Blues Matters 74

Jefferson sTarship ChiCken shaCk

Carl palmer (emerson lake & palmer)

Geno WashinGTon ken hensleY (Uriah heep)

nine beloW Zero The animals & friends

Canadian blaCk & The miGhTY ChessmasTers

butlins skegness

fri 24 – mon 27 january 2014

the blueS matterS! Stage at jakS

Friday: 8.30pm – 10.00pm

ROSCOE LEVEE

Southern tinged Blues/rock/Americana, a band that’s on the rise!

10.30pm – 12.00pm

ALEX McKOWN BAND

A young and upcoming act that’s making a name for himself on the blues circuit.

12.30pm – 2.00am

BLUE COMMOTION

Stunning musicianship and vocal skills.

Saturday aFternoon: 12:45pm – 4.00pm

ROADHOUSE Jam sessions

The ever popular ‘ROADHOUSE Jam sessions’ have become synonymous with this super weekend and always in great demand and very well supported, including short sets by Roadhouse themselves to start and close.

Saturday night: 8.30pm – 10.00pm

DOVE& BOWEEVIL BAND

From wildest Norfolk with their own brand of Blues’n’roots to thrill and entertain!

10.30pm – 12.00pm

INNES SIBUN

He’s toured the USA in Robert Plant’s band, topped major festivals across Europe with his own band, and is one of the finest electric blues guitarists in the UK.

Saturday night: 12.30pm – 2.00pm

STEVE ROUX’S WHITE

KNUCKLES BLUES BAND

A welcome return! Fans of Jaks have been asking for Steve after he whipped up a storm at last years’festival.

Sunday aFternoon acouStic: 12.00-1.00

DOVE& BOWEEVIL DUO

1.15pm – 2.15pm

MATT WOOSEY

With a solid album behind him Matt demonstrates his solo skills for you.

2.30pm – 3.30pm

ZOE SCHWARTZ& ROB KORAL

Sunday night: 8.30pm – 10.00pm

ROADHOUSE

Festival staples return with tracks from their new album Gods and Highways and Old Guitars

10.30pm – 12.00pm

The LITTLE DEVILS

Hold on to your hats for a bit of a skirmish!

12.30pm – 2.00am

JO HARMAN BAND

2013 saw Jo perform at Jaks in the acoustic slot and you wanted her back... so here she is with the full band after an amazing year, as a thank you to close the Blues Matters! stage.

To book, go To: BIgWEEKENDS.COM or call: 0845 070 4767

It was the blessed Johnny Cash who sang to us “You gonna get rhythm when you get the Blues” and here we are with another packed issue for you simply spilling over with Blues.

Oh boy where to start?

So many good and diverse things happening. Moving between the new Blues blood of Federal Charm, interviews with rock legends Sammy Hagar (who also tells us about his blues influences), Rolling Stones keyboard maestro Chuck Leavell, The Downliners Sect and Jonny Lang are all other manner of tasty treats.

Not to mention our big Blues reviews section: with CDs, gigs and festivals. In fact there’s so much festival content that we’ve put even more on our web site. Maybe next year we will have to consider a Festival-only issue!

Oh, and check out our Buddy Guy competition in these pages and online to win one of six copies of his latest CD. We’ll chat with Buddy in the next issue.

Thought: If you are going to get a tattoo have the word ‘luck’ on your tattooed on your hip... that way you will always have luck on your side!

We are spartaCus!

Your feedback to: editor@bluesmatters.com

correction: BM73 article on the EBU was credited in error to Dave Ward, our KitChat man, when in fact should have been renowned broadcaster Ashwyn Smyth. The photo credit also was missing for Monika Mansell. Our apologies to both.

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Probably

Jonny lang Its time to get in the ring! Jonny is back and on the attack, with a fistful of new music and a European tour.

hAppEnIn’

MUDBlooDs retUrn

Ian Siegal brings together like-minded musicians from the USA for a short run of shows in the UK in November. With the Mississippi Mudbloods, Siegal has assembled drummer/producer Cody Dickinson, guitarist Duane Betts and singer, songwriter and multi-instrumentalist Lightnin’ Malcolm, a stalwart of the north Mississippi music scene.

The Mudbloods tour dates are: November 6th: The Rhodes Theatre, Bishop's Stortford, 7th: The Guildhall, Gloucester, 8th: Flowerpot, Derby, 9th, 10th: Carlisle Blues & Rock Festival (unplugged set).

salGaDo’s soUl shot Wins aWarD

Alligator Records recording artist Curtis Salgado will receive the 2012 Oregon Music Hall Of Fame's Album Of The Year Award for his ground-breaking release, Soul Shot . The seventh Annual Oregon Music Hall of Fame Induction Ceremony and Concert will take place at Portland's Aladdin Theater on Saturday, October 5. The award-winning album was released on April 10, 2012. The Los Angeles Times says Salgado plays “soul-infused blues, funk and R&B with muscular, funky grooves” and sings with “husky, ebullient vocals. Salgado is keeping the flame of soul music alive.”

According to The Oregon Music Hall Of Fame, “There were many incredible albums by Oregon artists in 2012, but the honors go to longtime Oregon artist Curtis Salgado. Soul Shot was his first solo album to come out on Alligator Records. It also proved to be the best album of his career.”

Salgado recently won The Blues Foundation's Blues Music Awards for B.B. King Entertainer of the Year, Soul Blues Male Artist of the Year, and Soul Blues Album of the Year Award for Soul Shot He also won a Muddy Award for Best National Blues Album from Oregon's Cascade Blues

Association. The album, Salgado's eighth solo release, was produced by funk and R&B guitarist Marlon McClain, drummer Tony Braunagel and co-produced by Salgado. Soul Shot carryies on the timeless spirit of 1960s and ‘70s R&B. The album features four Salgado originals and seven carefully chosen covers. Songs by Johnny ‘Guitar’ Watson, George Clinton, Otis Redding and Bobby Womack flow into and out of Salgado’s own compositions. “This was the most challenging recording of my career,” he says, “and it’s the solid best thing I’ve ever done, and that’s a fact!”

album of the year artiSt curtiS Salgado

A wILDE nEw sIngLE

Dani Wilde, new single Loving You was being released digitally worldwide on July 16th, 2013. Available from iTunes, Amazon and all other big download stores. Dani has now achieved Number one positions in Austria, Italy and Portugal. Over the past two years alone Dani Wilde has performed over 300 concerts across the UK, Europe, America, Africa and Canada. Highlights of Dani’s professional career have included: three solo studio albums on Ruf Records, Three Number one positions in the iTunes official blues charts in Austria, Portugal and Italy, opening for Jools Holland at The Royal Albert Hall, regular BBC Radio 2 airplay including four featured artist sessions at Maida Vale Studios, sharing the stage with Pee Wee Ellis at Womad festival, opening for Robben Ford in California and Journey and Foreigner in Scandinavia and also Johnny Winter in Times Square NYC, recording with top producers including blues royalty Mike Vernon,

(Clapton/Peter Green’s Fleetwood Mac) and the Grammy award winning Isaac Nossel, and more recently some MTV play for her cross-over single r u sweet on me.

TEDEschI TRucks On

Tedeschi Trucks Band’s Made Up Mind (due from Sony Masterworks on August 19th) is their third full-length release and the highly anticipated follow-up to 2011’s Grammy-winning debut

Ukelectric, anyone?

An electric ukulele with built-in amp and a speaker? It’s a solid body electric ukulele that you can play anytime and anywhere, and it‘s named the Ukelectric. Sporting the traditional teardropshaped body, it features a built-in amp and speaker. “With the perfect blend of unique specifications and loveable looks, it’s the new ukulele that unmistakably,” says its manufacturer, VOX.

Revelator and last year’s scorching live collection, Everybody’s Talkin’. When the dynamic vocalist and guitarist Susan Tedeschi and her guitar virtuoso husband Derek Trucks merged their talents and constructed a new, 11-piece juggernaut, they were pooling many years of experience and collective musical knowledge. Derek—who has also been a mainstay of the legendary Allman Brothers Band for more than a decade, and leader of The Derek Trucks Band, first slung a guitar over his shoulders at age nine and is currently ranked number 16 on Rolling Stone’s 100 Greatest Guitarists of All Time list. Susan is a roots music powerhouse who was nominated for five Grammys on her own, including Best New Artist in 2000, before the formation of TTB (as their fans have come to know them.)

Made Up Mind is where all of the instrumental, vocal and songwriting prowess of music’s greatest power couple—and that of their superb bandmates—truly meshes in timeless way. “We knew we wanted to be a little bit bolder with this record, not be afraid to do whatever we felt was really great,” says Tedeschi, who first met Derek in New Orleans in 1999 when her COntinues On page 11...

the tedeSchi truckS band get ready to roll

RAY GELATO & THE GIANTSDRFEELGOOD

ROYAL SOUTHERN BROTHERHOOD

STEVECRADOCKMATT

SCHOFIELDTRIO

THEJAMESHUNTERSIX

GEORGIE FAME

HUEYMORGAN&THE NEW YORKERSBIG

BOY BLOATERMARCUS

BONFANTIIANSIEGAL

NELL BRYDENSMOOVE

&TURRELL JOHARMAN

BEN POOLETHE

MOTIVES FEAT. MATT

TAYLORNATE JAMES

NATALIEWILLIAMS

WORLDPARTYJESS

ROBERTSLIANECARROLL

JOHNBULL&THEBANDITS 29.10.13

bluesfest.co.uk | ticketmaster.co.uk | royalalberthall.com

tO WIN ONe OF sIx COPIes OF buDDY GuY’s NeW exCItING DOuble album rHYtHm & blues sImPlY aNsWer tHe FOllOWING QuestION:

in WHat City is buddy guy’s ‘legends’ based?

1. ParIs?

2. lONDON?

3. NeW YOrK?

4. sYDNeY?

5. CHICaGO?

6. las veGas?

Go to our web site: www.bluesmatters.com to answer. Six winners will be drawn at random from the entries received by 1st November 2013.

previous band was opening for an Allman Brothers Band tour. “We’re all friends and family. Now we’re finally making the music we want to make. It’s really an exciting time.”

LIvIng BLuEs AwARDs

In August Living Blues magazine announced the winners of the 2013 Living Blues Critics’ and Readers’ Awards. Four Alligator Records artists reveived a total of five awards. Lil’ Ed & The Blues Imperials won both the Critics’ and the Readers’ Awards for Best Live Performer. Joe Louis Walker won the Critics’ Award for Best Blues Album of 2012 for his Alligator Records debut CD, Hellfire . Readers’ Awards went to Janiva Magness for Blues Artist Of The Year (Female) and Marcia Ball for Most Outstanding Musician (Keyboards).

BLuEs RADIO BuDDY

Buddy Guy is pushing for Blues on Popular Radio. Buddy Guy knows that blues music isn’t the taste of today’s youth, but the Chicago guitar legend wants to show directors at radio stations and aspiring musicians that the classic sound is still

alive with his new album, Rhythm & Blues. “I’m not saying play the blues every day like everything else,” said Guy, who released the album Tuesday, the same day he turned 77. “Just play the blues two or three times a week and I’ll be happy with that. Guy is looking to make a hit by infusing his downhome country blues sound with top acts from the rock and country music realm. The double album includes guest appearances from Kid Rock, Keith Urban, Steven Tyler, Joe Perry, Beth Hart and Gary Clark Jr. Guy, who toured with the Rolling Stones during the 1960s, said there are a few fresh acts keeping the blues sound alive with Clark Jr. and 14-year-old guitarist, Quinn Sullivan. He said they may be the key to ‘wake up’ the genre. “In the late 50’s and 60’s, people in America were ignoring guys like B.B. King and T-Bone Walker,” Guy said. “But when the British guys started playing the blues, people thought it was something new, but that gave the blues a lift. I’m hoping that same thing will happen with the new youngsters.”

chAMBERs ROcks!

When Tampa Bay Area-based guitarist Sean Chambers began planning for his next album release, he decided to do things differently than he had on previous albums and looked northward to Nashville with its amazing studios, musicians and songwriting talent. The result will be released on October 15th when Sean’s new

tina tUrner ties the knot

Legendary rock singer Tina Turner has married her long time German beau, Erwin Bach, in a Swiss civil ceremony, a local mayor said Thursday. The 73-year-old singer tied the knot at the registry office of her wealthy Zurich-area community with Bach, a 57-year-old music executive, Kuesnacht, where Turner owns a lakeside chateau They had a typical civil ceremony at the registry office, sometime between late June and early July.

COntinues

On page 13...

Her first marriage was to her former musical partner, Ike Turner, whom she divorced and famously wrote about in her autobiography-turnedmovie. Turner, who was born Anna Mae Bullock in Nutbush, Tennessee, became a Swiss citizen earlier this year, after living in her Chateau Algonquin along Lake Zurich for nearly two decades. After leaving her abusive first husband, Turner became best known as a hard-touring solo performer for her album Private Dancer and hits like What's Love Got To Do With It? Swiss newspaper Schweiz am Sonntag reported that pop stars David Bowie and Sade and talk show impresario Oprah Winfrey were among the more than 120 guests who were invited for the private ceremony at the chateau. A small concert stage had been set up in the garden, the Sunday newspaper said, and Turner and Bach wrote to neighbours to apologize in advance for any noisy disturbances!

RE-BIRTh Of ThE BLuEs

Verbals and V isuals: b illy Hut CH ins O n

IN sPIte OF Our CurreNt eCONOm IC WOes IN NOrtH east eNGlaND, sOmetHING INCreDIble Has DevelOPeD –a vIbraNt NeW sCeNe IN CeNtral NeWCastle uPON tYNe

The Boiler House Steam Room, located in the Stephenson historic engine house (World’s first locomotion factory), is the hot new place to be. This is part of the multi-million pound Stephenson Quarter Development behind Newcastle’s Central Station. On May 3rd there was a reception (a marriage if you want) that was made in Blues Heaven, between the Monkey Junk Blues Club and the Boiler House Steam room, also perhaps the finding the perfect inner city location to prosper. The stripped down, shabby chic look is ideal for Blues ambience. The Boiler House Steam Room takes on the feel of a cultural fairground with its roaming street comics and

interesting stalls of tasty ethnic food, Wylam real ale, wine, clothes and artistic installations. I was amongst the throng that had an exciting buzz of a very refreshing birth of something cool. To see so many young people at a Blues night was amazing, and very heartening, all down to perfect ideas, taste, location.

Truth is, this was a one off showcase by The Monkey Junk Blues Club which has a regular base on the outskirts of the city, The evening was greatly helped out by NARC magazine and KYEO TV’s presentation. There was never any intention of a regular Blues gig by The Monkey Junk Blues Club, but, such has been the attention and response that there are some tentative ripples across the Toon.

John Nellist handpicked the night’s line-up of himself of Monkey Junk, TC Moon Duo, Lyndon Anderson & Davey Dormand, The Last Gasp Spasm Band, The King Bees and Stagger Lee Fisher. Unbelievably, before six there was no cover charge, and afterwards only £2 admission. John Nellist said the venue is expensive to hire, but I hope the seeds sown in the minds of those thoroughly entertained may come up with something. Instead of me rambling on and on, here is more room for pictures.

Check out The Boiler House Steam Room no matter what music or event staged, as it is truly an experience. Location: The Stephenson Works, Sussex Street NE1 3PD.

davey dormand and lyndon anderSon

the laSt gaSp SpaSm band

album, The Rock House Sessions , comes out on Blue Heat Records. The Rock House Sessions features a number of firsts: it’s the first album he’s recorded as Sean Chambers rather than the Sean Chambers Band; producing for the first time is legendary keyboard player Reese Wynans (best-known for his long tenure as a member of Stevie Ray Vaughan’s band) and it’s his first recording exclusively using studio musicians, as Sean and Reese drew from the deep talentladen pool of Nashville musicians and songwriters. The album was recorded at the studio of another acclaimed keyboardist: Kevin McKendree (Delbert McClinton Band), named The Rock House... hence the CD’s title.

sExY cYMBALs

Zildjian has responded to drummers. For requests for larger, thinner models and will introduce the 23” A Zildjian Sweet Ride. The 19” and 20” A Zildjian Thin Crashes and 20” A Zildjian Medium Thin Crash have also been reintroduced to the Avedis range. The new 23” Medium Thin A Zildjian Sweet Ride offers clean stick definition for riding as well as a powerful crash component, making this a dynamic and versatile cymbal that can be used in virtually any musical setting.

The company has also announced that “The Gen16 Direct Source Pickup will be available in September. The pickup transfers the sound of a Gen16 or Zildjian acoustic cymbal to the Gen16 Digital Cymbal Processor, eliminating feedback, cross talk and audio phasing. Unlike traditional cymbal triggers, there is no latency, which allows the cymbal to be played at varying speed, velocity, and dynamics using sticks, rods, mallets or any other striking device. The Gen16 Direct Source pickup, installed in a Gen16 set of hi hats.” Visit www.zildjian.com or contact UK distributor Headstock (www. headstockdistribution.com) for more information.

MORE MOnkEYjunk

Stony Plain Records announces a September 24 release date for All Frequencies , the new CD from the Ottawa-based blues/roots rockers MonkeyJunk. Comprised of Steve Marriner (vocals, harmonica, keyboards, baritone guitar), Tony D (lead guitar, background vocals) and Matt Sobb (drums, percussion, background vocals), MonkeyJunk plays a mix of swamp blues and funky roots rock ‘n’ roll. Produced

by Steve Marriner and Ken Friesen (Blue Rodeo, The Tragically Hip), the new album includes nine original songs, plus a scorching version of the Bobby Charles classic, Why Are People Like That?. For the uninitiated, the band takes its’ name from a chance remark by legendary bluesman Son House: “I’m talkin’ ‘bout the blues. I ain’t talkin’ ‘bout monkey junk.”

“Sonically speaking, there are some new and exciting flavors on this album,” says Steve Marriner about the sessions that produced All Frequencies. “This is an analog recording using a Neve console, cut to two-inch tape and mastered to half-inch tape. These tools helped achieve certain sonic qualities that until now were untapped for us. As well, since the last recording, I’ve had a custom baritone guitar made which allows me to produce much more bottom end. With the absence of a bassist in our group, representing those low frequencies is always a challenge, but on All Frequencies the bottom end is indeed robust. We did a lot of experimenting with guitar sounds this time, too. On several tracks, I’m running my guitar through a Leslie cabinet to achieve that

COntinues On page 15...

photo: k aren c hamber S

photo: S cotty doubt

Sean chamberS

go ape: monkeyjunk

On the air : DAvE RAvEn

Verbals: d arren Weale Visuals: i rek g raff

He Was PrObablY tHe WOrlD’s FIrst DJ aND bOat saFetY exam INer, exPOseD at aN earlY aGe tO tHe HIGH OCtaNe blues OF tHe aNImals aND OtHer aCts PlaYING NeWCastle’s leGeNDarY Club a’GOGO

The bands occupied the stage whilst Dave worked the cloakroom, unpaid, in 1964, aged 18. Shuffling people’s dufflecoats to and fro, often when the coats were wet and smelly. On an appearance by The Small Faces, the club DJ joined them as a roadie and Dave stepped into the vacant role. Dave quickly decided that playing records was much more fun than coat work. By 1966, Dave started up one of the country’s first mobile discos, and by 1968 gave up his work as a naval architect, as full time work by day and late DJ nights with no sleep didn’t mix. By 1970, Dave was in local BBC radio and in 1973 joined commercial radio. The now ex-naval architect then went to a former famous naval hub in the Mediterranean, Malta, to get some sun and open a nightclub. Work with British Forces Broadcasting Service (BFBS) Radio DJ’ing gigs and broadcasts

full Time work by day and laTe dJ nighTs

no sleep didn’T mix

ensued and occupied the next 20 years. All along, Dave loved the Blues, and played music, including the occasional spot of Reggae in Germany! Success meant that Dave was promoted eventually to General Manager and out of the live playing he was used to. After a job helping to relocate BFBS Radio’s headquarters, in 1997, Dave moved on. He was soon back with the Raven & Blues show, as one of the BFBS specialist shows which were eventually axed in 1998. By 2004, Dave was realising the emerging power of the Podcast with its ability

to allow people to take shows with them and listen to them at their convenience. A ground breaker in Blues podcasting along with two other USA DJ’s, Dave encouraged major labels including Ruf Records and Alligator Records to allow their songs to be podcast at enough quality to be enjoyed (128kb/ sec), but not top recording quality. A thousand listeners a week soon followed. This and rose and rose to current levels of 18,000+ downloads a week. Dave remains impressed to this day about how listeners find their way to podcasts of his earlier shows. So, who does Dave especially enjoy on today’s Blues scene and why? Dave says, “There are some great young artists coming through who are breaking the old 12 bar boogie mode that has prevailed for so long. This fresh approach is creating the most exciting period in the blues that I’ve seen since I came back to the UK in 1995.”

Dave’s show, The Raven and Blues , is a weekly Podcast every Friday. Available at www.raven. libsyn.com and on iTunes, www. ravenblues.co.uk, e-mail dave@ ravenblues.co.uk

classic choral effect Buddy Guy and the Vaughan Brothers have all employed over the years. Tony kicks on a wah-wah pedal more than in past recordings and plays more slide guitar than ever. Also, I believe we captured the finest drum sounds of any of our records. We had access to many vintage microphones, which helped make the drum sounds tighter, yet fuller and have more overall impact.”

All Frequencies is the follow-up to the band’s 2011 label debut, To Behold, which won the 2012 Juno Award (Canada’s Grammy) as Blues Album of the Year. Over the last five years, MonkeyJunk has also garnered 15 Maple Blues Awards, including Electric Act of the Year four years running. “The most immediate and noticeable difference about All Frequencies compared to our previous CDs is the originality of the content,” states Marriner. “Whereas the previous albums had

a distinctly more traditional blues influence, All Frequencies allows all sorts of influences through the door. It’s really a mixed bag of songs and sounds: greasy rock ‘n ‘roll, swampy blues, uptown funk and soul, and even a little taste of Appalachia. Of the ten songs, we wrote nine and covered a Bobby Charles tune. As with previous songs we’ve covered, we tried to make it more of an ‘interpretation’ than a faithful cover. We really tried to put our own stamp on it.”

