryan Ferry and Brian Eno both going onto become household names, and their eight studio albums all being both critical and commercial successes. A near capacity audience, and a talented band meant that this concert, in celebration of one of the most important musical legacies in recent times was a definite highlight in Lichfield Arts Autumn 2018 season.

The band consisted of lead singer Kevin Hackett, guitarist Richard Price, saxophonist Robbie Tabrett, Richard Northwood on keyboards and backing vocals, bassist and backing vocalist Mark

Schlotel, and drummer Simon Atkins played the full range of Roxy Music’s sound, ranging from glam rock, to jazz, pure pop and guitar led rock.

Starting with What Goes On by Lou Reed, most of the set was by Roxy Music, but some choice covers, and two singles from Bryan Ferry’s solo career also featured as well. More Than This, If There Is Something and the Theremin drenched Editions of You were highlights of the first half, whilst the second half featured most of the songs that Roxy Music are best known for and got some of the audience up on their feet.

Street Life was a solid opener, with an introduction of musical invention on both piano and saxophone. Smoke Gets In Your Eyes, by Jerome Kern showed the group’s way

around a jazz ballad, whilst the slower hits Dance Away and Avalon showed just how sophisticated a group Roxy Music could be. Their biggest hits finished the set, with Do The Strand, Virginia Plain, Love Is The Drug and Let’s Stick Together bringing the audience again to their feet.

The encore featured a fine interpretation of The In-Crowd, and the audience joined in for Roxy Magic’s version of Bryan Ferry’s interpretation of John Lennon’s Jealous Guy, complete with the whistling. Although when thinking of rock gigs, the Guildhall may not seem like the most obvious of venues, the multi-generational audience, and the sound quality of the band all added to a great night of entertainment.

Ben Macnair

Roxy Magic