Four Alligator artists receive five Living Blues Awards.

nEw fOunDATIOns

The Blues Foundation has a new Board of Directors and officers. Effective August 1, Chairman of the Board Bill Wax has been succeeded by Eric Simonsen, who has served as Vice Chairman. Said Simonsen, “As Chairman, Bill

challenged us to create a better future for The Blues Foundation and I am excited to be leading The Blues Foundation as we go forward.” Wax commented: “It has been a great honor to serve as Chairman for the past few years and, even though my term is finished, I am excited about the future of The Blues Foundation and about the things this new board will be doing.” The principal task ahead of the Foundation and its new Board is to complete the Raise the Roof! capital campaign for the Blues Hall of Fame.

cedric burnSide

john primer and billy boy arnold

curtiS Salago, who won the bb king entertainer of the year award, pluS two further categorieS

janiva magneSS

the heritage blueS orcheStra, with eric bibb

hall of fame inductee jody williamS, with jennifer noble at bb kingS on beale Street

irma thomaS with dick Shurman

mud morganfield

Soul muSic nomineeS johnny rawlS and barbara carr

john primer and eddie Shaw hanging out on beale Street

bob Stroger

devon allman of royal Southern brotherhood

beSt new artiSt winner big llou johnSon, with bill wax

hall of fame inductee otiS clay performing at ground zero in clarkSdale, miSSiSSippi during blueS muSic awardS weekend

curtiS Salago

BIg BLuEs nIghT

Verbals and V isuals: Jennifer nO ble

as Is traDItIONal tHe blues Hall OF Fame aWarDs

taKe PlaCe ON tHe eve OF tHe maIN eveNt. HaIlING FrOm CHICaGO, blues matters! WrIter Jennifer noble Was verY PrOuD tO see tHe INDuCtees taKe tO tHe staGe aND JOIN a Great NIGHt OF CelebratION

This year’s inductees include Jody Williams and Otis Clay, who often perform in the Windy City. Chicago born Little Brother Montgomery was also inducted, along with legendary artists like the late Blues Yodeller, Jimmie Rogers, Earl Hooker and Joe Louis Walker. Joe was also nominated for several Blues Music Award categories. As well as artists there were awards for album, literature, singles and those essential behind the scene folk. Check out www.blues.org for a full listing

Thursday, May 9th arrives and its Blues Music Awards Day proper, the pre-party starting things off in the lobby area of the Cook Convention Centre. The area soon fills up with musicians and business executives from the blues world, a great opportunity for a chat or a photo, whilst enjoying a drink and the entertainment provided by new artist nominee Paula Harris and best drummer winner Cedric Burnside.

Then into the main auditorium for dinner and the blues world’s equivalent of the Grammy awards. First winners announced were the sadly departed Ann Rabson with Bob Margolin for best Acoustic Album, Not Alone. The award was collected on Ann’s behalf by her daughter and Bob. Three more of this years awards went

to artists who had passed on, two for Michael Burks album Show of Strength and Magic Slim for Traditional Artist. Congratulations to those artists but personally I would like to see the awards go to living artists or at least shared with a living artist.

A popular and deserved winner was Curtis Salgado, his album Soul Shot recognised as best Soul Album and he as best Soul Artist. Chicago legends Bob Stronger (best Bass Player) and one time Howlin’ Wolf sax man, Eddie Shaw (best Instrumentalist: Horns) also won awards. All three of this tour extensively around the world still and bring boundless energy to any stage they perform on.

Another performer to watch out for is Best New Artist award winner Big Llou Johnson. His album They Call Me Big Llou is an exciting and different way of singing the blues, due out in 2014. The nights entertainment ended with a show by multi-talented band Royal Southern Brotherhood, who had been nominated for best Rock Blues category. What a treat that was.

If you ever get the chance to visit Memphis there is a vibrant non-stop blues scene. The music is played in numerous bars like the Rum Boogie Café, BB Kings Blues Club and Hard Rock Café to name a few. The music goes on until two or three in the morning and after

you can still visit Polly’s Soul City Café on Beale Street for late night eats. Fried Green Tomato BLT, Chicken and Waffles, Southern Fried Catfish and Chicken are just a few items on the menu and top it off with Hot Buttered Pie, Apple or Peach topped with Ice Cream. I did just that on the Friday night with blues legends John Primer and Billy Flynn

May the good times on Beale Street never end.

see www.chicagobluesguide.com for more memories of a great event

john primer and billy flynn enjoying the good timeS on beale Street

ROAD TO sIBERIA

Verbals and Visuals: brian kraMer

tHe rOaD tO sIberIa Is PaveD WItH muD, tHICK laYers OF DeeP muD. late marCH, earlY aPrIl as tHe sNOW slOWlY

tHaWs FrOm tHe sOlID FrOZeN WINter, It sImPlY seePs

tHrOuGH aND all Over everYtHING, KNee HIGH, GreY, uNavOIDable, everYWHere

layers of dried grey dust cover every vehicle with no use to even try to clean it off; it will only seep back in, in a matter of moments uncovering the thaw of a long, brutal winter.

Bert Deivert; mandolin and acoustic blues virtuoso and I as his guitarist at this point in our lives are fairly well travelled in our many decades on the road. The blues has been good to us and has taken me across the globe. “The blues is my passport” I like to brag, usually garnering smiles of awe and a tinge jealousy when I mention to folks about upcoming tours or festivals in

France, England, Germany, Portugal, South Africa, Japan etc. However this was the first time in an over thirty year career with this privilege of travelling the globe that I would consistently get a blank, unblinking stare and then a hollow, yearning of “why?” when mentioning that I would be spending two weeks in April on tour in Siberia. It is true even I drew a blank when Bert informed me of the possibility of doing this tour. I had no references to Siberia other than in films where someone; an official, military officer or spy would be threatened to be sent to Siberia if they screwed up their

mission. Yet here we were now; on the road to Siberia!

Eugene Kolbashev, who arranges tours and festivals throughout Russia and Siberia greeted us at the airport; a thin man with thick glasses, thinning hair and a five o’clock shadow that looked permanent. He was a man of few words at first and Bert & I struggled with uncomfortable silences and one or two word answers when trying to engage in polite, bonding conversation. We were in this man’s hands for the next few weeks. He quickly tried to locate our driver, spewing intense, aggressive

brian kramer and vladimir demyanov

jc Smith and vladimir

alvon johnSon

sounding Russian into his mobile phone, finally locating and meeting up with him before engaging in more confusing Russian dialogue back and forth. When I inquired what was up he replied;

“Driver can’t locate car...” I asked; “did he park it a while ago?” “No, he just park, but can’t find”

After walking around for a good fifteen or twenty minutes, through muddy puddles, past a stray dog that looked halfway to rabid, we located the car and started tooling down the road.

ApRIL 3RD

Our first gig would be in Moscow and we get our first tingle of really arriving in Russia as we drive past the Kremlin. “Putin is probably in there now” according to Eugene, but most likely he was just puttin’ us on. The venue is a popular Rock and Blues club called the Road House owned by a well established Russian rocker whose name

escapes me and I honestly couldn’t pronounce anyway.

The club has an American Roadhouse/House Of Blues vibe; walls adorned with rock and blues memorabilia. The exterior is extravagantly painted top to bottom; a mural as an homage to every conceivable rock and roots icon from every era.

Bert and I were travelling as a duo; myself on National slide resonator and acoustic guitars and Bert on main vocals, resonator mandolin and acoustic guitar. We were recommended for this tour when we both played a great festival in Estonia called Agustibluus the previous summer. The room has the right vibe and though the club is not nearly packed, we were impressed with the turnout of die-hard blues fans and folks who actually knew something about our music. Bert and I are the best of buddies, both live in Sweden and know each other for about ten

years. However we don’t normally play together, so this was a good first gig to unify and gel.

The language barrier made it almost impossible to communicate with the sound man and as we soon learned, most of these venues are not used to dealing with the nuances associated with acoustic instruments and it was a struggle to explain the need for line boxes as opposed to plugging into amps.

Bert is not only a great exponent of the pre war blues styles and does Yank Rachel like nobody else, but he’s also a great story teller, often highlighting each number with a verbal build-up. But we also soon learned that it would be difficult to keep that consistent in the act because there was really a huge language gap and very, very little English was understood by the audience.

ne X t issue: the r oad to s iberia continues, so pack your bag and be ready...

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NILSSON

The theme to Midnight Cowboy, a madcap film about an LSD-fuelled prison break and an animated feature led him into a new era.

NEIL INNES

Bonzo, Rutle, Python. A genius speaks

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West Country art-pop boffins tell their story

KLAATU

So good that people thought they were The Beatles!

ori naFtaly

in a relatively short time the band has gained international exposure and support by the Blues community and by their large fan base, mainly located in the USA, Holland, India, Germany and other countries all over the world. Within the course of two years the band toured the Netherlands twice; won the Israeli Blues Challenge; toured the States twice; was the first Israeli band to make it to the Semi-Finals in the International Blues Competition released two Live Studio Albums; and is currently working on their upcoming USA Fall Tour, as well as a new album. From the very beginning of its activity, with the release of their first album, the Ori Naftaly Band has won awards which put the band in the same category as some of the most well-known Blues Rock artists in the world. ‘Best Blues Album in 2012’ by Bluesmagazine.nl was one of them.

Happy for Good s the 2nd Blues album released by The Ori Naftaly Band. The album is an electric Blues, Funk, Rock and Soul album that was released in May 15th, 2013. Immediately after the release, the band flew to the States for a six week tour to promote their new CD and perform in many venues. Just one month after its release, the album reached #4 in the International Blues Radio Airplay Charts, and stayed in the 4th place for three weeks in a row. Ori Naftaly – founder, producer, composer and guitar player for the band – has been leading it since November 2011 along with songwriter and lead vocalist, Eleanor Tsaig. The album conveys the band’s journey since the beginning of its activity. After performing and touring all over Israel for a year, in September 2013 the band flew to the Netherlands for the first time, for a three week tour. After returning to Israel, the band won the Israeli Blues Competition, which granted their participation in the IBC in Memphis, Tennessee.

After two months the band flew to Memphis and represented Israel among 200 other bands from all over the world. Ori Naftaly Band is the first Israeli band to have made it to the IBC semi-ginals, and was also the band which sold the largest amount of CDs in that competition. After the competition, the band flew to Chicago for a short tour and performed in several local and historic Blues pubs. Right after their return to Israel, the band got into the studio and began recording Happy...

The recording and production went on for a month and a half, and one month after the release of the album the band flew to the USA for their second tour, this time for six weeks. The Ori Naftaly Band performed in the historic Levitt Shell in Memphis (where Elvis Presley gave his first paid concert in 1954), the Winchester Blues Festival and many more. This tour expanded the Ori Naftaly Band’s American fan-base and exposure immensely. The band had another short tour to the Netherlands in July-August of 2013, and these days they are in the process of booking for their upcoming USA Fall Tour as well as creating material for their next album, planned to be released in 2014.

f or the latest news on the ori naftaly band, check out www.orinaftaly.com

b.B. King and Eric Clapton formed the early part of Tom’s musical education, followed by John Mayer, Jamiroquai and Joe Bonamassa. During his time at Leeds College of Music, Tom released two EPs as well as gigging and touring around the UK and Ireland. Having played venues such as HiFi Club and Wardobe in Leeds, Adelphi in Hull, Exchange in Dorset, as well as the O2 Arena, Troubadour and 100 Club in London, Tom sat down about 18 months ago with long time band members Jamie Moore (bass) and David Sudall (drums) and started to work on some new material.

The band grew, with David Levi added on the keys, and Joe Roughton (trumpet), alongside Matthew Newby (saxophone) adding a tight brass section as well as Bridie May Miller teaming up with Caterina Comeglio to provide the backing vocals. The Tom Gee Band have never really been about jumping up and down and

playing very fast, it’s always been laid back and about playing feel good music with an emphasis on tight live sets. In the last 18 months the band have played with established blues artists such as Jo Harman, Cherry Lee Mewis and Todd Sharpville bringing their own brand of blues and soul to audiences across the UK.

Their new EP Better Things to Do was released in June this year.

to find out more about the band go to www.tomgeemusic.com

iT’s always been laid back and abouT playing feel good music

tristan Mackay

I FIrst PICKeD uP a GuItar aGeD 14, aFter HearING tHe ‘uNPluGGeD’ reCOrD bY erIC ClaPtON tHIs starteD a lIFe lONG aFFeCtION FOr GuItar musIC aND tHe blues, but IN tHe earlY DaYs I WOulD trY aND learN aNYtHING I COulD Get mY HaNDs ON!

my Dad and I picked up a copy of the tab book for the unplugged record, and he had a fingerstyle tutorial VHS that at the time seemed incredibly intimidating. Long after my dad had given up practicing, I was locked away in my room for four or five hours at a time, learning painfully slowly from tab, or by copying records. It was slow, but I was getting better every day! As I got older my musical tastes broadened and my influences seemed to split into two camps: the story based songwriting of Bob Dylan, Neil Young and Bruce Springsteen, and the blues guitar of the 60‘s revival right back to Robert Johnson and Leadbelly. Particular influences on my guitar playing were David Gilmour, Eric Clapton, Freddie King and Peter Green. My early teenage years were not the easiest of times for me - we had some troubles at home, and music and my guitar really were my salvation. I was playing a lot and performing all the time at school. That was when I first realised I had a voice, and I loved being on the stage. I studied at Leeds University until 2004, and upon graduating took a whole variety of different jobs,

working as a close-up magician, car salesman and in telesales. None of these pursuits were satisfactory, and after a personal epiphany in 2007 I quit my day job and hit the streets of Leeds to go busking and chase my dream of making an album. I busked full time to pay my bills, building up a small local following, recording from my home on a basic home studio and emailing every label, manager etc I could find to try and get a break. I had lots of lovely replies, and even got one of my songs on the TV show Skins, but nothing really big happened for me until 2010.

I was busking and was spotted by the assistant of producer Martin Levan. He liked my demos, and we eventually made my debut album Out Along the Wire with money I had raised gigging and the investment of family and friends. He put together an amazing team of musicians including Peter Van Hooke and a cameo from Paul Carrack.

The album received fantastic reviews and even spent nearly two months as the number one itunes blues album in the UK. This opened the door to lots of opportunities and in the last year I have done a live session on Radio 2 and toured with Jo Shaw Taylor, Beth Hart, Robben Ford and Eric Johnson all over the UK. For my second album, I hit crowd funding site Kickstarter already well established in the US but relatively unknown here. I raised over £12,000 in just three weeks and I have been in the studio over the summer beginning the recording process on that album with Martin and the same incredible band as before. Where the first album was a blues/pop crossover, with electric rhythm guitar, piano and strings, the follow up Wire and Wood is looking like a more intense, intimate record, with the songs, acoustic guitar and voice at the centre - but it’s early days! I am hoping to bring the wealth of experience I have received in the last two years to bear on the new album, due out Spring 2014. I am having a few months off until the autumn now as I am expecting my first child... Layla will be with us any day now! I will then be back in the studio to finish up the record, and cannot wait to get back out on the road early next year!

f or the latest news on tristan, check out www.tristanmackay.com

laUra hollanD

following a fine first album the band is looking to be recognised as a must-see act in 2014.

“A real treat”. That’s how BM! writer Frank Leigh described The Laura Holland Band’s debut album, Smokehouse Sessions. The album of covers of songs by Willie Dixon, Ray Charles and others is a very fine first effort. A visit to the swish

Proud Camden venue in London to see Laura and the band performing live reinforced that good impression. If just one track proves what she’s capable of, it is her treatment of the late Etta James’ Next Door To The Blues. It is very, very hard to do justice to a song and artist of that calibre, but Laura nails it. Laura’s voice has a rare quality, an ability to be velvet smooth and to soar, then to seamlessly become a thing of grit and fire. No wonder her set with her band, which features sax, trumpet and organ in a seven piece line up, drew more and more people into the room as it went along.

It is interesting to hear other people’s views at times like this and we asked a man sitting nearby for his thoughts when the set came to its end. “Laura has an amazing voice”, came the reply. So, what else can we tell you about The Laura Holland band? First, that there are original songs in the pipeline for later this year. We look forward to those. Second, what drives Ms Holland musically? What is her mojo? Laura draws inspiration from classic Blues and Soul artists including Etta James, Jimmy Reed, Ruth Brown, Otis Redding, Muddy Waters, and Albert King, but also

enjoys others including Jimi Hendrix, Led Zeppelin, Pink Floyd and Eminem. Her band echoes Laura’s tastes, seeking to deliver that big band, Stax and Chess sound alongside Laura’s vocals.

A whO’s whO ThE L.h.B.

Nick Sharples: An accomplished blues guitarist with his trademark ‘77 Gibson ES355, this laidback character plays in a laidback style. Jules Kleiser: The bass at the base of the band’s music, Jules rates Donald Dunn, Jerry Scheff and James Jamerson as key influences. A Regular visitor to Memphis Tennessee and the blues clubs of Beale Street.

Stuart Brown: A cigar smoking, poker playing, panama hat wearing drummer. Always enjoys a post gig genuine Havana cigar. Tris Llewellyn: Quiet and reserved but his Wurlitzer piano and Hammond Organ gives the band a real Ray Charles/Booker T flavour. Gerry Atkins: Trumpet playing joker in the pack. Always up to mischief and having a laugh and a joke onstage. Has turned showing up about 20 seconds before the show starts into a fine art. Chris Whiter: Sax player and youngest member of the band (by far!). Adds a bit of youthful glamour! Laura: The boss! Refers to the band as ‘her boys’.

f or the latest news on the laura holland band, check out www.laurahollandband.co.uk

bIt OF a DevIatION FrOm tHe NOrmal tHIs mONtH. INsteaD OF tHe usual tOP 10 CHart We CHat tO sammY HaGar abOut HIs FavOurIte blues Numbers aND tHe INFlueNCe Its HaD ON HIs musIC

at the end of a long conversation with heavy rock god Sammy Hagar (see page 52 for the full interview), we start talking about and trading favourite cuts by the artists we both admire and have been influenced by.

I’m gonna throw some names at you quickly as we agreed earlier and I’d like you to give me your favourite track by these artists. Top of your head. Hit me! and tell me yours.

Ray Charles?

Made so many great recordings and in many styles, with great arrangements. Let’s say Georgia

I saw James Brown the week Ray died, he called his two guitarists over and did NightTimeIsTheRight Time then said ‘That was for our lost brother’ and carried on the show. Damn! I bet that was emotional.

Howlin Wolf?

Wow! Smokestack Lightning , Red Rooster, Two Hundred Pounds of Joy , Tell Me , all such great performances. Pete, we’ll go for Back Door Man.

Yes, me too. Muddy Waters?

Wonderful artist, terrific musicians with him every time, Little Walter. Otis Spann. Let’s select Hoochie Coochie Man .

I like the track called BottomoftheSea, it’s on After The Rain.

I don’t know that one but also I’m a Man is so cool because I’ve seen

him do that for twenty minutes. (Sings) Full Grown Man! Oh yeah!

The late Bobby Bland?

All I can think of right now is Turn On Your Love Light. Hey, I think I heard him sing Georgia.

Yes, with BB King maybe? It was so soulful, that’s the one.

Buddy Guy?

I’m not sure I know many Buddy Guy songs. He’s more of a performer than a writer right? I’m old blues guy so I cover a lot of blues songs when I’m jamming with people. Oh Let Me Love You Baby, do you do any of his?

WhenMyLeftEyeJumps sometimes. And we have to do this one - Taj Mahal?

Oh I’ve gotta say Paint My Mailbox Blue.

Yeah. Off The Natch’l Blues ,which has my own favourite TheCuckoo. How about Albert King? Cross Cut Saw! (Sings first verse in a full-on rasp)

Yeah! I do like Laundromat Blues.

I love the dirty blues songs! And of course you have Born Under a Bad Sign, Oh Pretty Woman, that album he did of songs Elvis Presley had recorded... Albert Does the King’s Things, on Stax.

Chuck Berry?

Maybelline. The phrasing in Maybelline, the words, the lyric and the story is. That would be a number one Country and Western song if somebody wrote that today, you can bet on that. Then there’s No Money Down, No Particular Place, Bye Bye Johnny, You Never Can Tell, Let It Rock. How about you?

It Wasn’t Me on Chess. The backing group are Paul Butterfield’s Band.

Excellent! I don’t think there’s a bad Chuck Berry song, y’know.

BB King?

I wanna say The Thrill Is Gone’ only because it was the biggest hit he had. He really crossed over with that song and his voice sounds so good in that era. To me, that’s when BB’s voice really sounds great.

I like a song he did called PayingtheCosttobethe Boss. Johnny Winter?

Ahh!. Let’s say Rock and Roll Hoochie Coo written by Rick Derringer. Now the way Johnny Winter did that song, he killed it.

Absolutely right. Robert Johnson?

There’s 22 of ‘em! Not Crossroads, even though it’s great. He wrote so many great songs. Ramblin’ On My Mind, Hellhound. Wow!

I like Stonesin myPathway and ComeOnInMy Kitchen.

Oh yeah! Come On In My Kitchen. That’s a dirty ass blues song right there.

The other guy who does blues well is Bob Dylan? Yeah my favourite Bob Dylan song is Rainy Day Women, (sings) “Ev-er-ybody loves to get stoned” You know I love every Bob Dylan song too but that song was so funny the way he performs it. I like his sense of humour.

What fascinates me is that song on his blood covered diary record TangledUpinBlue. That’s a great song. You know who sings that all the time? The Grateful Dead. When I go jam with Bob and Phil they sing that song and they do a really good rendition of that song.

Wait, you must know Warren Haynes?

Yeah I know him a little bit. Warren’s a bad mother***** man! That dude can play for a full hour and a half without repeating a lick!

Interview ten years after

First, tell us about Ten Years Afters touring plans for 2013.

Well up until now the band are doing odd festivals and things up until mid July, then an American tour starts from the end of August, beginning of Sept. Then the band tours September/October throughout Europe.

Of course I have another band called Hundred Seventy Split (“HSS”) and in November we start touring. HSS have been touring up to last week. I’m on the road just about all the time really.

This American tour coming up is a rock and blues festival, with a whole bunch of other bands; one of them is a band you were out with previously; the great Canned Heat. That’s right, yes.

Going back in time now, you first met up with Alvin, Ric and Chick in the Jaybirds in 1965. Yes, Alvin and I were in the Jaybirds, Alvin and I started working together I guess in 1961 in a band that became the Jaybirds. Then Ric joined us in ’64-’65 maybe, then Chick a little bit later.

It was from the Jaybirds the name changed to Ten Years After?

Yes it was. I managed the band up until that point, reluctantly! Eventually we found a

manager and he thought we should change the band name. I got the name from an advertisement for a book called ‘Sewers, Ten Years After’ and I thought that would be an interesting name for a band; people would wonder what it is. If you recall in 1967 it was the psychedelic era, all sorts of weird things, so that’s how we became Ten Years After.

Then you ended up with a residency at the Marquee club, right?

Yes we did. I knew the assistant manager of the Marquee through booking the Jaybirds, he was a promoter up in Norfolk, in the UK. I pestered him for a gig, so he got us an audition and from that we got the gig, although we did do a gig before we got the audition; there was a short notice cancellation and we managed to get that. But we did do the audition; the manager was a very strict musicologist but he liked it, and we got the gig. From there we did a residency.

Was it the residency that led to the recording contract with Deram?

It was a bit like a snowball rolling down a hill. For nine years you struggle and then all of a sudden something fits, something fits, and

Mr BassMan: leo lyons and soMe of his Musical legacy

something fits, and then everyone says “yes, I know, yes I’ve always said, yes I discovered them ” and we got the recording contract.

After the release of the debut album on Deram, the second LP Undead was a live album…do you recall why the band chose to go with a live album for only their 2nd release?

I think the first record “Ten Years After” came out, and Bill Graham heard it. He sent a telegram to our manager saying he heard the record, liked the band, and if they’re willing to come over here he’d book them. We needed another record to go with in America because the first one had been out six months already, which was a long time in those days. There was no time to do a studio record, so someone had the idea... there was a blues venue right next door to the Decca recording studios in West Hampstead called Klooks Kleek; we decided we would record a gig there. We ran recording lines around the studio canteen into the venue and recorded the show. No retakes, no nothing, just that night; mixed it down, and out came Undead It was released specifically to go to America with a new record.

By 1969, you were playing to enormous crowds at festivals. Do you have any memories of the Newport

Jazz Festival in 1969, as that was the first one that allowed rock bands to perform?

That’s correct, yes it was! It’s weird, I can see myself standing onstage there playing and I think it was pretty good and we did a photo session there, I remember that we went down pretty well, but other than that it was just another festival. With Woodstock it was different, because there was subsequently a movie.

What are your long-standing memories of that event?

Actually, when we did Woodstock, aside from the audience (and the audience was fantastic both at Newport and Woodstock). My first recollection of Woodstock if you’d had asked me the day after was “God, I had nothing to eat, I had no sleep, they gave away my hotel room, it rained, we risked being electrocuted, the stage was sliding down.” That was my first reaction to it!

But it was just another festival, like the Texas Pop Festival and all those. That whole era was absolutely fantastic. We were riding on a wave and enjoying every minute of it.

Would you say, at least in the USA, the band was really catapulted into its greatest years when in 1970 the Woodstock album and film was released?

leo lyons in action

That’s correct; then it clicked up another gear. We started in 2000 to 5000 capacity places and then we were able to play ten to twenty thousand; I think our biggest was probably 50,000. We could have done that seven days a week and two shows a night, if we wanted to.

Was the band aware of the success story building around them after Woodstock while it was actually happening?

Not really. We lived in a cocoon. We got on several planes, toured around America, stayed in pretty much generic hotels. You know how it is on the road, every hotel seems more or less the same; the auditoriums, the same. So we had no way of comparing what was happening to us to what was happening generally to any other band. I think we thought well, this is great, we’ve got lots of gigs, we’re playing to an awful lot of people, they’re telling us everything is sold out. It may have happened before the film came out. I knew nothing about America’s reaction to Woodstock until the film. That’s when people asked us what was it like, how do you feel about it, etc.

check them out on YouTube. I’ve been looking at Jaco Pastorius and been very impressed with the way he played. Now I can actually see what he did and play that way if I chose to, but what comes off the top of your head is really the thing, to step into that zone. To pull something out of the air that’s your own I think is something good. I think a lot of young musicians are tremendous technicians but they miss that individual thing. The soul.

“I’ve known Joe since he was probably a year old”

Leo, who are your favorite bass players? Which ones have had the most influence on you?

I think the first bass player that I admired was Bill Black, who played with Elvis Presley. I tried to emulate the style that Bill had. Then I got into the jazz players. Scott La Faro I really liked. Ray Brown of course. So many. I listened to all of them.

So it would be a combination of jazz guys and earlier rock guys.

Early rock and roll, yeah. I guess I developed my own style from that. Nowadays, if I wanted to hear, lets say Flea, how he plays. I can go on YouTube, watch him play, and learn exactly what he does (assuming I’ve got the ability to do that). But its so easy to do, compared to when I started out, you listened to a record, sometimes you may even have tried to slow it down, and you would develop your own style from it; you wouldn’t get it quite the same. These days I don’t do that, but if I hear a good player, I

The world was shocked at the passing of Alvin Lee, as I’m sure it was a shock to you and the rest of the band. Would you give us your thoughts about Alvin? Was there much contact with him in the last 19 years, or had you pretty much parted ways for good? Well I lived in Nashville, he lived in Spain. When Ten Years After reformed again in 2003 he didn’t want to do it; he wasn’t ready, and not happy about that, so there was a little bit of a breakdown in communication.The last time I contacted him was just to wish him a Happy 65th Birthday, which was four years ago now. He was fifteen and I was sixteen when we started working together. We shared so many life experiences together that nobody else knows about. The only way I can describe it is I’ve never actually felt like we’d been that far apart. He’s like the brother I never had. You know sometimes your brother pisses you off and you’ll have nothing to do with him for a year or two but there’s always a bond there. It was always Alvin and I against the world. That’s how we started out, when nobody wanted to know. We felt we had something to offer. Arrogantly so maybe, but that’s what keeps you going because its 99% rejection in this business.

But it really upset me. I was actually on tour when I had heard about his passing.

It was just such a shock. You just never know. No. I mean a number of people on Alvin’s fan site were maligning the other three band members for doing shows without him, but he didn’t want to do it, the fans wanted it, and we wanted to do it, so we carried on.

But I don’t think there was ever the rift between Alvin and I that some of the outside people thought there was.

In 2003 you brought on Joe Gooch and have been active with him ever since. And now it has been ten years after he joined the band! What can you tell us about Joe?

I’ve known Joe since he was probably a year old. He was the best friend of my eldest son Tom. When we were looking for a guitar player, and I must say, when we were asked to do Ten Years After I actually said; “No, it wouldn’t work, I don’t really want to do it.” But by default we went out and did some shows with an American blues guitar player in Italy. So people were asking us to find a guitar player and to put the band together, and my son suggested Joe. We tried two or three others; they were great players, but they didn’t quite fit. So I suggested that Joe send a tape to Ric, who went and checked him out. Ric played the tape for me over the phone, Joe came down and had a jam with us and then was doing a show with us about two or three days after that. He’s been with us ever since. We were lucky. I guess it was meant to happen. Joe came, he brought something new to the table, and he’s one hell of a nice guy. When you get to a certain age you don’t want to work with assholes anymore. There are a lot of good players out there but some of them are difficult.

Yes, and even with the age difference, it works and its great to see you guys get on the way you do. Yeah. I mean I’m not saying Alvin was an asshole (laughing), I’m just looking at some of the other guitar players that were mentioned to us where I thought “I don’t think I could work with that guy….”

After this year any future plans for Ten Years After, any recording plans in the works? Not with Ten Years After, no. I find it difficult to think about making another record with Ten Years After for several reasons, but the main reason is when Ten Years After go out and play, people want to hear the Ten Years After songs. If you do a two hour set. I know I’d like to do a little bit longer, but physically speaking (and this is coming from a man with a broken foot up on a chair right now), if you take someone like Ric, who’s the drummer, a very physical thing, he’s sixty

something, I don’t think he’s going to be able to go and do something like a four hour set so you can do almost all the songs that everybody wants to hear, plus all the new ones, that’s difficult to do.

So that’s why I’m doing another band thing.

Hundred Seventy Split. Tell us who’s in that band and what it’ all about.

It’s Joe Gooch and I with a drummer. We have a regular drummer now, Damon Sawyer, an English guy. On the first record, The World Won’t Stop, we used two drummers, but mostly an American drummer, Sean Fuller on most of the record. Damon joined us the minute we started touring Europe in 2010. It wasn’t cost effective to bring Sean over from the States,and Damon was recommended, joined us, and he’s one hell of a nice guy too. He’s playing on the DVD and on the new record too.

It’s a trio, its blues rock. Would you say it continues in the tradition of Ten Years After, or is it something else?

upfront: leo lyons, joe gooch and rick lee

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Yes, it does. If I’m 25% of Ten Years After and Joe is 25% of Ten Years After, I guess it does continue in the tradition. Although we get Hundred Seventy Split fans and we get Ten Years After fans. I hear what the Ten Years After fans think of it and a lot of people say it’s heavier than Ten Years After.

I can understand that mentality. I think HSS has a bit more of a raw, ballsy feel.

In some ways I try to bring that into Ten Years After too, but people tend to play the way they play and that’s what makes Ten Years After what it is. You can bring in a different element, and I’ve always wanted to do something different. As a musician you have to grow.

I’m more than happy to play Ten Years After songs for Ten Years After fans but I need to do something new too. Even more so for Joe because Joe has always been under the shadow of Alvin. “He’s another Alvin, he’s not as good as Alvin, he’s better than Alvin.” In this instance it’s no comparison with anybody. Now we get the “He reminds me of Joe Bonamassa” or whatever. We’re always going to get compared with somebody. So hopefully with this new record we’ll release it in the States and make a breakthrough there. I haven’t really pushed to work in the States because it’s such a big country and we’d have to devote so much time to it. We had a foothold in Europe, so we rolled across Europe.

Has HSS ever played a gig in the USA yet?

Not at all. If you’re a European musician and you want to work in America you need a work visa which is fair enough but it’s so difficult to get. If you’re an American musician and you want to work in Europe it costs you fifteen dollars and you can get it within about four or five days. Now I’d like to see the balance redressed just a little bit. I don’t know whether Americans realize but when Rock and Roll hit in 1955 and we started to see Fender guitars and things, you couldn’t buy them in the UK, there was a trade embargo. They could not sell those guitars.

So you had to take only what was available locally. Yup. Spanish and German guitars. It’s weird. I was an American resident up until twelve months ago, but I gave up my American residency mainly because I was working in Europe so much it was becoming difficult.

I’m now getting too old to be having one foot in one country and one foot in another. I don’t want to retire in America, because I haven’t amassed a fortune for medical bill payments. I still have my home in Nashville of course, America’s been very, very, good to Ten Years After.

‘Hundred Seventy Split’; what exactly does that name mean?

It’s the name of a junction,Highway 100 and Highway 70, just down the road from my home in Nashville, there’s a café where Joe and I used to go for breakfast before we went into the recording studio. We were looking for a name and actually one of my sons suggested it.

You mentioned there’s a CD in the works; this will be the second one, correct?

We did the CD, a live DVD, and the studio CD in vinyl. This will be our second studio CD. It’s a little bit late, but working with two bands, it’s difficult to get time to write and time to record so it’s been dragging on a bit. I’d like to have a bigger output really.

Do you have a title for it yet?

It’s called HSS. A promoter said it’s difficult for people to know what it is, Hundred Seventy Split. So we said, OK, lets call it HSS.

OK, its up there with TYA.

Exactly! So the new CD, and the name of the band will be called Hundred Seventy Split/ HSS.

We’ll do that transition and we’ll use the album cover for the tour posters and hopefully people then be able to relate between TYA and Ten Years After, and Hundred Seventy Split and HSS.

That’s the idea.

for The laTesT news on Ten Years afTer, check ouT www.Ten-Years-afTer.coM/newfronT.hTM

V E rb A ls: Pete s ar G eant Visu A ls: Golly Galla G her

The week ThaT This inTerview Took place b M! wriTer p e Te s argeanT had been in long-disTance Ti M e-allowance co M baT wiTh Mick Jagger. and has hi M beaTen... fair and square!

ecause Chuck has been trying to extricate himself briefly from Stones rehearsals in the US to talk to me about his new piano-centric album Back To The Woods, in which he pays tribute in his own way to some of the players he finds most inspiring. But here we are on a weekend, where notwithstanding the on-tour birthdays of Wood and Watts this very weekend, a brief breather for the Rolling Stones circus gives Chuck the chance to speak to me from his Chicago hotel under an alias which he has given me. Chuck is – especially for an early morning – friendly, courteous and informative, his Southern drawl still clear and his thanks for my interest freely given.

Well, so you’re in Chicago, Mr Leavell! Yes indeed we’ve had two shows here. We just did the second one last night. We have one more to go on Monday. The shows have been outstanding and so much fun. Not only because of the Rolling Stones but the Chicago Blackhawks hockey team are in the final playoffs and that’s a big deal here. So the city was really buzzing about that. They’re just ready to rock and roll, what can I say?

There are two things about Chicago I heard. Firstly, Sheryl Crow was going play on one of your shows. Did it happen?

Yeah she sang with us last night. She sang All Down The Line. She was great. Just great!

Now, this album of yours if we can talk about that. I’ve been playing it and it’s gone down very well over here. Golly says to tell you that Blues and Soul Magazine have given it a ‘full marks’ rating, by the way. Wow! Well that’s good to hear.

When I heard this album was coming through, given I’m not a piano player I wrote down what I would be thinking of in terms of pioneering piano players. It’s interesting because the people you’ve gone for aren’t necessarily mine. I had Pinetop Perkins, Jimmy Yancey, Count Basie (HowLongBlues), Lafayette Leak, Art Tatum, Ray Charles of course. Otis Spann was maybe the best I’d ever saw. I don’t know how you chose, and I wonder if there’s gonna be a volume two. Well first of all, I do appreciate all the names you just mentioned but in my mind names like Jimmy Yancey and some of the others are more in the boogie idiom than they are in the pure blues idiom. This project came part from me part from my son in law Steve Bransord.

Steve is a P.H.D. graduate from university and his discipline is in American History but with a slant in roots music. Steve came to me with this idea and he gave me about three cds with about a hundred and twenty songs in total. And you know, I knew most of the material but there was a lot of the stuff that Steve turned me onto that I was unaware of. So for the first couple or three months I just rode around on my pickup truck on my place playing these three cds and just thinking about it. And thinking, you know, which ones I thought I could interpret. Again, we really wanted to try and stick to the blues idiom and gosh you could have done New Orleans guys.

Yes, a natural. You could have done Albert Ammonds meets George Lewis, James B Johnson and all of those names. But again, we wanted to look to the others the Leroy Carrs and Little Brother Montgomeries. Find as much as possible, some real obscure stuff.

NoSpecialRideris Little Brother Montgomery isn’t it? It’s a very flowing syncopated style, but who’s this guy Danny Barnes? He’s a multi-instrumentalist I gather, but he understands your pacing doesn’t he?

Oh yeah. Danny’s an incredible artist. Multiinstrumentalist, he can play guitar, banjo, mandolin, violin, tuba. And Danny’s also a great artist in his own right.

Yeah. It sounds as though, you yourself might have picked up a guitar and put the guitar part over your piano. That’s how good it sounds to me. Yeah. And the tone that he gets too. He just gets this beautiful tone on the guitar.

Talking of tone, we’ve got EveningTrainby Carr and Keef’s on this playing acoustic guitar. It’s such a porch sound. It’s like you’re just sitting on the porch, just relaxing and playing this stuff.

I was so delighted to get Keith to do that, how could anyone have done that part better?

Yeah most definitely the man for that. Obviously, you’ve got the connection. Again it’s a lovely track, isn’t it?

Well, it’s a wonderful song and I wanted to do my best to do it justice and I thought if I can get Keef, maybe I can do it justice! I wanted to do it you know, with an intimate setting.

I mean it could have been just the two of us but you know we had to play some drums and some keys. But, an acoustic guitar. I didn’t want an electric guitar on it. I felt acoustic was the way to go.

The next song, WishMeWell is Memphis Slim. When I saw Memphis Slim play live, I’m sure I did but I was very young, I think he was full of stories. Did you ever meet him?

No I didn’t. I’m sure he had some wonderful stories. But fortunately I wanted to pay homage to him because I think he was one of those early pioneers.

Yeah him and Champion Jack. Yeah, they sure are.

Champion Jack, the things they’ve done those guys. Track four LowDownDirtyDog.that’s Leroy Carr again, isn’t it? There’s an irresistible riff on this. It’s the track where if someone said to me, what’s Chuck’s album like? I’d probably pick this one. Well thank you. When you listen to the original of that one, it’s got more of an old timey bounce to it. So I wanted to take it and modernise it a bit. Smooth it out but still keep the essence of it. That was the approach we took and it’s such a cool song. Leroy Carr, what can you say? My son-in-law Steven after we finished this project said, Wow we’ve got five Leroy Carr songs on here, should we consider evening things out a little bit? I said to Steven, he was such a prolific recording artist. He deserves five songs on the album.

Now the track LosingHand, we know that from Ray Charles. It’s very hard when you play a Ray Charles song not to play his brittle figures. Well yeah. I kept that one phrase that to me sounds like a guitar riff: babaa daa!

Yeah, to describe it, well, it’s crisp, if you like?

Yes. And actually on the original recording, Ray does it more than on the version I did but I had to put it in there because it’s part of the song. And I wanted to find something so early for him. Because, again, when we came up with this idea we wanted to as much as possible, keep it to the late forties-early thirties. In our opinion, this genre of piano playing was invented during those periods. But, you know, Ray Charles is my true musical hero in those cases we jumped far enough forward to find an early version of

the recording. It was before Ray got into the whole pop thing. We wanted to capture him in that early blues period.

You have John Mayer on this set don’t you? How did that come about?

Yeah. Fortunately, John reached out to me. Let me back up and say that on the last tour with the Rolling Stones, the Bigger Bang Tour that was like six years ago, John opened up some of the concerts with his blues trio. With Steve Jordan on drums and Dino Paladino on bass. And you know I wanted to meet this guy so I went out of my way to find him. So some time goes by and we finish the tour and I get a call from John and he said ‘I’m about to start a new album and I’d love for you to play’. So I ended up working with him on his recent record which is called Born And Raised.

Terrific. Track 12 IfYou Haven’tAnyHayis Skip James.

Who you will know is more of a guitar player than a piano player.

I tell you, if you talk to Jack Bruce he is still in awe of Skip James and there’s a kind of ghostly presence to his work isn’t there?

thinking I wonder why Chuck hasn’t got one of his female friends like Mary Clayton on this. Ah!

And then Candi Staton appears! Singing the back off this number. Now how did that happen?

Well, isn’t that wonderful man? Here’s the thing, when we were sorting this out we knew we wanted a female foil and we thought at the time we thought about contemporary women like Susan Tedeschi for instance. Or Grace Potter. We reached out to each one of those and they were all interested. But they were on tour, they were hard to get or they couldn’t find the time.

I saw Grace two months ago here. She was knockout. Well there you go. Anyway, so my son-in-law Steve says, Chuck do you realise that Candi Staton lives not far from here? We recorded in Athens Georgia. I said, you’re kidding me? he said, “No man. She’s right down the road.”

“Leroy Carr, what can you say?”

Well I think you’re right. There is kind of a mysterious tone and feel to it. But I love the syncopation. The little syncopation he does on the piano and that’s what attracted me. You know, oddly enough for me as a piano player that one was one of the more difficult ones for me to get down. When I heard it I thought this is a simple, straight ahead little ditty. But no, when I went to play it I thought, why doesn’t this sound right? I had to sit down at the piano for a few days and just keep working on it and try to get that exact quirky syncopation that he has. It’s probably because he didn’t play the piano that much. I mean, he could play it but again, he’s known more as a guitar player and so, sometimes that’s the case. When Keith Richards sits down at the piano, he plays phrases and does things that I would never think to do.

The track BluesisAllWrong, by this point I’m

Like twenty miles, so I said, Christ sake, let’s go get her! Steve reached out and she came with her daughter. Man that wonderful smoky voice, and I was so glad it was a happy accident that we were able to get her. I’m sure it would have been interesting and fun with either Susan or Grace, but to get a woman who is ‘learned in the art’ shall we say was really great.

Well to get her or Mavis Staples. Now, Vicksburg Blues, you won’t believe this... you might. I know this song because it was a B-side of a Savoy Brown single here with Chris Youlden singing and Bob Hall on piano and that’s how I know the number. But of course, you would know it from the original source.

Well yes, and again, Little Brother. What an interesting character he was because he grew up near New Orleans and absorbed the culture. The way of the music and that whole culture which really is multi-cultural now. But then he gets out of New Orleans and starts travelling a lot. He plays in all of these different settings. With trios, quintets,

quartets, big bands and also on his own. That track, when you listen to the original has to be one of the most plaintive and painful feelings about it. It’s like breaking your heart to hear this guy singing about what’s going on. I don’t think I could ever come close to doing it as meaningful as the original. I made my best shot of it and I thought it was just a beautiful piece that had to go on there.

Do you have a favourite Rolling Stones song?

A favourite song? Oh Pete, that’s such a hard question to answer. God almighty they’ve got so many great ones. And being sort of a semi-archivist of the band, by the way when we rehearse with the band I keep track of these things and I have these two enormous notebooks with notes from every rehearsal we’ve ever done.

I get really attached to these songs. I don’t know. I love Honky Tonk Women. I would pull that one out. That one sticks out to me. Can’t You Hear Me Knockin’, we did that one last night.

The one I like is Mother’s LittleHelper but they never seem to do it.

friendly phone conversation. And then he picked me up for the audition and we just hit it off immediately. I looked at Stew as a big brother. It was actually Stew who turned me on, I was a bit familiar with the boogie woogie guys but Stew was so into it. So he turned me onto Mead Luxe and Albert Hammond and Montana Taylor... all this!

For instance, when we were in London Stew would say, you’re not staying in hotel, you’re staying with me. I’ve got two nice pianos and a large record collection. We’d hang out for several days at his place. Just listen to his records and I learnt so much from him. He really helped my left hand immensely.

Allman Brothers. I’ve been asked by Jules F one of the biggest Allman Brothers fans here he said can you ask Chuck if he ever met or played with Duane Allman.

“I looked at Stew as a big brother”

Well you know I brought that up several times. But I guess it’s just one for whatever reason just feels like we haven’t been able to nail it. Make it stage worthy I guess. A lot of those early tracks 19th Nervous Breakdown, the big intro one.

HaveYouSeenYourMotherBabyStandingInThe Shadows?

That’s exactly the one I was thinking of!

It sounds like you’re having fun on this tour. You must have known Ian Stewart? Very well. As a matter of fact, I think it was Stewart who was responsible for me getting that position. When the phone rang it was someone from Bill Graham’s office. I was friends with Bill Graham because of the Allman Brothers Band.

I’ve got a question about that in a minute. Anyway, when I called back it was Ian Stewart who I spoke to first. We had a

I never played with Duane but I did meet him. I can tell you, I saw him play pre-Allman Brothers many times.

Hourglass?

No it was pre-Hourglass. It was called the Allman Joys and they played in my home town Tuscaloosa, Alabama on a regular basis. It was just amazing.

He and Greg Allman just blew us away. I can’t say that I ever knew Duane personally. I met him one time face to face and it was kind of metaphoric. I was flying into Georgia for a recording sessions and Duane was there and he was leaving. And we literally passed each other in the hall. We stopped and glanced at each other, acknowledged each other and that was it.

Thanks for talking about your record and everything. I’m so glad you did and that you agreed to do this interview, man. It’s been a joy talking to you and I hope we can meet up.

You won’t, because I can’t afford to go! Oh that’s a shame!

c huck l eavell’s back To The woods is ouT on c ross c uT r ecords.

v isiT www.chuckleavell.co M f or M ore infor M aTion

V E rb A ls: d uncan Beattie Visu A ls: m atti PÑrssinen s horTlY af Ter i saw r obbie h ill plaY e dinburgh in f ebruarY 2012, he deparTed s coTland To M ove To f inland in pursuiT of advancing his M usic career, following advice fro M The one and onlY M r oTis g rand

n Helskini, Hill formed Robbie Hill & The Blues 62s with American Jesse King and Finnish drummer Tatu Pärssinen. Their superb debut album Price To Pay released on Blues Boulevard Records was recorded with significant support from Erja Lyytinen and her manager David Floreno. Duncan Beattie spoke to the band about life in Finland, the album and their future plans.

Robbie, you formed the blues/rock outfit Heavy Mama while studying music in 2005, regularly playing central Scotland for six years. How did that period shape your music development?

Robbie: Heavy Mama were formed at Perth College. That was my main reason for going there, to find players to start a band. It was worthwhile, we did a lot of gigs and it helped to shape what I do now. We had a lot of great moments together.

In 2008 Otis Grand handed you his guitar during a live show and later he imparted you with some significant advice; what did he say?

Robbie: I had been struggling to find players who had the same musical taste or committed enough to do it full time. And I’d never really travelled much, wanted to see new places, try new things and have a change of life. Otis also suggested other places in Scandinavia. Most of his band hail from outside the UK, particularly Scandinavia. I really look up to him as a musician and band leader. He isn’t one to mince words either. He basically said “Get the F*** out, don’t look back.” I took his advice. He gave me the courage to go and do it, so can never thank him enough. We’re both playing at the Roots ‘N’ River festival in Lapland in October; where he’ll join us on stage. It’ll be so great to hear him again, and join him onstage is an honour! Slim Butler will be there also. It’s exciting!

Jesse, you hail from Oregon. What was your background and how did you make it to Finland?

Jesse: My interest Finnish culture that stemmed from music, most notably Jean Sibelius: his tone poems and the music he was doing around the time of the Finnish independence. Having a classical guitar

background I really appreciated it. There really is a strong musical presence here in Finland. A friend here helped find a job and it’s been home since 2003. I grew up in an area that has many Finns and Swedes, so some parts of the culture I didn’t even realise I knew! I grew up in a musical family. My father was a professional musician as is my brother. During school I played horns, singing, doing musicals and even writing music for the school symphony. I played bass during my last year of school.

Tatu, the journey to Helsinki from Oulu is not as far, can you tell me about your musical experiences?

Tatu: I started classical percussion studies at the age of ten and I have been playing in various bands ever since. Luckily my classical teacher was a top jazz drummer so introduced me to jazz when my friends were all about Metallica and Nirvana etc. Later on I realised the value of all genres. Nowadays I can dig any song if there is a good idea behind it regardless of genre. I have friends from different backgrounds and I have been influenced heavily by world music styles too, West African and Cuban amongst others.

What did you make of the blues scene in Finland when you first arrived and how did you look to connect to other musicians?

Robbie: Before coming to Finland I sent an email to the Finnish blues society to say I was planning on coming here to join or start a band and to check out the music scene. Very quickly, I got a really nice response back from them. They gave a list of Blues Clubs and jam sessions to check out - a good sign which turned out to be really helpful! I flew over with my list, a backpack and my guitar. I didn’t know anybody! The night I arrived I went to this Sunday jam session at a music club called Liberte. I was really impressed with the house band, which I hung out and jammed with after hours! They made me feel welcome. I already knew then I’d come to the right place!

How did you come to form Robbie Hill & The Blues 62s together?

Jesse: Let’s see how Rob and I differ here. I tagged along with a friend to Mendocino jam night hoping to play some guitar with a nice Strat that I had upgraded and was learning some bluesy type of music to play.

Rob arrived before the jam actually started and I remember the owner just saying “I think we are going to have some really good blues tonight!” I volunteered to play bass for Rob and the friend as he was more versed in playing blues. I played an instrument I hadn’t touched in nearly 20 years. Since I wasn’t well versed at all in blues bass having only played jazz and swing during high school, it was a nice challenge to try and “catch up.” (I’m still trying to catch up!) It was fun and we seemed to find a groove, indeed people there thought we were a band. Shortly after that I had been asked to play bass for a rehearsal to a band.

There was talk of playing at a festival as well, and they needed another guitar player, so I asked Rob to come along. That was the first time Tatu, Rob and I played together. We’d been trying to get a drummer, Tatu just fitted. We started with another guitarist also with the group, but maybe wasn’t what we wanted. By the end of September or became a three piece, found a name and the rest is still being written.

Robbie: Actually Jesse and I we’re playing music together before we had even spoken. We were jamming at Bar Mendocino (where I now run a weekly jam session). It was

hilarious, as I’d assumed Jesse was Finnish, and that he was a bass player. Cause he was great! So it was a real surprise afterwards when all off a sudden out came this American accent and he said “I’m not a bass player.” I said “Yes you are!” We really hit it off! I immediately had a musical rapport with Tatu. Something magic happens when we play together, he really spurs the band on. Tatu is a badass MOFO when he gets behind the drums!

Tell me about your first recordings for Erja Lyytinen’s manager David Floreno. Jesse: These recording sessions set us into the situation we are now. As mentioned, we had another member yet the studio kind of felt odd for that particular combination. A great jam band perhaps, but the studio is a different thing. We were still just trying to find what we wanted to do. Davide thought it could help us find gigs and so forth. During those sessions we went from a four piece to a three piece, literally during the session. The demo still happened and went down in a day’s time. I think Davide had a plan for us, be it a four piece or three piece.

With Erja and Davide as executive producers you recorded your debut album in January. How did the album come together?

Jesse: Davide said “we need to make an album now, got any songs ready?” Rob had a couple that we had been playing, ‘Love You Are Teaching Me’ and ‘No Place To Hide’ so we

had those ready to go. I had some ideas and suggested them to Rob.

Robbie: Morning Light came around when I was at Jesse’s place. We’d been working on new songs for a few hours. It was getting late and almost time to go. Jesse started kind of packing the stuff away, and I was sitting there mucking around with this little riff I had. Jesse stopped me and basically said “cool what’s that, can I record it?” Next time I was there I was totally amazed as he’d written lyrics! He put them in front of me and when it felt right I started to sing. Jesse’s an excellent songwriter, and that’s my favourite from his lyrics on the album, because it’s like a story, beginning, middle, end. That’s not so common in blues music. I like the feel of it, a laid back, happy blues song for the summer.

Jesse: Price To Pay was totally different to begin with! I had words and a very basic song ready to go. Rob found this riff that just happened to fit perfectly.

Robbie: Luckily that riff fitted those words perfectly. The song means a lot to me, when I sing it, I mean it.

The album works on all levels, with impressive musicianship, great vocals and strong songs. Can you give your thoughts on it and the aspects you like most?

Jesse: I think the album has many different moods and faces. It’s a good thing as it shows our versatility. We are stronger than the album, but as a first go though, I don’t think it is anything to be ashamed of. Price to Pay and Bad Woman are two of my faves, with Second Chance close. If nothing more, I have a couple good friends that I play with, that understood that those three songs were very personal to me. They took a bit of ownership of them and applied some passion while playing them. Overall the album works.

Tatu: I am very pleased how the album came out especially considering the rather short time we had to work on it. Big thanks go to Davide Floreno who was very professional as producer and had the required sensitivity to get the best of us on the record at that moment. I also like the diversity of the songs. There are the contemporary flavours and straight beats as well as shuffles and

more rootsy vibes. For me Price to Pay, Bad Woman and No Place to Hide might be the most enjoyable songs to perform. The nice phenomenon is all the songs change and evolve as we perform them time after time.

Robbie: I think the thing I’m most pleased with, is how well it all flows together. There seems to be a common theme there with mine and Jesse’s songs. I think break-ups, and new beginnings have a lot to do with it. I’m pleased with the end result.

There are three covers. One is Eddie Boyd’s Praise To Helsinki which he recorded in 1970 upon his arrival in Finland (where he remained until his death in 1994). Can you appreciate why he was so happy there?

StrangerBlueswas an apt choice too.

Robbie: Absolutely! The title and the lyrics say it all really, “I’m singin’ praise to Helsinki up there they sure got brotherhood!” I can vouch for that, everybody has been so welcoming since the minute I got here. Eddie Boyd’s one of my idols, I think he’s written some real most bluesy songs ever written! I was glad to pay homage to him and to the people of Helsinki. We had to change the words and the groove to suit! I think we put our own stamp on it! Stranger Blues had always been one off my favourite songs. I just love that groove. When I came here to Finland I finally had the excuse to record it. I play slide on a baritone, which was Davide’s wonderfully weird idea. We had a lot of fun recording that one!

One of the features of PriceToPayis that superb guitar tone, reminiscent of Grand, BB King and Peter Green. Robbie, who were your key influences as a guitarist?

Robbie: Cool, thanks. All those guys definitely have been a huge influence.I like all the blues greats: Buddy Guy, Ronnie Earl, Jimmie Vaughan, Hubert Sumlin, Doyle Bramhall II, Magic Sam, Robert Cray,Earl Hooker, Otis Rush to name a few. I play Strats fitted with ‘Killer Guitar Component’ bell brass tremelo blocks, and their titanium bridge saddles. It makes a huge difference! I also use Callahan

trem blocks. When I play live, no matter what amp I’m using, it’s always the clean channel turned all the way up. No pedals!

You must be happy that PricetoPayhas been released on the Blues Boulevard Records.

Robbie: I’m totally stoked about it! It’s going to be released in 25 countries, all over Europe and the States. Not bad considering the short time we’ve been together. It’s a five year deal if we want it. We’ll have a new album coming out this time next year too, so watch this space.

Most readers will be aware of Erja Lyytinen, and perhaps Jarmo Puhakka aka Slim Butler. Can you tell me about the blues in Finland?

Robbie: Erja and the band are always touring so if you get the chance to go hear them take it, she plays a mean slide! There are some other really kick ass players here in Finland: Tomi Leino, and Joe Buddy: I go to watch these guys every chance I get.

People will already have heard Bad Woman on the third volume of Jock’s Juke Joint. What are your thoughts on the series?

Robbie: I think it’s an outstanding achievement! I hope it sparks interest and

shows people who weren’t aware just how many great blues acts there are in Scotland. I think it shows what can be achieved when people work together instead of competing! Being a proud Scot away from home, I can show people here what’s happening where I come from. It makes me feel still connected!

So what are your plans for the rest of the year? I see there are some festivals coming up in Estonia and Sweden, and shows with Otis, Erja and Curtis Salgado…

Robbie: Just keep going and get stronger and stronger. It’s pretty clear we will have to expand and play away from Finland so thankfully there has been some interest abroad (France, UK and USA). We’re committed to go and push it as far as we can. We’ve had a good start but it takes some hard work to keep the momentum going and keep climbing the ladders. We have our eye already on some new material too and we will be working on an upcoming album too. We really appreciate any feedback, or if you wanna chat or have any questions, find us on Facebook. Hope to see you in the UK soon.

for The laTesT news on r obbie h ill check ouT www.robbiehill.ne T

w e have noT M e T Mr l ang before, he is a Tad J e T-lagged and M oreover bound for paris laTer This daY, on whaT b ona M assa calls ‘The e uro sTar g alacTica’, b uT we have The chance To discuss his brand new albu M fighT for MY soul and forThco M ing e uropean daTes

onny is courteous, soft-spoken and informative, having had some rocks in the road en route to his current excellent position in business and private life. A gentleman, he seems keen to get over here with his band and tear it up. We are just as keen to be there when it happens.

Welcome to London, Jonny. Can you tell me briefly what happens in your birth state of North Dakota? There’s a lot of tainted water! That we get to drink around there and some people end

up OK. That’s what they say. I don’t know, that probably is true. I don’t know man, I was very lucky to grow up with parents who listened to Motown Records and these more soulful artists out on this farm in North Dakota. But other than that North Dakota’s lovely anyways.

I always picture it as being very rural like Wyoming, but I don’t know. You tell me, you were the resident. Yeah it’s flat. It’s farmland. They say you can watch your dog run away for three days. That’s how flat it is there.

So where do you live now?

I live in Southern California sort of an hour outside of Los Angeles.

Who are your neighbours? We’ve got some good neighbours.

I asked that because I was talking to Kenny Wayne Shepherd on Friday and his neighbour is Wayne Kramer of the MC5! One of my all-time great heroes. The place we just moved from, we lived there for seven or eight years, Steve Vai lived just down the street! It’s funny, we got to do this Jimi Hendrix tour in the States a couple of times, and we got to know each other. It wasn’t towards the end of the tour we realised we lived like a block from each other.

You know a friend of ours, Mr Ernie Isley. Tell me about your band, you sound of one spirit. Well I’m not just saying this, maybe it’s from bias, but they’re the best musicians I could ever hope to play with. They’re just insanely talented people and multi-instrumentalist most of them. They’re great people and we get along, which is rare. Each one of these guys is just amazing like you said; we get along musically especially after playing together for so long.

When you put this record together. Is this is a set of songs you compiled over time or did you go into it very quickly?

It wasn’t quickly unfortunately. But I would say all told, the amount of work was probably three to four months to put it all together. But it took years picking our spots.

Occasionally, it sounds a bit like a diary. Yeah I can see that. I feel like most of the songs are, if not completely, partially autobiographical and things I’ve been through over the past few years, either in metaphor or literally.

When you have a family, your head changes three hundred sixty degrees and you look at the world differently. What do you think?

Absolutely, yeah. Having children, it has this way of ripping all of the selfishness out of me, well maybe not all of it but most of it. I saw how now it’s all about them and no room for you anymore, not none of you but most of you is at the mercy of these babies. So you really find out. I had to come to terms with

some ugly sides of me during that process. And I didn’t expect it. I thought “I’m ready for children.”

What ages are your children?

Well, we first had twins, a boy and a girl and they’re five now. Then we had a little girl, she’s two and now we’ve just had our fourth and she’s just over a month old.

What I’m kind of getting at is, you kind of wonder what kind of a life you’re leaving them. Which as a writer, musician, a painter even must come into your head when there’s more than you to think about. Yeah, absolutely. Well everything is sort of filtered through that.

Some of these cuts sort of give that away in particular The Truth. Tell me about The Truth. Well, The Truth is kind of one of those metaphor songs. It’s literally about someone’s in a relationship and they kind of know the other person is going out on them and they don’t want to know anymore. They’re in love. They’d just rather be ignorant and move on rather than know the truth about it. But I think this can be applied to a lot of things. There are some things in my life I wished I didn’t know.

It struck a chord with me, is a song I love doing that Bonnie Raitt popularised called ICan’tMakeYou Love Me. And there’s this unwillingness to accept that cloud that’s coming.

Yes. We did a show with Bonnie and someone, I won’t say who, was recording on the side of the stage when she did that. It’s the most insane version of that song I’ve ever heard.

The other track I really got hooked onto was River. Could you just explain how River came about? River started off lying around as a song with just the verses and the melody but no lyrics. And then I went to Thomas Sims who I did the album with, and we ended up finishing it. I think sometimes you don’t sit down and say “This is the song.” Let’s figure out what this is about and now let’s write it’. You just let it take you where it will. For whatever reason, this song ended up going in the direction of two people who were at this sort of crossroads and they come to the river and they have to make it to the other side even

though to their eyes they’d be no possible way they would cross the river.

It had a tinge of John Mellencamp about it but I don’t know if that’s an artist that you like?

I think so too but that wasn’t on purpose.

There’s something in your work when you start to tell stories. The ultimate story song probably being what, Bob Dylan’s TangledUpinBlue? Yeah sure. He is a stone genius, at storytelling.

Let’s talk briefly about Curtis Mayfield and Stevie Wonder because you’re saying to me that you heard this stuff early on in your life. And I can imagine when you’re very young and listening to LivingFor TheCity, you must have thought “Wow. Music can be more than what I’m hearing in school or whatever.” What Stevie Wonder recordings do you hold most dear?

Music Of My Mind is probably my favourite if I had to pick a favourite. Talking Book and Music are probably my two favourites. But they’re all are. Even the ones that when I talk to someone nobody seems to like, from the eighties... I love them all.

The live dynamic of your band taps into your blues influences, Buddy Guy and soul influences. But your voice, if we have to label something although I don’t like labels, it’s on the soul old R ‘n’ B side of things isn’t it? It’s got that edge. Did you very young, naturally have that voice?

I think so. I mean, obviously when you grow older your voice changes.

But there’s no hint of that voice when you speak. I’ve heard that yeah. Well, I don’t know. You start pushing more air through and the sound changes. But my first memories were that I wanted to be a singer. I feel like I always was going to be a singer.

In the band you have a very nice female vocalist. What’s her name?

Her name is Missy Hale. She’s on songs four and five I think. She tours with us from time to time.

Will she be in the European tour band you’re bringing over?

I hope so. I hope we can bring her. At that time I think the album would have been out for a couple of months.

She’s like a young Merry Clayton. The woman who sang GimmeShelterwith Jagger. I always wondered who that was!

You have those moments where there’s a shadow of GimmeShelterwhen you’re both singing at once which does 3-D the sound.

It’s fun hearing someone else talk about the record. It’s cool.

Now what’s your story on that track?

Well, I got to know Eric on the Jimi Hendrix tour and I met Eric a few times before that. We had never really hung out before and kind of hit it off. We chatted off stage more and more throughout that tour. Then we did subsequent Hendrix excursions so I feel like we got to know each other pretty well.

He was just a very gracious person and you know, for as much for lack of a better word a perfectionist he is musically, he’s not that way as a person. He doesn’t come off as this uptight kind of person. He’s very laid back and very kind.

It was just a pleasure to get to know him.

Have you ever heard yourself on it?

I’ve heard myself on it, just not the released album version

You’re also on this. We’re good at discovering things. (We then show Jonny the 2011 ZZTop:ATribute from Friends album that he features on.)

Oh yeah.

You’re on this album with some bloke called Steven Tyler. Who’s he? Does he have a future in the music business?

Yeah. He’s up and coming. He’s very good!

The production of this record, there’s odd bits of banjo in here isn’t there? Is that your producer, or is that you?

It was louder, the banjo. And I kind of took it down a bit. It was cool; I just didn’t think it made much sense in the big picture.

When you write songs, what instrument do you favour to write songs on?

Well, acoustic guitar. It’s probably half and half with piano and guitar.

I’ve got an acoustic twelve-string, an old one. If it doesn’t sound good on that I don’t use it. If I can’t make it sound good with vocal and acoustic twelve It’s a good theory, I can see that.

Can we talk about your electric guitar playing? You favour thin line Teles from time to time. What kind of gear do you use on tour?

Yeah. Thin line style Telecaster. I suppose the one I’m using is sort of a custom guitar so it’s got three Humbucking pickups instead of two. So they’re not Fender Humbuckers they’re real Lawrence pickups. The other guitar that I love is a Les Paul, which is ’58 reissue. For some reason, I’m really lucky with that guitar.

Warren Haynes loves those. Yeah. I put this guitar up against a bunch of old ones to see how it really sounds. Because this is the first Gibson I’m really playing live. Do all his guitars sound like this? And it turns out that one’s just really special I think.

So when you tour live, do you take like three or four guitars with you?

Yeah we probably will on this tour. I just take out these two guitars the Tele and the Les Paul. And an acoustic guitar. From time to time, I have a ‘57 Esquire that I take out. It’s probably the best sounding guitar.

What amps do you use?

I use Fender Deluxes. They’re new ones but they’ve been rewired to be like the old ones.

To sound ‘valve-y’?

Yeah they sound great.

So when you’re touring, what places do you feel most comfortable in? Arts centres, concert halls, clubs?

Where do you feel Jonny Lang is best heard? It could be any size venue I think.

You play House of Blues don’t you?

Yeah. I mean I would say if I had to bet which venue is going to garner the most of inspiration; it would be a hall The House of Blues size. But yeah it can be anywhere at any time, for us.

Let’s go back to this record. There are tracks in here, lyrically that I don’t think would’ve appeared on your earlier recordings. So are you where you want to be or still in transit?

I haven’t even had the thought that I’m anyway near where I wanna be! In my life ever. If ever, now would be, when I’m at home with my family I feel very fulfilled and grounded. But I’ve always felt a bit tossed around by the sea. I like aspects of that and they’re aspects that can be a bit tormenting. Having a family solved a lot.

You look back at your down times and you think I appreciate what’s here now? Do you not agree?

Absolutely. It’s something in life I just didn’t see coming. Someone can explain to you what the other side of the moon’s like but until you see it for yourself.

At the same time, you’re a blues guy and without edge your music would not sound as good. So you’ve got to draw on current or past torment to give your playing some life.

Sure yeah, that’s a fact.

Which is what being a musician is about. You get too comfortable playing the same over and over. That’s a big danger isn’t it?

Yeah. I have a pretty strong sense that I can’t produce something that I’m planning or plotting. And if it’s not truly in there, I just can’t let myself do it. If there’s no fuel for inspiration, it would be impossible for me to fake like I’m sympathising that.

Someone like Todd Rundgren, who can pick up a concept in minute detail and make it realised because it’s in a more methodical sort of a pattern. What’s the state of radio in the US? Do you and your family listen to radio?

There’s some music that I think is ok that I enjoy listening to. For the most part its music that’s better suited for someone else. At least

pop radio. There are times when it’s nice like when I want to be entertained. Sometimes it’s nice to have music that you don’t have to think too hard about.

If you want straight forward blues music that you’ve heard forever, maybe you’re better off listening to say George Thorogood than Jonny Lang. Because Jonny Lang’s in a different place. Having said that, when you play festivals you must be glad of the fact you’ve got your own style. There are folks who voice their concerns about not having a guitar solo every thirty seconds.

Jonny, that’s not us. The reason we like you is the moods you conjure up! Guitar playing is great but I like the fact that you can put an atmosphere over. I’ve never really thought of myself as a guitarist or a blues guy even though I owe a lot to those influences and to that fan-base too. Especially in the US.

I would be faking it if I purposefully made another blues rock record.

Yeah, but you could have done Lie To Me, Don’t Be Dishonest With Me and Tell The Truth To Me. This is your most underrated record (We show Jonny our copy of his second album.) What do you recall about that one?

Well, this here record got pushed to the side I think, because the record label I was on A&M records, right when they released that it got sold to Universal. Bye, bye promotion.

I heard it and thought this is why I should be listening to this fella. How are you feeling about your upcoming Autumn European tour later this year?

I mean I’ve always regretted not being here more. It’s never been possible because there’s never been a real solid push for an album. So there’s still fuel to come over here with.

I’m excited to finally have a label that’s excited. I plan to be here much more often. I am excited.

It sounds like there’s gonna be a few people at the Borderline show.

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he hints were all there, although the collection had a couple of quasiAlice In Chains dark mystery grungy numbers on it the styles took in rock’n’roll of the jukebox variety, blues, acoustic and especially a country rock gem in When the Sun Don’t Shine. So when the announcement came that Hagar and friends had made a ‘back to the sources’ album, I jumped on the brief. Would a Californian heavy rock god with a current superstar band and his own chain of restaurants bother to talk to some player from Surrey, England? – He sure would! So from a long chat about Montrose and everything, here I have extracted the lowdown on his new Sammy Hagar & Friends set

Where are you now, Sammy?

I’m in Northern California, outside of San Francisco and this is my last interview of

the day. Then I’m going to my rehearsal hall where I’m rehearsing with Bill Church and Denny Carmassi of Montrose with Dave Manacetti on guitar.

Well it’s a thrill. I remember the Montrose albums. I’ve known about you and your music for a long time. Now, about your new And Friends... album. Your PR company said to me “Sammy Hagar’s made a roots album, want to hear it?” I said “Yes please.”

Well, with this album I have had some opportunities to defend myself because the hard rockers out there who think of me as their ‘hard rock guy’ don’t like it sometimes when I do songs like that. That’s more roots, that’s where I came from. This record I think I took it a step further, I went way into the roots and I got right down to it. To the first song, which was the last song I wrote on this record Winding Down and getting my pal Taj Mahal to sing on it and stuff. I’m a blues guy. When I was in Montrose, I was singing

the blues Rock Candy Baby, Hot, Sweet and Sticky. They could have been John Lee Hooker or somebody.

You could do a perfectly good bottleneck version of Spacestation. On the first cut of Cosmic, your phrasing’s very close to Jagger’s. I’ll tell you myself. Mick Jagger may be the most influential person in rock for me. In so many more ways than just vocally. When I first started to sing, I was singing early Rolling Stones songs (Laughs). That was all I sang!

My favourite song of theirs is MothersLittleHelper. Well even before that. The first two albums and the Chuck Berry influence.

I don’t drink or drive fast, but where I’m a hundred per cent Hagar is the philosophy that everything starts with a dream. Life don’t mean anything, unless you’ve got dreams to build on. To motivate yourself. if that’s

your philosophy, I’m a hundred per cent with you. That’s a good philosophy. I really think, without a vision or something to reach for you’re just unmotivated. The only thing that motivates a human being, especially someone whose had success like myself and could easily lay back on my laurels and say “Hey I’m rich and that’s all I need.” Every time life goes on and you see something else you can do. I get inspired and I get a drive to keep trying and stretch myself.

Well I know how versatile you are. Now let’s talk about this album SammyHagarandFriends. When I heard that you were doing a track with Taj Mahal, I was begging that the two of you might tackle Bob Dylan’s EverythingIsBroken. Oh s****!!!! I’ve done that song with people before! Maybe I should have included that?

It was just in my head. Check this out – I’ve done Everything Is Broken with Neil Young on stage in front of twenty thousand people. Neil Young, myself, Tom Petty, and Eddie Vedder. We did it at the Bridge Benefit and we all did a verse. I wrote that Winding Down song and when I went to see Taj about a week before he recorded it with me I said ‘Taj would you sing on this song with me? I’ve got a blues tune. ‘Yeah’. So I brought him over there, he heard the song and the first thing he said was ‘I’ve not heard this song.’ He thought it was an old blues song that I’d just re-recorded. He was like ‘Man, where did you find this?’ I said ‘I wrote this myself.’ He said ‘Wow. Sammy that’s a good song. I like it.’ That’s a compliment, right? He thought I nicked that from a blues catalogue.

Brilliant. It’s a protest song. It’s a modern day protest song isn’t? Yes. That’s totally what it is. (Sighs) It’s about all this stuff going on in the world, people killing each other, Wall Street ripping off people’s retirement funds. It’s not as angry as it might be! I put it in a blues format to keep it from being too angry.

He sounds like Howlin’ Wolf. There’s a couple of albums that I’ve got of his where the phrases he comes out with sound so much like Howlin’ Wolf. It’s just amazing. You’re saying about Taj Mahal sounding like Howlin’ Wolf, when he gets roughed up after singing a couple of times with me and he came in and started talking he sounded like Howlin’ Wolf! I said; “You sound like the Wolf!”and he went “Yeah.” He sounds exactly like him. He told me “You sound like Wilson Pickett. Trying to sing Winding Down.” I replied by saying “I’m trying to sound like you, Taj!”

Now Personal Jesus. This made me laugh out loud and do you know why? I found myself playing PersonalJesus at a gig by mistake a few years ago. I think we were doing ShakeYourHipsand for some bloody stupid reason that lyric came into my head. You’ve got these great background singers on this. I wanted to take it to Church because that lyric is very strong and to me that’s an unconditional love song with such a twist. I made it more of a Gospel song. I made it more literal, like Johnny Cash did. When he

did it on that weird record with Rick Rubin. So I thought ‘I’m gonna go more to that direction.’ But the riff is a heavy Blues riff and you can play that on a ukulele.

Father,Sun...That’s a key track clearly. How old is your son Aaron?

My son Aaron is forty two years old. Is that funny or what? If you look at the (1975 album) Red... if you look at that sleeve there’s a lady and a little boy and they’re walking down the street. That’s Aaron.

Ok. I would never have known that. Aaron is a great singer and when you sing with your family, there’s something that happens only with a family member. On the chorus I’m only singing one part and Aaron is singing the rest of the parts. It sounds like me. When he sings by himself he doesn’t sound like me. When we sing together we sound like one.

That’s a dynamic. Johnny and Rosanne Cash had that dynamic. Totally. The Cashes, The Staples, The Carter Family, The Jacksons, The Osmonds, The Everly Brothers are classic. There’s a sound that you get with your siblings or your blood that is special. The song was originally called Waiting for the Sun but I changed it to Father, Sun because the word was originally sun spelt s-u-n and not s-o-n. But using my son on it I thought was a nice little twist. I love that song, it’s the most adventurous song I’ve ever written

KnockDownDragOut, that’s sort of sports jock music isn’t it?

Kid Rock’s on it. Kid Rock is on the second verse and everyone I play it for if I don’t tell them and play the song they think it’s me. I just read a quote right before I did this interview, Kid Rock texted me some interview he did and his quote was; “When you’re singing in that register, you can’t help but sound like f***ing Sammy Hagar!”

He’s 42, but he sounds like he’s just jumping out of college. Like he is raring to go at his first gig at the

Chequer Lounge! With the Bob Seger song, did your wife twist your arm to do this record? You sound like you enjoy singing this song. It’s got a great rhythm to it doesn’t it?

It does. That’s live in the studio with the Wabos, that’s my band right there. Guitars are me and Vic and bass and drums. My band is a bluesy, rock/soul band. Seger is the epitome of that. The first time I saw Bob Seger I was in Montrose and we opened for him in Ann Arbor, Michigan outside of Detroit. I never knew who he was and I’m sitting there going “He’s a couple years older than me.” I’m watching him and he’s got that whisky voice when he was young and I didn’t have it yet. I wanted to sing like that. I wanted to sing like Rod Stewart, like him. That’s the voice I always wanted. I wanted to be a blues guy. He was doing it and it blew my mind. I became a fan instantly, I became friends with him and I’ve always been a Bob Seger fan. He’s got some great, great songs.

That sounded like Steve Earle’s band to me.

What a trip, I like Steve Earle. Steve Earle’s a country blues guy himself isn’t he? It’s impeccable.

BadOnFordswith Ronnie Dunn... Sounds like it’s from that Roadhouse film. Yeah and he’s got that kind of rockabilly rhythm thing going on in his voice. I love him as a singer

Now talking of great musicians, here’s another thing I’m pleased about. The Buffett song Magaritaville that’s a sure-friendly crowd song?

Oh man! Toby Keith and I have sang that song at least fifty times. The way Toby explains it, that’s the kind of song you sing right before you pass out. He’s not lying. We’ll be sitting up in my dressing room drinking tequila and eating tacos and it’s about one in the morning. We say ‘Let’s go down there and play a set.’ We do Margaritaville and it’s kind of like our own little theme song you know? You know my band that band when Elvis Costello came over

Leyla McCalla has been a part of the CAROLINA CHOCOLATE DROPS for the past two years

The cross-pollination of her Haitian roots with the African-American folk blues tradition endows her music with a unique, highly poetic freshness

LEYLA McCALLA ON TOUR IN OCTOBER with RHIANNON GIDDENS (CAROLINA CHOCOLATE DROPS leader) :

03rd LONDON (Cecil Sharp House)

04th SELBY (Selby Town Hall)

05th SHREWSBURY (Hive)

06th DERBY (Folk Fest.)

08th NORWICH (Norwich Art Center)

09th SHEFFIELD (Greystones)

10th BURY (The Met)

11th SOUTHPORT (Atkinson)

12th GLASGOW (Oran Mor)

here a couple of years ago and was doing a tour with an acoustic band this was his band. I got them to play on this song. All of them that’s a live track accept the background singers I put them on there. A few years ago I did that and I got Toby to sing on it. Live in the studio that band played it just like it is.

Great musicians

These guys are great musicians and they are underrated. Because they are singing happyish songs people go: “Oh well.” You’ve gotta be clever to write songs like that.

When I was singing that song, I realised why it’s such a legendary song that carried a man who hasn’t has a hit like that since 67. He has sound some underground hits but today he can sell out stadiums. It’s because of that song. When I am singing that song in the studio I go ‘What a lifestyle song.’

It’s the slackers’ anthem isn’t it?

Yeah it’s an anthem. It’s an anthem for so many age groups. Anyone who’s ever been on a boat or a beach and fallen in love with it and said ‘This is what I wanna do for the rest of my life.’

My favourite track on this record is the one with Heart’s Nancy Wilson: All We need Is An Island. Nancy! I think is the best duet on this record. I think she bought more to that song than my other friends. Except maybe Chad, Mike and Neil on Personal Jesus. What they brought to those songs was a lot. I could never had made those songs without them. But Nancy, if you listen to the stripped down acoustic version with just myself, it’s nothing compared to what she comes in singing on those backgrounds. Her background harmonies are gorgeous.

That’s the song for me. If I was gonna play someone a track off this I would say listen to this . You’re my new best friend! That song is so magic, I get goosebumps and I think I’m in Hawaii.

It’s like the ‘South Pacific’ film in Technicolor isn’t it? Don’t you think that it deserves a soundtrack or the Hawaiian theme song for the commercial on TV? ‘Come to Hawaii’ Ha ha!

GoingDownthe Don Nix classic. Neal Schon makes me laugh because when he did that, did he have his

determined ratcatcher face? Because he always looks as though he’s come to rid your house of vermin!

I have to think about that! He is my buddy and we’ve played together many times but I never looked at him and think that. He always shakes his head whilst he’s playing and I think he is trying to get your seal of approval while he is playing. Is the rat thing like chomping on something?

No. He has this determined look on his face when he plays with Journey he launches into these solos and he looks as though he has come to rid your town of vermin. Like he’s got flamethrowers and stuff. I have to study that more closely. But let me tell you, Neil Schon’s hands are the most loose and free hands. He is the most free guitar player I’ve ever played with. If you ask me who is the best? Joe Satriani. But who’s the free-est, the most creative and just off the cuff?. It’s Neil Schon. The guy is just loose as a goose. His hands are so spectacular, his right hand, his picking style. He is so fast with his right hand it’s unbelievable. I think he has the most identifiable guitar style than other guy in rock today.

I first saw him with Carlos Santana back in Santana Three era.

Now he says him and Carlos are gonna do another album and tour together. I love the guy because he is such a musician. He’ll pick up a guitar and he doesn’t have to warm up.

There’s nothing on this record that could’ve been on the Van Halen record. So, basically between these two you’ve just got a taste of both ends of what Sammy Hagar could do. I’d like to think you’d continue stretching yourself and making friends. I’m probably going to make record like this for the rest of my life because I really don’t think that a solo Sammy Hagar record would be acoustic and me doodling because to me if Sammy Hagar and Friends is a new way of recording I could see me continuing like this. I have so many friends that I would love to write and record with. It’s opened up a whole new door for me. Now I have to go rehearse! So thank you Pete. Good talking to you and take care.

saMMY hagar & friends, will be released in The uk bY fronTiers records on M ondaY 30Th sep Te M ber. visiT www.sa MMYandfriends.co M for M ore de Tails

Mick c larke has been a M ainsTaY on The b riTish blues scene since The 1980’s and been parT of so M e of our besT bands during ThaT Ti M e, as well as releasing a sTring of successful solo albu M s

ick’s latest release, Ramdango, is just out to coincide with a new UK tour. It was the perfect time for BM! to catch up and get an overview of Micks career to date.

Hi Mick, thanks for talking to us. The new Ramdango album is just out and it really is a solo album in every sense this time isn’t it? Tell us a bit about how this came about.

Well, I have a little studio at home where I’ve cautiously tried various recording techniques in the past. I had already started playing my own bass and keyboards on record, and this time I decided, in a fit of over confidence, that I would also play my own drums! I used some pre-recorded sounds for the bass drum and other things, but decided that I would actually play the snare and percussion myself to get a natural feel.

The thought that I could not actually play drums didn’t really occur to me, so I bought myself a Ludwig snare drum from eBay and learned how to tune it and so on. Then I

ordered a cheap pair of brushes and started recording! My first efforts were pretty bad but I kept the tracks and came back to them later when I’d got a bit more practise. After a while I really started enjoying myself, drumming is fun! So the album came together, fairly quickly actually, just took a few months. I had a few songs already and wrote the rest as I went along. The inspiration just sort of flowed. And yes, this one is all me.

It sounds like you had a lot of fun recording this. There are some lovely touches of humour about it and the instrumentals sure get you moving to the groove. Was it a very different writing process knowing you were going to play everything yourself? I really really enjoyed making it. I just couldn’t wait to get in the studio at every opportunity. I must make it clear. I have some great musician friends that I work with, Usually Chris Sharley or Russell Chaney on drums, Eddie Masters on bass

and ‘Dangerous’ Dave Newman on harp or Dave Lennox on keyboard. However this time round I just wanted to try doing it all myself.

I really didn’t know for sure if it would work but I wanted to go for it anyway. I’ve always been a huge fan of people like Joe Meek, he turned his flat into a studio at a time when the norm was to go to Abbey Road or somewhere and have engineers in white coats in charge. But Joe showed that you could do things in an unconventional way and still get great results, if it sounded good that was all that mattered.

Anyway, making the album this way turned out to be a totally liberating experience – I didn’t have to explain myself to anyone and I could stand or fall by own ideas. There are some silly bits, both musically and lyrically, but they made me laugh, and it slowly sunk in that there was no-one to tell me what not to do!

I reasoned that if the tracks were no good then people wouldn’t buy them, nothing lost. As it turns out the album has been wellreceived: Album of the Week on one show and is getting steady sales and airplay around the world. I’m feeling pretty happy with the whole thing.

This feels like the natural follow up to your previous album, TheRambunctiousBluesExperiment which although a three piece with guitar, drums and harp was recorded all in one take with minimal rehearsal. I get a sense that you want to distance yourself from the clean overproduced stuff out there and return to some authentic raw blues.

A few years ago I realised that I had said everything that I had to say (at the time) about standard blues rock, and had started to repeat myself and recycle ideas. I read a review of one of my albums which said something like; “We expected more” and I agreed with the reviewer!

I thought at that time that I had possibly made my last album. However over the next couple of years I was listening to a lot of real down and dirty Lousiana blues people and started to realise how unimportant the technical side of blues recording is. I really started to fancy making a record that was much rougher and ready.

At the same time we moved out of London to the country and I constructed a little home studio. It wasn’t big enough for a whole band, but the drummer I was working with, Russell Chaney, had an electronic kit which I realised I could record. I put the two ideas together,

a raw dirty blues album recorded in my little studio with just a drummer, no rehearsal, just a live feel, and we made Rambunctious. Later I added some dirty sounding bass and my friend “Dangerous” Dave came down and added some great harp. I think the album is fun, and certainly unique.

You first came to most people’s attention in the 1960’s playing in the band Killing Floor. Amazingly you guys got back together last year to record a new album and play some live shows. What was that like for you?

Well our first ‘reunion’ album was in 2003 and called Zero Tolerance. It was the idea of the late Franco Ratti of Appaloosa Records. When he first suggested a Killing Floor reunion I laughed! It all seemed so long ago. But anyway, once we’d all got back into contact I realised that everyone had a real enthusiasm to make music together again, so we did and it was a lot of fun. My friend Lou Martin, who was the pianist in the band and had also worked with Rory Gallagher, very sadly died in August last year.

He had played on Zero Tolerance but his health, even then, had been failing. So the 2012 album Rock’n’Roll Gone Mad was quite definitely the four piece Killing Floor: Myself, Bill Thorndycraft, Stuart McDonald and Bazz Smith. I think it’s a very original and distinctive statement.

It might take the rest of the world a few years to catch up. It usually does with Killing Floor records! We also got to play some live dates which were always a riot. For example the Rock At Sea cruises from Stockholm. A boatload of rock bands and two thousand fans floating around in the Baltic all night.. can you imagine! And last year we played at Sweden Rock Festival, a really huge event with bands such as Blue Oyster Cult and Lynyrd Skynyrd. Killing Floor seems to fit in well to those classic rock kind of events, so I hope we have a more over the next years.

In the original period of Killing Floor you were the backing band for Freddie King and toured alongside Howlin’ Wolf and Otis Spann. There must be some

incredible memories from that time, any you can share with us?

It was a great time, and although we were young we fully realised that we were working with blues legends and that it was very special. Working with Freddie taught me a lot about how a professional works, the most important thing to him was to get up there each night and do the best show he could. Nothing else got in the way.

A real gentleman of the Blues. Otis Spann was an affable character with a bottle of scotch in his pocket and a couple of dodgy women in tow. I’d say a short life, but a merry one, and a fantastic piano player. Wolf, of course, was a true giant of the blues in every way. But he was a cantankerous old, so and so. We had some interesting conversations.

One night he and Freddie got up with Killing Floor and played Smokestack Lightning, one of those moments you don’t forget. Killing Floor did lots of other stuff too, playing with many of the legendary names of the time.Captain Beefheart, the Nice, Alexis Korner, Free.

We also had lots of adventures touring Europe in the days before motorways and the EU. Getting arrested in Augsburg and causing a riot in West Berlin. A tough but exciting time and for me a hard apprenticeship into being a working blues man.

The first band I discovered you’re playing with was Salt, who were a great band on the London blues scene in the 70’s and featured Steve Smith on vocals who went on to form Ruthless Blues. You’ve got back together for some reunion shows recently too. Anything in the pipeline on that front?

Well we’re always open to offers, but there’s nothing booked at the moment. The shows we did were good fun and went down very well so I hope we can do some more.

The project also gave me the incentive to re-master the old recordings and demos and make up a retrospective SALT album, which I think is pretty good. Anyway it was great to get together again with Steve and Mac

with Chris Sharley on drums and belt out All Wired Up, once again.

I think our readers are getting the message that you like to keep busy by now, but I know you also are a regular member of the British Blues All Stars. Is that still active? I know Kim Simmonds and Maggie Bell have been involved. Tell us bit more about that? Yes I’m always busy with something or other but it’s not always music which can be very annoying. Life tends to get in the way sometimes. At the moment I’m involved in rebuilding our kitchen which is definitely not rock’n’roll. However, yes I try to get into any good musical situation that comes along. With the British Blues All Stars the first time they called me was for the San Francisco Blues Festival! Wow, yes please.

But unfortunately it was impossible to sort out a work permit, so in the end Rod Price from Foghat did the gig. In a way I’m glad because he died the following year, so at least he got to play with some old friends again. I also got offered a festival in Thailland which I couldn’t do because of other commitments and some other stuff I couldn’t make, so it was all a bit frustrating.

Anyway I did do the Colne Festival with Kim Simmonds and Maggie bell which I thoroughly enjoyed. Backing up Kim on Savoy Brown numbers was an honour, and sharing vocals with Maggie was like working with royalty! Fantastic.

After Killing Floor and SALT you formed The Mick Clark Band and had a successful career around Europe and the USA and have released a series of well received albums over a long period of time. Lou Martin was involved quite a bit, it must have been special working with him?

The MC Band took off quite dramatically around the end of the 80s and for a while it was quite exciting. At one time we were proclaimed “The hottest band in Switzerland” which seems like a modest claim now, but was quite a buzz at the time. They were good days, thundering around Europe in our old Mercedes bus. We also got to tour in the USA and play dates with Johnny Winter, Canned Heat and others. Lou was busy with other

projects having finished his stint with The Rory Gallagher Band, but was able to play on several of my albums. In due course he came on the road with the band and there were some great times. Lou would really come into his own if there was, say, a power cut, which happened a couple of times. Then he’d be up on an acoustic piano somewhere jamming away and saving the show.

Lou had a great sense of humour which kept me sane for most of the time, and we always had an excellent musical interplay together. He was brought up on the same albums as I was, Live at the Regal, Otis Rush etc. He knew instinctively what the right piano accompaniment was for the kind of blues guitar that I play.

When it was his turn to solo I just kept out of the way. It always used to intrigue me. We’d be doing a gig, I’d play the very best solo I could and the audience would smile appreciatively. Then Lou would play a solo and the audience would stand up and cheer! I could never really figure that out, but finally realised that Lou had a very special and indefinable genius. A way of connecting directly with the music that few others have. Sometimes a bit untidy but always direct from the heart.

Any plans for some new Mick Clarke Band product or will you continue down the solo recording route? My immediate plan is to crack on straight away with another solo project, doing the last one was just too much fun, and I’ve already got a bunch of new ideas to work on. But I’m sure there’ll be another ‘proper’ band album at some point, maybe a live one would be nice. You can always find the latest info at my website, mickclarke.com. I’m also gigging around Southern England and popping over to Europe for festivals whenever possible. I’ve tried to strip the MC Band down to a straight ahead juke joint blues band, and I’ve never enjoyed it more. When someone from the audience jumps up and shows the need to boogie woogie, I know I’ve got it right!

for The laTesT news on M ick clarke, check ouT hTTp:// M arshala M p. co M /news nf.hTM

Ji MMY M ighT noT be a household na M e in b riTain, buT he is one of The M osT respecTed guiTarisTs in The usa and has plaYed wiTh a hosT of sTar na M es and over The Years J i MMY has beco M e fa M ous for his highlY-praised TuTorial Tapes

He is passionate about all roots music, created a nationally toured ‘Bluesical’, and is nurturing a whole generation of upcoming musicians. I spoke to him by phone at his San Francisco home.

Hi Jimmy, thanks very much for taking time out to speak to Blues Matters! I know you are working flat out adding the finishing touches to a brand new album. Please tell us about that. Yes, I’m currently in mix mode on my new project. It’s been a collaborative with mainly myself and my engineer/ producer Karl Derfler who works with Tom Waits, Dave Matthews and Keith Richards to name a few. We recorded all the tracks in my house here in California and the process has been a blast. Most of the tracks are very rootsy and have a raw vibe, not slick or produced, which I love!

When can we expect a release date?

We are talking to a couple of labels and hopefully it will available late September or October.

This will be the first Jimmy Dillon solo album since Undercover Man, in 2003. You’ve been involved in lots of projects since then so have they been influences in the new work?

Actually I did one here in America called Everything a few years back with Chuck Leavall on keys from the Stones and Clapton’s band, I don’t think that one made it across the pond. Certainly Ascension of the Blues influenced me a bit as it was a journey writing a theatrical ‘Bluesical’ and I learned so much in my research with that project. Also Blue Star Music Camps, my non-profit kids programme, has opened up so many doors musically. I’ve had the good fortune to work with some amazing musicians that share my vision of helping the next generation of young performers to hone their craft. Here in SF we have some fab benefit shows with the likes of Sting, Bonnie Raitt, Robin Williams, Keb Mo’ and many others to support kids and music education.

The resumé of people you’ve played with is like a who’s who of rock and blues history, Bob Dylan, Bruce Springsteen, John Lee Hooker, Joe Cocker, Buddy Guy and BB King to mention just a few. Can you tell us a little about playing alongside such talented performers and the best memories of that? First off it is very humbling to work alongside many of my heroes! I’ve learned so much from all of them. Playing and recording with John

Lee Hooker was a rare experience, he was a legend indeed. Buddy and BB whom I’ve done many shows with, were always so gracious and inspiring to be around.

My nearly 20 years working with Clarence was very cool cause everyone loved the ‘Big Man’ and I was his musical director and right hand man so, I was blessed to get included in so many exciting musical experiences like playing at Bill Clinton’s inaugural with Levon Helm, Bob Dylan and the Band.Wow!, what a memory! Of course sharing the stage with Clarence and the Boss. The energy those two guys put out was electrifying for sure.

You were a major part of the great, late Clarence Clemons ‘other’ band, The Red Bank Rockers. That must have been lots of fun to be involved with, recordings and touring. Please give us some background on that?

I met Clarence in ‘89 and we hit it off immediately, did a lot of writing together and toured the world many times. Clarence was a big hearted guy and such a soulful player. I miss him a lot. Also he supported my move to Europe in the mid 90’s because he realized I had to find my own way, but we stayed in touch and played together until the end. I think one of his last shows was at what is now Sweetwater in Mill Valley. We used to do four shows a month there and blow the roof off! We

co-wrote lots of tunes together and they are on his solo albums. Great memories for sure!

I know that you formed your first band in the mid60’s, very different times then. Was it very hard for a young band leader then to get noticed and start to carve out what has become an amazing career? Y’know when I first started playing I remember being so happy to just rock out and cover Stones and Beatles stuff. The 60’s man, it was magical and mind blowing. I remember hearing Howlin’ Wolf, Muddy Waters and Jimi Hendrix all in the same year, 1968. Living near Chicago we got it all coming through. So I was bitten at a very early age. I used to go to Shadowland Ballroom (I later wrote a song about it on Bad and Blue, my first CD) and see bands like The Hollies, Mitch Ryder and the Detroit Wheels and we got to open up for a few of them. For a young guy playing guitar it was a cool time to be coming up.

Who were the very early influences on you as a guitarist and performer? You have a reputation as being much more than just a blues player, you’re highly respected as a vocalist in many different styles too.

Early on I think Clapton was a strong influence, Hendrix too but he seemed unreachable to me, of course The Beatles and Stones were huge. When I moved to SF in 1969 I got to experience the whole West Coast thing – Bloomfield, Santana and the SF sound, that’s when I really started to dig into a more eclectic mix, both electric and acoustic. Then I met Mike Pinder from The Moody Blues and did his solo LP, The Promise, which was my first foray into studio work. Great experience that was.

Another major work you created is ‘Ascension of the Blues’. I guess a simple way of describing that is a full blown stage musical tracing the birth of blues music and how it’s influenced popular music in so many ways since. That must have taken a huge amount of creative thinking and hard work to get off the ground?

Yes, in some ways it came at a time when I was looking for a new direction having lived and toured extensively in Europe doing my solo thing in the 90’s. I wanted to delve into the history of American music and tell the story in music,

narration, dance and song. I insisted on having real musicians and singers that had the grit to make the whole thing real. We have performed it all over and I’d like to bring it over your way... I think audiences there would love it.

You must be very proud of how it’s been received. Am I right in thinking the production is still touring? I believe the first shows started in around 1999. I’ve seen some You Tube clips and some top artists have taken part.

We are not touring at the moment, but I’m always re-working the piece and there is some interest in a NYC residency. We’ll have to see.

Tell us a bit about San Francisco Music Club, the band you formed with Lorin Rowan. Is the band still an ongoing thing?

Actually I started this as an offshoot of Ascension of the Blues with the idea of a ‘moveable feast’ featuring different singers and performers. We had done some shows in California about a year before Lorin and I recorded the CD. He and I have worked together for years and yes, we are still doing some shows here in the Bay Area. It’s a fun project and I wrote and recorded one tune, Te Quiero, in Havana, Cuba, that was a fabulous experience. Exotic and inspiring to play with Cubanos at the same studio as Buena Vista Social Club, Egrem Studios. I think the last American to record there was Ry Cooder. There is also some Ska and Reggae stuff on this which has long been something I really enjoy playing. My wife Kelli is the percussionist and dancer in the band, and a great vocalist Sakai, who tours with Train, is also part of the show.

Another big part of your life is taken up with the Blue Star Music Camp that gives young people the opportunity to learn from professional musicians. Tell us how that works and the inspiration behind it? Blue Star has been a labour of love for the last 12 years. I wanted to create a place where kids who love music and want to learn from pros could go to study contemporary music. All our teachers are really fluent in their craft,

so we pass on our knowledge from years of experience to the next generation of young performers, then they put on a show, it’s very exciting and extremely satisfying as well. The kids come in on a Monday with guitars, voices and musical dreams and by Friday, it’s showtime. The stage is our classroom and I must say these young rockers are amazing!

On top of all of this you are perhaps as well-known as a guitar tutor with lots of DVDs and online lessons available. How did you first get into that and how has it developed? The principle of ‘giving something back’ seems very important to you. Someone once said to me, ‘the meaning of life is to find your gift, the purpose of life is to give it away’. I like that. I was approached by a guitar instructional company to do some DVDs. I had had lots of experience teaching kids and of course performing for decades and as it turned out I’m pretty good at it!

I do actually enjoy teaching what has been passed down to me, it feels good.

When the new album gets its release I hope we might see you touring in Europe again, any chances?

I would love to tour Europe again, it’s been a while. I played the Borderline in London when I was touring with the guys from Robert Cray’s band.That was a fun gig.

Finally Jimmy, what advice would you give to aspiring young performers?

I would say it’s important to diversify and know how to do a few things well. It’s not enough just to be a hot shot guitar slinger, you must be a good songwriter, singer, and teacher and also a good hang on the bus!

Being in the arts is challenging but ultimately worth it if like me you simply don’t have a choice... I knew music was my thing at a very young age and it’s been quite a journey so far.. As John Lee says, ‘Music is the Healer’. I’m lucky to have been able to make a living doing what I love, for this I’m grateful.

f or The laTesT news on J i MMY dillon check ouT his websiTe: www.J i MMYdillon.co M / M usic

V E rb A ls: clive rawlings Visu A ls: roy cano

So let’S Start a Blue S Commotion S hall we? w hat’S that you S ay we are too late there i S a B and By that name already featuring the fa B ulou S Zoe S C hwar Z on Stunning vo C al S and on guitar, the one and only r o B Koral

h yes they go out in multiple formats as a duo as Zoe Schwarz and Rob Koral or as Blue Commotion a six piece or even now and then eight or nine piece outfit, now that shows some elements of musicianship on many layers and this outfit can deliver in whichever format they go out in. A new album titled The Blues Don’t Scare Me is about to be delivered so we thought it a good idea to catch up with Zoe and Rob and BM’s Clive Rawlings went along to the studio where they were recording, had lunch etc and here is an insight into what a Blue Commotion is all about.

What’s your musical background and how did you get into the Blues?

Rob: When I was a schoolboy I saw the omnibus documentary of the Cream farewell concert at the Royal Albert Hall and it had that indescribable effect on me, it sent shockwaves through my system. Funnily enough, having not heard the music for twenty years, when the re-masters came out –it had the same effect on me all over again.

I’m completely self-taught, I just wanted to somehow emulate the sound that had moved me so much. Fortunately I had a friend at school who was very talented and already playing very well. He wasn’t that keen on giving it all away, but over a period I started to get the gist.

After a few years I broadened my net and became interested in people like Jan Akkerman (at the time in Focus), and after that people like Wes Montgomery who had a strong blues strain but of course was a jazz player. That was very important to me personally though, to get away from solely just the pentatonic scale and think about playing on the changes. I still have that approach now. Even when it’s a low down dirty 12 bar. By this I mean using target notes from the next chord. Sorry if this all sounds a bit technical but what it means for the listener is that if you take away the backing from the solo you can still hear the form/melody of the music. Jan Akkerman of course was one of the first virtuoso players in rock, and it’s good to have a few extra gears if and when you need them.

Another big earlier influence for me was Allan Holdsworth – but let’s not go there for now, except for to say that he appeared at 2013 Crossroads Festival, so check it out.

What were your early influences or your musical background Zoe?

My beginnings were the complete opposite to Rob’s, they had to be, I was sent to convent boarding school at the age of seven, so for a start I was not exposed to what was happening out in the real world. Hence I guess I’m a late developer, better late than never though! You can imagine being at boarding school, and being part of a religious musical family (my mother is a pianist and was head of music in a school), my early singing was sacred music/church music etc. However, I have always had a desire to be expressive, and when I was as young as seven or eight I’d find a quiet place at weekends

(usually behind the stage) and thrash around on my guitar playing campfire chords, I loved to wail away making songs up as I went along.

Later on I heard a Billie Holiday recording, which was my turning point. In case people don’t realise this, she is a blues singer, albeit mostly 32 bar tunes, not 12 bar. The relaxed, free phrasing and the lilting, yearning, pain in her voice, it was a revelation to me, and from then on I knew all her songs.

After A levels, which included Music, I went on to do a performing Arts degree at Middlesex University. Although by this stage I wanted to sound more like Tina Turner and Etta James, my voice was too high, pure and light-weight, so I didn’t have the confidence to go out and sing the blues. With my inclination towards improvisation of dance, drama as well as music I went on to do a Performing Arts Degree. Great fun, but was not very employable by the end of it. For periods I’d have interesting theatrical projects but was mostly out of work. So for my sins I started temping in the city, and ended up being good at it.

Is the guitar your only instrument Rob?

Yes. I only believe in doing one thing properly.

Do you play an instrument Zoe?

I can play guitar to accompany myself singing, however, since I met Rob I don’t play at all – not surprisingly! At school I did all exams to grade eight on piano and clarinet, but for some reason got too nervous to perform in public on an instrument. I have to say I am good at sight reading music, so that was one ‘plus’ from my early classical music education.

The majority of your work is self-written, is that all from personal experience?

Rob: It’s always been that way for me. Musicians have to create new music in the same way that we have to create new ideas in ‘life’. The alternative to this is that it all

stagnates – and eventually people would lose interest and the music would die, Or I guess we’d just have tribute bands.

As a song writing team, Zoe and I are bursting with ideas, so on The Blues Don’t Scare Me album, 11 of the 12 tracks are originals. We’re not writing to a musical template, we’re not creating a sound to a musical template, we’re just letting the music be what it needs to be by not censoring the natural flow of ideas. We’ve cherry-picked the players that we want to use, so of course this means that we trust them, we love their sense of taste and style and therefore their contribution. I can honestly say I’ve never once asked anyone to play in a certain way.

Zoe has an incredible voice and a passionate yearning delivery, so our song writing is an outlet and vehicle, not only for Zoe, but all six of us. It’s an amazing experience being on stage and feeling the effect that Zoe, Pete, Si, Paul and Pat have on the audience, especially when we’re playing at a venue for the first time.

Zoe: Our song writing is very spontaneous and organic, Rob will have a riff and a germ of an idea and we’ll sit and just sing/play until it starts to take shape, or I’ll have a story line and ask him to come up with something to go with it. The songs can take either hours or days - but we don’t fight itwe let them un-fold as they need to. And they often won’t have taken final shape until after we’ve gigged them.

Do you use an instrument to write a song?

Rob: The riffs, grooves and feels and mood of songs come from the guitar, although this is also dictated by the lyric which may or may not come first.

How did you two meet?

Zoe: My stint in the city lasted longer than I care to mention. I ended up as Associate Director of a Dept. within UBS. I headed up a large global team, I took clients to Ronnie Scott’s and would be seething with jealously that I was on the wrong side of the stage. On Millennium night I was working at my

desk checking for the Millennium bug (which didn’t exist), and I decided enough was enough, I had to get back to some singing. So moved out of London, by then I had two small children, and moved to Dorset. At a summer school in Devon I went to a blues/jazz jam hosted by Keith Tippett, and sang a Billie Holiday ballad. Keith Tippett was extremely complimentary and said that I should stick with it and that I should be out there singing this stuff.

Elated and very excited, I asked people in Dorchester, where I’d moved, to if anyone knew an accompanist. Someone introduced me to Rob, who had coincidentally recently moved down from London too. Within a week of meeting Rob, we had done our first gig! And within a couple of years we had our first week at Ronnie Scott’s. That gives you some idea of Rob’s energy, passion and drive. We are now partners and our little Cassie is seven.

Does having your name in the band name add extra pressure on you Zoe?

Zoe: Not really, I love being on stage doing my thing, and of course the truth is, all of us who get ‘up there’ want to be noticed!

Have you ever thought of getting into brass sections?

Rob: On the Good Times album we had a brass section on three tracks, and it’s the same for our new album The Blues Don’t Scare Me. In a ‘live’ situation we already have a six piece band, which is hard enough to pay, so to get a wage to cover an eight or nine piece is not practical at the moment! One day!

Web-site bookings. Are there any requests that you dread receiving when playing at gigs? Any songs you hate?

Zoe: with our Blue Commotion band we only really play theatres, clubs or festivals so people have the good sense not to ask. We do from time to time get asked to play at a private party and we’re not against accommodating a special request if it fits.

I find more and more, younger people are going to these festivals/gigs, do you notice that? Are you pleased by it that there is more to it.

Rob: There simply has to be younger people going to festivals/gigs otherwise the music wouldn’t survive. I really hope you’re right about that.

How many guitars do you use? Have you got a favourite?

Rob: I basically play an Ibanez Artist. I have two. One of which was given to me as an endorsement artist. I’m left handed, by the way.

Other than the people you work with now Zoe, what would be your dream band, living or dead?

Zoe: I’d love to rub shoulders with some of my heroes; Billie Holiday, Nina Simone, Bessie Smith, Ray Charles, Oh and I’d love to gig with Jeff Beck, he’s nearly as good as Rob.

What would you be doing if you weren’t a musician?

Zoe: Done my penance outside of music. There’s no other option for me.

Rob: A sports reviewer or something? I don’t know, I love sports, cricket, football.

Zoe: He’s one of those people who’re good at everything.

What do you listen to in your down time? Assuming that you ever get any!

Rob: I try to search out people I haven’t heard before. I play guitar, so I like to find players who have great sound, great rhythm and an ability to play on ‘changes’ properly, and

With this new effort, Eric Bibb gives a personal vision of today ’s world in his own poetic and contemporary way

Born and raised in New York, Bibb has travelled the planet extensively He describes the people of this earth at length here, conjuring their conflicts and hardships, as well as their compassion, tolerance and empathy. Jericho Road was produced by Glen Scott, a young Englishman originally from Jamaica endowed with outstanding talent and creativity. Scott ’s lavish musical arrangements and attention to sound make this new recording an exceptionally fine production Eric gives a whole new meaning to the blues of the 21st Century, proving that the genre remains as lively and relevant as ever Jericho Road is an event in itself, and a superlative album

ERIC BIBB UK TOUR ON OCT

22nd MILTON KEYNES UK

23rd LONDON UK

24th DUDLEY UK

26th BELFAST UK

27th SOUTHAMPTON UK

29th BUXTON UK

30th EXETER UK

AND ON NOV

01st BASINGSTOKE UK

02nd FROME UK

03rd GATESHEAD UK

05th SHEFFIELD UK

06th CHESTER UK

08th GLASGOW Wales/UK

09th GLASGOW Wales/UK

10th EDINBURGH Wales/UK

11th READING UK

14th RIPLEY UK

16th ABERDARE UK

above all else individuality.

Zoe: Apart from Billie Holiday and Ray Charles being permanent fixtures in the CD player in my kitchen, I also love to listen to Robert Plant, The Who, more recently Beth Hart, and the Tedeschi/Trucks band. I still listen to classical music, especially big oratorios such as Rachmaninov’s Vespers and Handel’s Messiah. I also try, when we’re not gigging, to tune into the many digital blues radio show’s to see what else is out there currently, there certainly seems to be a thriving scene.

Your web-site is the best way to keep up with you, notably we’ll see you on the Blues Matters! stage at Skegness in January.

Zoe: We have a brand spanking new site (See end of this article, BM!), I’m thrilled with it. Very slick, modern, easy and informative. Of course with links to the all-important Facebook and Twitter, etc.

Your favourite biscuit?

Zoe: Flapjack.

Rob: I agree with flapjacks, I could eat a bucketful (home-made are the best!)

Zoe: That’s why we get on, we like the same biscuits. I prefer soft and chewy, Rob likes firmer, but not crunchy!

Anything else you specifically want to raise, important, cutting edge comments about anything. Rob: I think we’ve touched upon all the important parts of being a performer, running a band, and creating original material. It’s important to have confidence and trust yourself. By being true to yourself the enjoyment and satisfaction is neverending. I’ve realised since I’ve moved back to my hometown that I am thought of as someone who has never compromised. I’m proud of that reputation. My enthusiasm and desire is as strong now as it was in the beginning, and I think it’s because I’ve refused to be blown off course by commercial or practical considerations.

for the late St information on Z oe SC hwar Z and ro B K oral go to www.B lue C ommotion.C om

V E rb A ls: P ete s argeant Visu A ls: stuart P rice

mar C uS Bonfanti i S a popular figure on the u K B lue S C ir C uit, playing own S howS and S ometime S opening for other arti StS (when he’S free!) n ow he’S BaCK on the road again with new releaS e ShaKe the wallS

e’s so rasping London in voice he makes yours truly sound like Nigel Havers. Think Mickey Flanagan with a guitar. Wanting to discuss his new set Shake The

Walls I have had no luck getting hold of him all week, but Saturday morning now and we’re talking.

The first question I have to ask you is what’s this mysterious golf gig you’ve done this week?!

We tried to keep that under the radar... but, I suppose a silly picture of us wearing silly golf gear at The Open on Facebook doesn’t really help that mantra does it?

It’s great actually. There’s a hotel I played up in Aberlaby. And it’s putting up all the journalists from ESPN and Sky News and they asked us to come up and play a week’s worth of music up in his hotel to entertain everyone, after the day’s play. I came up with my band and Paddy Milner as well and we just played rock n roll and old blues songs and just had a good time!

You slipped some originals in there didn’t you? Every now and again yeah we sneaked a few in. We tried to put them in between two hits so no one realised it.

I think you’re dead right and you had a mixture of acoustic and ballads as well as own material. Presumably, that was part of the spadework for this recording?

Yeah that was when I had the luxury of being able to try out a lot of the songs on this album live before we recorded it. Whereas, my last release I didn’t really do that because I didn’t really have a band. I only just put the band together to make the record. Leading up to the recording I was trying out a lot of those songs and just seeing what the audience reaction was. It’s nice to test the water with a new song and see if you’ve got it as good as you think it is.

I do it all the time. It’s a bit like showing someone a photograph or a painting .

Once it’s done and it’s recorded. That’s you saying: “That’s exactly how I wanted that song to be recorded and here it is.” For me as well, vocally, it makes you feel more confident when you get into the studio because you’ve sung it a bunch of times. You can play with the melody a bit more. Make

it sound a bit more free and not stuck to the melody.

You tend to very subtly sort of duck and dive around the tonic notes which is when you’re singing something comfortably you feel good doing. Yeah. I never really know what I’m doing technically or analytically. But yes a lot of the time, I’ve got a pretty low voice and so it’s always nice to keep it interesting. And try and have a nice diversity in it.

Opener AlleyCat , almost has a bit of an Eastern tinge to the opening. Was that on open tuning? Some songs are but I don’t use too many weird tunings. I love a lot of Led Zeppelin’s stuff when they go a little bit more wild on the guitar. Mix that with blues and rock n roll and you’ve got an interesting crossover.

There’s a lot of the late Bert Jansch’s in that because Page used to see him a lot. And I suppose for that matter John Martyn is a contemporary as well for that style.

Exactly. These are all guitarists that I’ve got a lot of love for. I listen to their back catalogues. They’re major players I think there’s always room to learn from these blokes.

I think you’re right. I could never play like that, but for ideas I got quite a kick out of Leo Kottke the American guy. He was a bluegrassy player but he’s worth a listen because he’s got these strange arcane ideas and so many of them work you think he must have a handle on it.

Yeah of course. That’s an artist for me to check out then. I just want to try and make as interesting a record as possible. Your original influences, they’re always gonna come out. I find it quite funny sometimes when I play something or write something and I listen back to it and I think ‘that must have been because I’ve been listening to a bit of whoever’. But you never know when it’s gonna pop out of your head and influence you. Like the song Alleycat which is really a very folky song.

Indeed not. I just scribbled a few notes whilst listening to it these last few days and your voice on that sounds very Bob Segerish. Like if Bob Seger was taking a different turn with some new material.

But that’s a good thing to have. That’s nice. I’ve heard that comparison before. I’ve gotta say I have actually listened to a hell of a lot of Bob Seeger. Maybe I shouldn’t, to avoid sounding too much like him!

No at this point it will do you no harm. He had a great song called TurnthePage that you would really love. It’s about facing up to life. Talking of influences there’s kind of a Beefheart emphatic intro to Cheap Whisky. I wonder whether you were ever a fan of the Captain. That style of music, Beefheart, Tom Waits where it all starts to get a bit nuts. I love that and I listen to it a lot. I’m a huge Beefheart fan and I suppose I listen to a lot more Beefheart and Zappa a lot. And more Tom Waits than either of them two but I seem to be looking for craziness and I always look for those three guys for it.

I’d say that and also the early Groundhogs I think had such a great approach to making those jagged tempos work that it will never leave me. Cheap Whisky was actually one of the songs that actually transformed quite a lot in the studio. We’d been playing it live for ages and we had what we thought was a good version.

Because I’d written all of these songs acoustically and bring them to the band and work on them from there. When we got into the studio, we listened back to it and thought ‘God this doesn’t sound right at all’. So we stripped it right back and almost started again on that one.

It was a really interesting process that one because I was convinced that the version we’d been playing for three months live was the version that I’d record.

I had an interesting chat with Eric Johnson the American guitar star and he admitted to me that he had to rethink because he was putting too much into his records. He was a bit like the painter who can’t stop splashing colours on and he’s actually disciplined himself to put less into the recordings. And guess what, they sounded more dynamic. Yeah that’s the key. We had the luxury of doing it in The Grange, in Norfolk.

There’s a nice Appalachian feel on We All Do Bad Sometimes and I guess that’s the closest we get to you owning up to what you’re about. That was another one that transformed in the studio really. We laid it down, the main guitar part, drums and bass. As soon as I wrote it, it sort of reflected what I wanted it to say.

Vocally, I like the music of the song to reflect the vocals, in songs like that. It’s all about life and making mistakes. Forgiving them for theirs and hoping they’ll forgive you for yours. I just wanted it to explode into this frustrated madness.

I do. I think it’s one I would probably play to someone else and say: “Look at what this guy can do.” There’s always a couple of tracks you like to convert people with.

I feel the same about Tom Waits. When people ask me: “What Tom Waits songs should I go in on?” You’ve got to really get into the person and what they would accept musically. My favourite stuff of his is quite wild. Might not be someone’s cup of tea and you don’t want to put someone off an artist by playing them the wrong track.

Dead right. The one I do live is Downtown. People ask me ‘How did you write that?’ because it suits my voice. Then I explain it’s on a very good album they should investigate called Blue Valentine. That’s clever that. I should play my own stuff and say they are covers by blues people. Some people are funny when they play your record and you play your own stuff because they just want covers.

I tell you who did that, the Spin Doctors. I was talking to Chris the other day in New York. They did exactly that. They faked up originals to sound like covers.

Sometimes you’ve got to work around. That’s the only reasons I started singing because we were playing instrumentals in bars and no one would pay us decent money. We asked they guy who ran the bar “What do we have to do to get paid decent money?” He said: “Someone has to sing. We can’t put you on a Friday or Saturday night just playing

instrumentals.” I thought “OK, I’ll be the singer then.” I didn’t do that till I was about twenty-four years old.

HonestBoy... it’s always tempting to go a bit hip-hop isn’t it when you’re doing rootsy material? At that point in the album it takes your ears in a different place doesn’t it?

Yeah. Well that for me a friend commented on that track and said that he would call that track Britpop Blues because it sounds like a cross between The Stone Roses and old blues. I was a 90’s kid I grew up with 90s music at school.

I was fortunate that my parents could play me this great music when I was younger. The music I listened to when I was at school was Stone Roses, Ocean Colour Scene, early Chemical Brothers and stuff like that. When I spoke to Reevesy the drummer about it I said I wanted a Stone Roses groove on it. He said “Brilliant. I haven’t done anything like that in years.”

Good for you. But again, those tempos they’re still blues or funk, to me.

As long as you can tap your foot to it. I like walking down the street to songs like that because it makes you feel like it’s the soundtrack to your own life.

The guy who does this really well is Michael Messer. I’ve met him a few times. Lovely guy. That’s what I want to hear like The White Stripes or The Black Keys taking blues to that garage rock vibe. And people are doing some very interesting things with the blues.

Yes you’re right. Jezebel . There’s kind of a bad women theme that comes into some of your work. That song’s about trying to keep sane in a relationship.

Is it really? Well, I’m thinking here that you’ve had some bad times.

I think as a musician you have to leave your heart wide open sometimes. Because you want to have experience and have a life because you want to have something to draw on for lyrics. I can’t blame the girls. If you go into a relationship with your heart wide open you’re going to come out with a broken heart and twenty great songs.

Has a girl ever said to you ‘Oh Jesus! Now I’ll be in one of your songs?

www.bluesallstars.com

itunes.apple.com/us/album/red-hot-blue/id668825124

Hopefully most of the ones they’re about I don’t speak to anymore. I’m worried that one of them might hear a song one day and phone me up and give me a b****ing!

I sat in with Paddy Milner a couple of times. Paddy is an amazing player because without being flash, he plays what’s exactly right for the song. Totally. He’s one of my most favourite musicians in the world. He really encouraged me to be a better player.

It’s not pretentious to say it’s an honour to play with people like that.

It’s a privilege to have him on my record. When he played the Hammond organ it was incredible. Everything he played was first take. It was fantastic. I only wanted him on Honey, but when he nailed it in half an hour I thought: “I’m paying him for that day so I better get my money’s worth!”

Honey cries out to be a duet with a female. You need a Beth Hart-type female. I’d be happy to duet with her she’s fantastic!

On BangofaGun the Hammond is outrageous. Like a voodoo stomp isn’t it?

Since the last record I’ve been listening to a lot of heavier music and I got quite into a band from Canada called Big Sugar. I became quite a fan of Gordy Johnson. He produced a Govt’Mule record and he also had this other band called Gravy. I’m totally hooked on that kind of music and that’s sort of where that influence comes from.

The bass player in my band Scott Wiber is Canadian so he’s introduced all to this scene we really didn’t know existed. The only mistake people make is being too genre specific with their music.

I love blues music. 60% of the time I’m listening to blues music but the other 40% like you, Pete... I want my mind to be blown! I wanna hear something that sends me crazy and takes me on another journey. I also want the record and the live show to be different because when you come and see us live we are a trio, we let go a bit live. You can’t really capture that on a record. I just wanna play music Pete. At the end of the day we’re all trying to make music and be as honest as we can.

In a way. I think records are black and white

drawings and live is you colouring them in. That’s a really nice analogy. When I play live I wanna see them on the edge. And the confusion because that’s exciting to me. I’m lucky to have a great band and we’ve been together for three years now. If I’m going somewhere on the guitar, nine times out of ten they know where I’m going.

Isn’t that what makes Crazy Horse great? Because when Neil Young is going somewhere he doesn’t say let’s put a solo in here boys. He just goes off somewhere and they are with him. How did you end up on the 2013 Bluesfest roster because I’m going to be covering that?

I have no idea. I used to be my own manager, booking agent everything. At the beginning of this year I got signed with a new label and I have a new manager, Their responsibility.

I just got an email saying you’re doing Bluesfest. I did play the first ever Bluesfest three years ago at Bush Hall with Paddy Milner and others, I am looking forward to this one.

marCuS Bonfanti will perform at BlueSfeSt at london’S royal alB ert hall on w edneSday 30 oCtoB er. for further information viSit www.livenation.Co.u K

uf are a label based in Germany that releases about ten albums a year- more than 200 CDs since the label’s birth, and which have sold over 2.5 million albums and counting to date. Next year 2014 sees the label celebrating its 20th anniversary. Over this time artists who have appeared on Ruf Records include Luther Allison, his son Bernard Allison, Louisiana Red, Eric Bibb, Canned Heat, Kevin Coyne, Sue Foley, Larry Garner, Michael Hill’s Blues Mob, Jeff Healey, Candye Kane, Omar & The Howlers, Aynsley Lister, Joanne Shaw Taylor, Dani Wilde, Oli Brown, Ana Popovic, Spooky Tooth, Walter Trout, Savoy Brown, the Royal Southern Brotherhood, Mike Zito, Devon Allman, Erja Lyytinen, Dana Fuchs and Samantha Fish. A pretty amazing roster!

the emotional power and expression of this music that I had never heard before and so I started to go to blues gigs, which were few and far between in the rural area of the Black Forest where I grew up.

Back in the late 80s your involvement with the music industry started with you arranging European tours. How did that come about? It must have been hard starting from scratch, persuading venues to take you seriously as a relative ‘unknown’! Can you recall who the first tour you arranged was? When I was a teenager, I used to do social work with kids in our local youth club. What we did was put on concerts in our local town hall. The first show I ever put on, at age 19, was with Louisiana Red. Then, the following year, Luther Allison, the man who I later followed and who’s German booking agent I became.

Thomas, welcome to Blues Matters! This time to talk about Thomas Ruf, the boss at Ruf Records!

Let’s turn back the clock to your early days and talk about the times before the label came into being. When and how did you get into the blues?

The first music that I can recall hearing was a classical church organ. At the age of 14 I saw a film on television called Chicago Blues and got hooked to the music of the Afro American underdog. I was blown away by

I started out as a driver for a Big Jay McNeely tour. That’s how I made my first contacts and from there it was a step by step learning process getting to know the inside of the business. Local promoter, driver, agent, tour manager, tour promoter, label owner.

It was in 1994 that Ruf Records was born and I understand that you created the label for the late Luther Allison. Luther was quite a name for the

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debut CD on a new label having been previously with Motown Records, amongst others. How did it come to be that you created the label for Luther? That must have been quite a learning curve? Who was the artist who featured on Ruf Records second release?

I learned a lot from Luther and his manager/ partner, Rocky – dedication to a mission, work ethic, communication skills to name just three! It was amazing that Luther let me release his recordings on my brand new label which had no track record. A label run by a young German guy who was dedicated to Luther’s mission of spreading his blues. Our second release was an album by Joanna Connor, a young female guitarist from Chicago that I managed for a couple of years.

Your motto at Ruf Records is ‘Where Blues Crosses

Over’ and your label is one that has given quite a few young blues rock artists the opportunity to get onto the international stage. From the UK one thinks of Dani Wilde, Joanne Shaw Taylor and Oli Brown whilst there is also Finland’s Erja Lyytinen, Samantha Fish from the USA and Jimmy Bowskill from Canada. All young artists who have very much benefitted from Ruf Records’ releases and, of course, from The Blues Caravan concept. Do you go out looking for such artists or is Ruf Records the place they all come?

Artists come to us through word of mouth, often from other artists. Aynsley Lister and Ian Parker came recommended by Walter Trout. Ana Popovic came recommended by Bernard Allison. All the female guitarists came after we worked with Sue Foley. Oli Brown came recommended by Aynsley. There are not too many places you can go to look for support for young blues rock artists, not on an international level. There is only a handful of labels that still invest in and develop young artists.

Most years, Ruf Records puts in place Blues Caravan tours featuring three of your artists. What is the idea behind these very successful tours?

I started The Blues Caravan as a touring platform for new unknown artists. The concept of three artists touring together and creating a special kind of a show is attractive to promoters, particularly when clubs cannot afford to take chances anymore and put on young talent with no draw. We can only successfully sell releases of artists that

work a lot and without a lot of touring; it’s pointless to release an album. So we had to create work for our new talent who could not get work in every territory themselves.

In 2007 Ruf Records received the Blues Foundations ‘Keeping the Blues Alive’ Award at the BMAs in Memphis, Tennessee and you or your artists have garnered two Grammy nominations and ten Blues Music Award nominations. Not bad for a European record label! You must be very proud of these?

I am very proud to be the first non-American label recipient of this prestigious award. It opened doors for other international recipients. Awards, and even nominations, are very good reasons to work even harder.

Since 2008 you have been on The Blues Foundation’s Board of Directors and you are a founding member and President of The European Blues Union. These positions must help to open doors and spread the word!

In reality, this is my volunteer job, my pay back to the community. Ruf cannot really sign continental European artists as they are very hard to promote and sell outside their home country. It is mainly American and British artists who have a chance to pursue an international career. If you are from Italy or France or Poland: good luck! The EBU we are trying to break down the barriers that appear to exist in the minds of the talent buyers and music fans. It’s a big job and will take time to achieve results, but it sure is worth all the effort, time and energy we have to constantly dedicate.

Looking back at the almost 20 years since you founded Ruf Records, what are the highlights and what would you do differently? Do you have any regrets that you are prepared to admit publicly? Are there any artists who you could have had on your label but did not and now you wish you had? Even the things I regret were important lessons learned. There have been a few artists that I regretted signing when the managers become a pain in the ass, hassling us on a daily basis about their act. They look

to the label as being the mule responsible to make their artist a star. Not every manager understands the term teamwork, many of them think that it goes like “we demand you work”.

Artists I wish I had signed? Well Ron Weissman called me up a couple of times very early on about this guy Joe Bonamassa and sent me Joe’s very first studio album. I found Joe very technical on that recording and didn’t think he really had his own, unique sound. Since he was only available for Europe, not internationally - I passed! Today I must admit that Joe has come a long way and is really making exciting albums. He has found his own sound and built a strong identity.

There must have been some amusing things that have happened over the years. Would you care to share some? There are so many that I could go on for hours! Let me share with you how Sue Foley became Shoe Foley. We were travelling in Spain with the 2005 Blues Caravan – Sue Foley, Ana Popvic and Candye Kane and Sue bought these really expensive red high heels and lost them about 2 days later! While Ana and Candye were the drama queens on that tour, Sue was always really cool, hung with the boys and was all about work and getting along with everybody. But when these shoes went missing, she really freaked out.

She made me call every club, every promoter, every hotel, every restaurant we had been to since the day she bought the shoes and was really furious as the shoes could not be found anywhere. She even wanted the bus to turn around and go back to places, that’s how furious she was about these shoes. A couple of days later, there were the shoes, neatly stowed under her sleeping bunk on the tour bus. She was the laugh of the day and was known as ‘Shoe Foley’ for the rest of the tour!

Producer Jim Gaines recorded a Coco Montoya album at a studio on Beale Street,

where Luther Allison, Walter Trout and many others recorded. It was a place which many people swear was haunted. The engineers kept telling stories about the ghosts and spirits living in the building.

Coco had a hard time getting his vocals down for the tracks. The band had done their part and had long gone. It was just the producer and the singer working in the studio. To put a nervous Coco at his ease, Jim Gaines had the assistant trim down the lights to create a dark, comforting studio atmosphere. So Coco was out there in the recording hall by himself in almost complete darkness, singing into his recording microphone when Jim said over the talk back: “Coco, who is this guy standing next to you?” Next thing you know there was a loud scream, hands flying up in the air and Coco running out of the studio hall yelling. “Man, how can you do this to me?”

A number of Ruf’s more recent releases feature top name producers. For example Mike Vernon for Dani Wilde’s Juice Me Up, Jim Gaines for the Royal Southern Brotherhood’s eponymous CD, Joanne Shaw Taylor’s AlmostAlwaysNever and I understand that Mike Zito is to produce at least one forthcoming release. Do you feel that the best studios and producers for blues artists are generally to be found in the USA?

If you have some names of good and affordable UK producers... bring them on! Jim Gaines has probably produced the most Ruf records - he is such a non-ego supportive Southern gentleman! I have the deepest gratitude to him. Zito does a lot of our young artists - he brings the skills of a musician and songwriter into the mix. David Z (Prince, Johnny Lang) has also done a couple for us. Overall we cannot afford big dollar star producers. Mike Vernon and Jim Gaines gave us good deals and worked with us because they like to help and nurture young talent.

So to the future. Next year sees Ruf Records’ 20th anniversary, an achievement worthy of marking. Do you have any special plans that you can tell us about or will it simply be business as usual? Beyond next year, what are your aims and wishes for the next five, ten, twenty years? There are so many highlights to look forward to! Ruf Records will, very shortly, be signing Laurence Jones and he will be recording a CD in Texas in a couple of month’s time produced by Mike Zito, with appearances by Devon Allman and Walter Trout. The CD will be released in February 2014 and Laurence will be touring as part of The Blues Caravan 2014. Joannne Shaw-Taylor will release a Songs From The Road CD and DVD twin pack in November. In September we release‚ Magic Honey, Cyril Neville’s new album featuring guests Dr. John, Allain Toussaint, Walter Trout and Mike Zito. In October we release Samantha Fish’s new album, Black Wind Howlin’. The Royal Southern Brotherhood will release a Songs From The Road later this year, and at the end of October they are opening at the Royal Albert Hall in London for Robert Plant and Jeff Beck at Bluesfest 2013, a gig I am really looking forward to attending! They will also have a new studio album released in April 2014.

So there is much new and exciting stuff to talk about. My long term dream? I will build the House of Blues Lindewerra next! Ruf’s head offices, the warehouse, a studio, a venue, all under one Ruf, pardon, roof!

Thanks, Thomas for talking to Blues Matters! and giving us an insight into Ruf Records. We wish you all the very best for next year’s 20th anniversary and look forward to all the new releases.

Meet the Governors

i mpre SS ed By federal Charm’S eponymouS de B ut, B m! CallS them up to get the lowdown on what the Band feel aB out their impending world domination

here are shades of Chris Duarte, Black Crowes and even Mick Ronson in the attack and arrangements on the record, so the band is clearly not a bunch of sonic curators. It’s not a great phone line to Manchester, but here goes. Paul and Nick of the group are in on the conversation

Afternoon, gents how are you ?

We’re pretty good thanks, we understand you’ve heard our album, thanks for making time for that.

Yeah – the review is done and off to printers, I just thought you’d like to chat about making it Thanks! That’d be cool.

The great thing about you young bluesrock bands, is that the last three decades have not happened for you. You’ve actually gone back to Bad Company and stuff and started from there .

For me personally, it’s a chance to make our own version of the blues as we’d like to present it. The eighties were dominated by, like electric stuff. But recently, real music’s started to come back again, so we as a group feel we can make a contribution based on our love for those styles, the oners that have inspired us to form and get out and play

When you are a veteran player and listener, you don’t want to fall into this trap of only liking what sounds similar to what you liked as a teenager. What I like is original songs and that seems to me to be to be your strong suit.

The way we approached it, was as simple as this- number one: everything you hear is definitely the summation of music we like and that has motivated us. And secondly, as a young group we can extract the elements we want to use and just use them, develop them our way.

Me and Nick, we’re completely on the same page, really. Yeah we love Led Zeppelin, we love Stevie Ray Vaughn. But to us, this isn’t the time or our aim to emulate them

as much as have them as a springboard, an influence. I mean, you hear that word ‘original’ thrown around all the time and, yes, we’re trying to put our spin on all this and be ‘original’ as far as we can be.

There’s no point making music if you’re just going to become a recorder playing back what other people have created note for note. Let’s go through the tracks then, chaps. You threw me out slightly because I thought you’d done a couple of covers (No MoneyDown, SomebodyHelpMe) but you hadn’t. The opener GottaGiveItUp,I’m waiting for the roaring guitars and there’s a neat keys intro! The funny thing is, when we first got together to talk about the band format we did seriously consider having a Hammond player. So the finished album does have some Hammond parts where they fit the song, it’s part of the completed record

That’s loud and clear. The keyboard player that I most liked was the fourth member of Stevie Ray’s band Reese Wynans. Nick can I ask you this, you sound vocally influenced by maybe Paul Rodgers and Glenn Hughes?

Yes the strong, strident singers like those

and Joe Cocker and that whole seventies blues rock soul approach have obviously influenced me and the range that I’m going for to put these songs over. I’m more influenced by them probably than more recent singers.

Now who’s John Green? He seems to be coproducer.

John Green is a man I met in my very first band some years ago. He owns a club in Manchester called The Lowdown and we all cut our teeth in there as regards to performing and knocking songs into shape, learning our trade by playing live. He helped us make a six track EP and was always going to be involved once we got to the place where we could make an album of our own songs. We are glad he had the time to assist us getting the tracks down. He does understand how we want to sound, what we’re going for.

So basically, you guys trust his ears?

Completely yeah. Out of all the people who know and who want us to succeed at this

NoMoneyDown and Somebody of course are Chuck Berry and Spencer Davis Group titles, but these are original. There’s quite a tricky riff in No MoneyDown.

different when he wrote it but I really liked it. The tempo is classic you could say…we wanted to put our own spin on it.

On Too Blind there are some neat harmony guitar elements. You guys should make a live video of that and put it on YouTube to help promote yourselves It’s funny you should say that because someone said the other day we should maybe do a bit more of that live. We do open with that one quite a lot, yeah.

It’s a great riff to solo over. Yeah, we can take off on that out and just play out with it. Thse songs are the best for us, for what we’re doing. We can play all the songs on the album live that was part of the intention in choosing these songs and if audiences like them, they’re all on the CD.

Do you ever do anyone else’s songs?

“Me and Nick, we’re completely on the same page”

I wrote it quite late at night and there was a tinge of hillbilly, like twangy. Something like a Telecaster sound but I played it to Nick and the song happenend. It’s difficult to play if you haven’t warmed up. But I wanted it in a major key, in A major

Yeah there’s that ascending riff. I reckon the best song on the album is this one. Now, the sound on Reaction is terribly harsh but it was supposed to be? We just wanted a big ‘in your face’ riff’, on that one, rocky, kinda swaggering.

Own up, this is your Black Crowes tribute! (Laughs and sighs) Yeah all right, Pete... you’ve got us there!

‘The Strap’ has got the strong organ part and bumping bass. It has a sort of Black Velvet feel Well Paul came up with that one, it was a bit

Actually, we’ve just thrown into the set a Freddie King song called Going Down.

Oh well, that was actually written by Don Nix, from Alabama, with his State Troupers.

Oh right! It works so well as a stage number, in amongst our material.

Just quickly, where do you guys play? Manchester area, but we seem to be successfully expanding from there and we’ll be playing Wolverhampton, Leeds, Caerphilly, Aylesbury, Sutton and Chislehurst.

There’s an underground roots music scene now that is not associated with ‘reality’ television. Can you imagine Neil Young on the X Factor ? or Van ? They’d last thirty seconds!

They won’t find anyone like Neil Young, not the way they run that show!

Good luck with the live dates and thank you for talking to me... the line’s not great so we’ll talk again. No problem, glad you like our album, the band appreciates the support.

the al B um i S out now on mySti C r e C ord S and for more information go to www.federal C harm.C o.u K

50 years of fun! The Downliners Sect story...

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Yet even many Blues fans know little of a band that is a contemporary of The Stones, a band that also influenced the young Bowie. That band is The Downliners Sect. Under the radar or not, the Sect is very much active and appear regularly at London’s Eel Pie Club and at festivals. Not only are they active, but, having seen them perform live, we see that this isn’t a band going through the motions and providing limp renditions of past glories. Their music is still fresh and it is still exciting. Not convinced? Just get yourself a copy of their last album, Chinese Whispers, and you’ll hear some blistering Rhythm and Blues. A constant in the band has been possibly the only person in music to consistently wear a deerstalker hat on stage, and we spoke to the Sherlock Holmes of the Blues, Don Craine, about some highlights in the long history of the band.

A Sect started with The Sack

The story of The Downliners Sect started in 1963, when they were named The Downliners. Don takes up the story, “After sacking members of the Downliners in the Spring of 1963, I found myself with about thirteen weeks work and only a drummer,

stalking the stage: mr don draine

by the name of John Sutton. Putting an advert in the Melody Maker, I was soon joined by singing bassist Keith Grant, who had previously been drummer of The Vigilantes, and lead guitarist Mel Lewis. Thus did the Downliners become the Downliners Sect. After only a couple of rehearsals we played our first gig at the California Ballroom in Dunstable. A few months later, Mel left to go to university and was replaced by Terry Gibson. In early 1964 we were joined by mouth harpist Ray Sone who used to blast his harmonica at the back of the room when we played at the Studio 51 in London’s Soho, until he was told to either get up and play with the band, or p*ss off!

“When I sacked the bassist and singing lead guitarist, I had just talked John Sutton, the drummer, into giving up a two year apprenticeship that he had nearly completed. His parents were horrified. Still it worked out all right, as he is currently running the Brian Ferry Jazz Orchestra.

The band had a period of fame many modern Blues artists would envy with a residency at London’s Studio 51 club where they recorded their first E.P., At Nite in Great Newport Street. A version of Jimmy Reed’s Baby What’s Wrong became their first single for EMI and entered the charts in its first week of release. This was followed by Little Egypt, which brought international interest and took the band into the Swedish top ten, a success they consolidated with a major tour.

Cliff Richard wouldn’t have been seen on this Summer Holiday “Keith recently reminded me of a tour we did in the mid sixties. Other artists on the bill were Memphis Slim, Long John Baldry And The Hoochie Coochie Men, with Rod Stewart, The Graham Bond Organisation (Graham, Dick Heckstall-Smith, Jack Bruce and Ginger Baker) and Jimmy Powell And The Dimensions. Graham thought it might be fun if his outfit and the Downliners Sect travelled together, so he purchased an old single decker coach for us to get around in. Everything started off in a reasonably civilised fashion, but the vehicle was like a moving chemist’s-cum-off-license, with booze at the front, pills and hash in the middle and smack at the back.

“Before long, Ginger, to the annoyance of the driver, began to take pot shots, with

an air rifle, at any unfortunate we happened to pass, to the amusement of all of the passengers. However, we were eventually forced to stop at traffic lights and a cyclist, who had suffered at the hands of Mr. Baker, drew level with the coach and sent his fist flying through the open window, hitting the innocent roadie. This, of course, sent everyone into hysterics, with the exception of the driver who refused to go any further. After much pleading and many professions of contrition, he relented and we set off again. Regardless, within minutes, Ginger had reloaded and sent a pellet whizzing past the poor man’s ear causing him to break, stop, curse the whole venture and march off down the road. He was finally pacified and we arrived at the first gig about three hours late.

The Bowie Connection

“We knew David Bowie when he had his group The Lower Third. At the time, we didn’t know that he’d based his outfit The Kingbees on us. The last time we had a good chat together was at a gig we played together at Bowes Lyon House around 1966, where he told us that he’d just been offered a bucketload of money to come off the road and write a batch of songs. Next thing we knew, Ziggy Stardust was born.

Oh, where did you get that hat?

“I originally wore the Deerstalker as a mickey take when the Sect was booked to play a gig for the Duke Of Rutland. It also appealed because I’d heard that the only time that Jack The Ripper was seen, he was wearing such a hat. It’s also very good for taking a whip round. I’ve had half a dozen over the years. Some came from Dunn & Co., a couple were gifts from Thee Headcoats and I bought the latest one in a shop in Brighton. Some rotted away, one was torn from my head by a crazed fan and another is currently in a glass case in an exhibition celebrating the musical legacy of Eel Pie Island.

A strange brew with strange consequences

Setting aside a bus-based tour with drugs and a sharpshooter, The Downliners Sect has had its moments of notoriety. One in particular stands out with an E.P., titled The

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It doesn’t matter if your a Blues musician or a Blues fan, the trip is designed to have FUN while listening to some great Blues, with old and new friends. Our goal is to inform, entertain and some times testify to our love for the Blues.

Sect Sing Sick Songs – which led to a blanket radio ban.

“Keith and I have always loved the Horror genre, so it’s always been fun to make contributions of our own, from our 60’s renderings of Now She’s Dead and I Want

My Baby Back, to Charlie Clone on our latest album Chinese Whispers.

Perhaps that hiccup contributed to the band disbanding, but that didn’t last. The 1970’s saw the band reform and they haven’t stopped recording or playing since.

That aspect to the band may have put some people off, but The Downliners Sect are also responsible for the revival of a band for Sweden, a rare claim to fame. Don reflects. “The guys in Sooner Or later were inspired to reform their band when they came to see us play in Gavle, Sweden a few years ago. Since then they have played with us on various occasions when we’ve been touring there and they have appeared at many festivals and concerts to much acclaim. Having them join us on stage at the Eel Pie Club for our fiftieth anniversary gig was real fun.”

The Sect Today

Chinese Whispers is the best recording we’ve made, but I get the most pleasure from Savage Return, our 1990’s offering on Promised Land Records.

“In London, at least, the Blues scene is vibrant and diverse and many of the old 60’s set-ups, like the Ealing Club, the Eel Pie Club and the Crawdaddy are back in new form. The Eel Pie Club, run by Gina and Warren Walters, keeps the memory of the 60’s R&B scene alive whilst offering a platform for both new and established acts to perform on. Also, until recently, the Back To The Flamingo Club, at the Bull’s Head in Barnes, was thriving, though the venue is currently under threat. The Downliners Sect current line up is:

Don Craine – the cat in that hat who plays some mean guitar and adds his own vocals.

Keith Grant. A great bass player and driving vocalist who’s been there from the beginning helping create the band’s unique identity.

“In London, the scene is vibrant”

“Over the years our music has become stronger and harder and has been influenced more by the styles and experiences of the band members than by current trends. Our songwriting has come more to the fore and we always include some of our latest material in our sets, though most people want to hear our songs from the 1960’s.

“We love playing in Spain, Sweden and the U.S., so, hopefully, we’ll be heading abroad again before too long. When we are touring, decent meals and hotels are important factors in keeping up our strength and morale and a few jars never go amiss. If possible, we always like to have a look around the towns and cities we play in, but on many occasions we only seem to have enough time for a short rest before hitting the road again.

“We’ve also got a few songs that deserve to be recorded, so it would be good to put a new album together. I think our latest album

Del Dwyer. A solid and stylish lead guitarist whose slide playing sends shivers down your spine.

Mark Freeman. Sticksman first class whose enthusiasm keeps everyone rocking.

John O’Leary. Master Mouthharpist whose skilful playing brings a smile to everyones lips. For further information on the Downliners Sect read ‘The Downliners Sect Story’ and ‘Then Play On’ by Mike Ober; ‘Death Discs’ and ‘Beat Merchants’ by Alan Clayson; and the ‘Guinness Who’s Who of Sixties Music’ edited by Colin Larkin. We’ll leave the last word to a couple of the people who have seen The Downliners Sect in action and took the experience to heart.

‘We were quite influenced by the Downliners Sect’: David Bowie, referring to David Bowie and the King Bees – in Q Magazine. ‘The first British R&B I heard was the Downliners Sect. It was at the Ken Colyer Club, they were really doing it then. I heard the Pretty Things later but the Downliners Sect were IT!’ Van Morrison.

the d ownliner S Se Ct we BS ite: www.downliner S e Ct.C om

SAy gOODByE

stars we have lost from the world of the blues

MICK FArreN

We must tip our hats to London 60’s character Mick Farren. Farren was often to be seen at club gigs and events watching rockblues bands like Edgar Broughton, Steamhammer, Traffic. I think I saw him once at UFO for Pink Floyd. An associate of Felix Dennis the OZ / International Times magazine mainman, Farren and co were to say the least dubious of The Establishment.

Mick formed the Social Deviants, later the Deviants and their shows were rowdy affairs., advocating the looting of supermarkets and overthrowing of the ruling classes. They in turn hated him. He was a better frontman than technical vocalist but also developed writing talent and published novels. He particularly championed my Detroit buddies The MC5, getting them onto the bill at Phun City and other happenings.

Last month I met up with The 5’s Wayne Kramer in London. When Farren was mentioned, Kramer drily commented that Mick had emphysemia and was choosing to treat this condition: “with alcohol and tobacco.” Gone at 69. Mick Farren, R.I.P.

Pete Sargeant

Circa 1920 - July 16th, 2013

The blues lost another of its best loved hero’s on July 16th when after battling illness for awhile

T-Model Ford passed away. Real name James Lewis Carter Ford, T-Model lived it like he talked it. He was a self-proclaimed ‘Ladies Man’ and throughout his life was married six times and fathered 26 children. His last wife Lady Stella nursed him through his final days.

Brought up in the tough Delta area of Mississippi, he was born in Forest but also spent time in Clarksdale and Greenville, he famously served two years on a chain gang after being found guilty

of killing a man and given a ten year sentence. The killing was later ruled as self-defence.

T-Model didn’t learn to play guitar until he was 58 years old, playing on a Gibson bought by one of his wives shortly before she left him. After spending years playing in and around the Mississippi Hill Country, he was ‘discovered’ by the guys at Fat Possum in the 1990’s and his recording and touring career took off.

His raw razor wire punked up blues won him many friends and admirers. One such is Ken Valdez, who describes witnessing T.Model’s music for the first time, “it was the

ladies man: t-model ford

most primal, driving raw music I had EVER heard. My world was shaken.”

As T-Model battled against a series of strokes it was Ken, who with his band cut an EP of T-Model classics to sell to raise funds for healthcare. This has helped enormously to cover debts and expenses. That help is still needed and all proceeds go to T-Model’s family. The album is available via CD Baby www.cdbaby.com/cd/ kenvaldez18

StEVEy HAy

5th November 1961 – 4th July 2013. Blues guitarist and singer Stevey Hay died suddenly in Edinburgh, age 51. Stevey was self taught, learning by experimenting on his fathers guitar whilst he was away at sea. In his teens he was in punk band The Exploited and co-wrote the band’s indie hit Army Life Eventually developing an interest in blues, encouraged by John Bruce of Blues ‘N’ Trouble and influenced by BB King’s Live At The Regal and Stevie Ray Vaughan, by 1987 his band, Mr. Rhythm, were supporting Robert Cray at Edinburgh’s Usher Hall. During the late 80’s and early 90’s Stevey was working up to seven nights per week in the then vibrant Edinburgh blues scene.

He first reluctantly began singing as a stopgap but encouraged by Ronnie ‘Rootsie’ Tait, and complemented by Scottish legend Tam White he persisted. Regular bassist Rod Kennard commented: “Stevey’s warm, unforced vocal style allowed to intertwine the delivery of a lyric with a stingingly apposite guitar commentary. He never forgot that the artist should serve the song, rather than the reverse. A player of limitless fluency and invention Stevey invested his music with the powerful emotional punch that characterises the great blues artists. An uncannily accurate mimic, he could replicate the sound of any

In hIs teens he was In punk band the exploIted and co-wrote the band’s IndIe hIt armylIfe

number of influential guitarists.”

Among others Stevey performed with Sandy Tweeddale in Texas Breakfast, and Danny Lazarski in Blues Inc., and more recently alongside Neil Warden in Stevey Hays Shades Of Blue. He also toured with Charlie Musselwhite and as a duo with the late Ronnie Tait. From 2003-08 he fronted Stevey Hay & The RayVons. After having a break from music he began playing locally again in 2012.

With Warden’s encouragement, he went into the studio in April to record the album he had always wanted to make, with musicians he had always wanted to work with. These included Warden, bassist Paul Manson and drummer Dave Swanson all of whom played with White, with cameos by jazz saxophonist John Burgess, renowned jazz pianist Brian Kellock, harmonica player Gary Martin and dynamic young singer Leona Rae. The blues press warmly received the album, Shades of Blue , which received a nomination as Scottish New Music Award for Scottish Jazz/Blues album of the year. It included his signature tune Shake Rag Boogie. Paul Jones aired the song on his BBC show last September on the eve of the release of the first volume of Scottish Blues compilation, Jock’s Juke Joint’, where it is the opener. Stevey had planned a second album of all original material including the single Kimberley Station . Stevey reluctantly turned down an appearance at the Maryport Blues Festival, when offered a show with Mud Morganfield at the Edinburgh Jazz and Blues Festival on the same day. In a sad parallel with mentor White

who passed in 2010. He died of a heart attack weeks before a hometown festival appearance.

Stevey’s reputation had never been higher. Stevey was a family man; survived by wife Louise, daughter Jasmine, and sons Steven and James. He was happiest performing local venues with friends and musical colleagues. He was a natural communicator, both in conversation and through his music, generous with his time, talent, and spirit. Stevey Hay was warmly respected and an inspiration and tutor to a younger generation of Scottish musicians. Stevey’s funeral, held on 12 July, was a celebration of his life and included a hearty performance of Let The Good Times Roll .

A tribute show is in the early planning stages, please visit www.steveyhay.co.uk for up to date details.

Duncan Beattie

much missed: stevey hay

The Voice of the Blues!

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132 full colour pages, packed with the best of the Blues – From great interviews, news, features and CD reviews, to live and festival reports, plus much more! Blues Matters! is a bi-monthly magazine that covers every aspect of the growing Blues scene. New faces, old favourites and impassioned, heartfelt writing that lets you know who really matters in the world of the Blues.

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FEATURING:

ZOE SCHWARZ & BLUE COMMOTION

DAVE THOMAS BAND

ROADHOUSE, TOM GEE

SHARON COLGAN BAND

WHITE KNUCKLE BLUES BAND

INNES SIBUN, ROADHOUSE

RED BUTLER, IDLE HANDS

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this issue’s seleCtion of the very best blues

BUDDY GUY Rhythm & Blues

rCa silvertone

Let’s get to the point, listeners, how many popular recording artists in their mid-Seventies now can you name who can attack a song and bring it to life as strongly and as creatively as they did in their twenties? Because make no mistake, these new recordings for

MIKE ZITO

Silvertone are as fiery as anything Buddy Guy cut with the late great Jnr Wells for Vanguard in the Sixties. I know guitar players in their early thirties now who revere the work of Guy and find him an inspiration. Famously, in the late Sixties, James Marshall Hendrix tipped his fedora to Buddy as probably his own greatest inspiration. I doubt if anyone of Guy’s vintage could make a celebratory record (and a double to boot) that would outshoot this new collection.

This is not to say that any new ground is broken on these recordings but they do support the view of many that Buddy Guy is and deserves to be known as a King Of The Blues.

One thing you know from a Mike Zito album is that it will stand apart from the last. Since his first major label debut, he has been the rocker, the blues guitarist and the song writer. Gone To Texas, his first release since the Royal Southern Brotherhood collaboration features his new band, The Wheel. Together they create a potent mix of blues, cajun funk and southern groove, making Gone To Texas his bluesiest album since Pearl River. While many noted US blues guitarists churn out albums of similar sounding material, Zito has never rested on his laurels, maybe that relates to his recovery from his own personal ordeals. The opening title track instantly catches the listener’s attention with a strong reference to this journey. The stomping Rainbow Bridge is a goodtime tune based on the rhythm of Rob Lee on drums and Scot Sutherland on bass, with the intermingling guitar lines of guest Sonny Landreth and saxophonist Jimmy Carpenter. Voices In The Night is a moody track which refers to his previous drug addiction and stylistically is reminiscent of his earlier song The Dead Of Night. While the broad theme is Texan, we also take a couple of trips to Louisiana (where the album was recorded), Subtraction Blues has a second line feel as the narrator discussed his woman problems. Meanwhile, Don’t Break A Leg has a funk groove, recalling the late James Brown, featuring a notable contribution by Carpenter on saxophone. By contrast Death Row, performed on National steel acoustic, and the closing Let Your Love Shine on Me (written by Blind Willie Johnson) show his delta blues side. His heavier guitar playing comes through on Don’t Think Your Pretty while Delbert McClinton also appears and contributes the laidback Take It Easy. It’s no great surprise that this is an excellent album which comes highly recommended; that’s the one other thing you need to know.

Duncan Beattie

An earlier collection for Silvertone, Feels Like Rain, was perhaps the template for this outing and I swear Guy doesn’t sound a year older. Justifyin has a stomping riff and distinctive Guy guitar axe squeals. He’s is good form vocally, here admonishing a female acquaintance. The funk tread of I Go By Feel finds Buddy over electric piano and a gospel-tinged arrangement with his strident six-string screams and a tale about a blind pal. It’s a standout cut, with sharp guitar cruising over coasting strings in a Thrill Is Gone sequence. Guest Kid Rock steps up to the challenge of a joint vocal with Guy on the chestnut Messin With the Kid. I don’t know the total number of BG songs about troublesome women but whatever number What’s Up With That Woman is, she sounds as wayward as any of them! Foot-tapping stuff, rolling horns and our man bitching about the lass’s shortcomings. In total contrast the fresh-air country soul style of One Day Away which has the fine pairing of Guy and Keith Urban evoking a top-notch John Hiatt song. An Albert King tempo and shimmering piano start Guy’s duet with LA phoenix soulster Beth Hart, What You Gonna Do About Me, is complete with a neat middle eight and lioness performance from Hart as they detail a romantic crossroads. Eventually the cut fading over bent Guy guitar figures, heavy gear but well-handled. Devil’s Daughter is another duff-female lament over a dark guitar groove CONTINUES

GONe tO teXAs ruf records

JONNY LANG

Well if you’re going to make your first studio album in seven years, it’s going to help to feature your road band isn’t it? And that’s exactly what Jonny Lang has gone for with this release. It’s been a while since we had new recordings from this one time junior guitar hotshot, so this new set is very welcome. Lang has the axe licks, the songwriting ideas, and the growing personal nature of his subject matter and, for this listener, most of all the tuneful rasping voice to make record after listenable record. The grim-faced Blues Police Support Officers lurking around our scene tend to wince at the gospel tinge his songs sometimes have, but for me (the least religious person on the planet) it’s just a facet of Lang’s that he chooses to embrace here and there. What Stevie Wonder’s

The cognoscenti among you will have registered Jonny singing up a storm on Eric Johnson’s last set on the track Austin which is as driving a rock blues number as you’re going to hear this year and really in some ways that performance is a sonic trailer for what happens on this release. Opener Blew Up has the stamp of producer Tommy Sims and he plays resonator in the mix on this. Lang credits Sims with realising his song ideas into usable material. The sound here jumps out at you, like a Sonny Landreth recording. 35 seconds into the cut and there’s that fired voice riding on the stomping beat. Maybe if Delaney & Bonnie were still recording it would sound like this. The vocals are as distinctive as say Stevie Winwood or Buddy Guy’s. The liquid guitar snakes out of the brew for solo, creeping up the neck to the squeal notes. What the rhythm section are doing is so far from the plodding meat and potatoes beat we are so used to hearing from other acts. My immediate reaction is that not everyone is going to like this sound, but for those of us that do, what a treat. Next up, Breakin In, has a storytelling touch, delivered in almost a blues tango with great dynamics. Definitely the soul/funk side of the blues with guitar runs to suit.

We Are The Same plays with dirt and delay and the vocal panned back in reverb initially before an emphatic choppy rhythm starts and eerie keys hover above the grease. Here, the band sounds a tad like Rufus, but with guitar emphasis, or Norm Whitfield-era Temptations. But no trumpet through an echoplex, dammit! The guitar coda has a spirited fuzzy abandon, shot through with wah as the chorale testifies.

Now What You’re Looking For has a world music touch in the production, Latin but not quite. Lang sounds somewhat angry but channeling everything into the song. I bet this song takes off in the live

set, a touch too much compression on the solo guitar for me here. Let’s run through the band: Bass is in the hands of James Anton, rhythm guitar: Akil Thompson, skinsman: Barry Alexander, keys: Dwan Hill, vocalist: Missi Hale. All proper band musicians but not anonymous and interchangeable.

Given that Jonny regards music as one of the optimum means of human communication and allowing for the fact that he now has a family is bound to affect his lyrical produce.

Not Right is a tender moment to start but a heavier beat treads it along, global social concern is the theme here; to his credit Lang can sound impassioned without preaching. A Jeff Beck-bitchin’ tone is heard to good effect on The Truth but for this listener this number veers towards Springsteen in style too often.

River is blues Motown in tempo and maybe has the best vocal on the record? Curiously, this sounds the sort of thing that Italian electric roots genius Zucchero comes up with, especially with the lineup he recently brought to the Royal Albert Hall. Love the keys arrangement on this cut. Moodiest piece here is the title track, a sad story of a lost lass and beautifully handled. Maybe Curtis Mayfield influenced?

Closer I’ll Always Be has a haunting piano intro and breathy vocal and sounds like a Billy Joel song looking for a musical. Except the guitar at the end has a tortured ecstasy. In summary, a very soulful set with what will clearly be great guitar jump-offs when performed live, but definitely in need of a couple of meatier/rockier tracks for balance.

When all’s said and done though, I don’t want to hear this guy do Robert Johnson covers or the Albert King songbook. Others might! I want to hear him do his own anguished thing with musicians he trusts and that’s all here.

Pete Sargeant

FiGht FOR my sOul mascot / Provogue

photo: noble p R

and with Guy sounding genuinely anguished over his situation in the story. Hopefully he regained control of the remote or whatever? Whiskey Ghost drips with menace as the dangers of imbibing are described over a spooky backdrop. Now the vocal is nothing short of superb on this song, Guy knows just how to bring this home. Not easy listening, but rewarding listening and no histrionics. This disc concludes with a snatch of elastic guitars weaving.

The second disc Blues kicks off with the spidery riffing of Meet Me In Chicago, with its catchy chorus, again Buddy sounds so at ease vocally and cuts loose with the single-note runs, cutting into double-stops as the bass pounds away; Too Damn Bad has a Vanguard / Chess feel and Guy roars into a ‘you-brought-thison-yerself’ lyric over clanking piano, again such fiery guitar! Three of the Aerosmith cats appear on Evil Twin as Hammond swells puff away over the easy-rolling tempo. Guy takes the accusatory role on this tale, much like Ronald Isley on the Mr Biggs material – Tyler responds with a gritty answerback edge and Perry spills out the blues runs we know he can produce when he wants to, on what sounds like a Les Paul. Intense but enjoyable stuff, indeed.

Acoustic guitar (David Grissom) for I Could Die Happy and it’s laidback except for the stinging Guy guitar inserts. Reese Wynans from Double Trouble on rolling 88s. Steady slide on Never Gonna Change makes for good-natured toe-tapper. Maybe this disc’s tenderest moment comes on All That Makes Me Happy with its warm electric piano and a keen horn section just right in the mix.

The horns are in jump-jive mode on the original Poison Ivy and off Buddy strolls, having sung and played as well as he can throughout and on a well-above-average set of numbers

Tom Hambridge excels on his own recordings and here gives Buddy Guy fabulous setting after fabulous setting to rock out and touch the listener’s soul.

A wholly successful project.

Pete Sargeant

THE DELTA SAINTS

DeAth letteR JuBilee Dixie frog

A stunning cover to this disc of dark lady in red dress almost casting a devilish spell on you before we start, and I’ll tell you what – once the music starts it really does cast a spell on ya! I was spell bound and enthralled, completely!

This is a terrific piece of work especially considering it is a debut album! Swampy, searing guitars, rasping vocals, brass and wind instruments in the mix, natural flow, bouncing, raucous rhythms that grab you, even an ethereal choir, drums that tumble around, harp that darts around and slow burning melodies. It’s a bit like going on one of those fairground rides where the ride is riotous and unpredictable, calm one minute then you get it in the face, exhilarating stuff! It ain’t pretty but it sure is addictive!

These guys are from the deep South and moved to Nashville, where they got together and blended like a good bourbon and exploded on the scene where you would not have expected them to fit and blew everyone away.They have already appeared at the long running Rockpalast, no mean feat at all. The album has 13 tracks and they are all gems in themselves. The Delta Saints are five piece outfit that so far have not graced the UK but have covered most of Europe and the USA. Somebody has to bring them to the UK soon!

Frank Leigh

THE ORI NAFTALY BAND hAppy FOR GOOD

independent

Well here is a surprise, when we think of the blues its Chicago or the South that comes to mind, not the Middle East. The Ori Naftaly Band hail from Israel and over two years have toured both the US and the Netherlands

CONTINUES OVER...

LARRY MILLER

live & OutlAweD

big Guitar records

Hands up who has seen Larry live and wanted to relive the experience time and again?

Live... comes as somewhat of a surprise that it’s been such a long time coming, considering that Larry has such a live following. If it’s an overview of tracks from Larry’s six studio albums you’re after, then think again, that’s not his way.

There are new tracks on here and how great to hear the audiences reaction. Opener Still Ain’t Done With The Blues sets the tempo for what’s to come, we only have to wait a couple of minutes for the first guitar solo. The tracks are long, clocking in at 7.05, this is the seventh longest on the album. There is one cover on here, the Junior Wells classic, Messin’ With The Kid (although, Just As Blue As It Gets contains snatches from Voodoo Chile and Shadow Play).

The pace drops slightly from power rock to power ballad for the next couple of tracks before cranking up again on Gambler’s Hill. One of the highlights for me opens disc two, the slide on Outlaw Blues, a definite change in style and tempo. Missy Mango sweeps the acoustic interlude feel away, for the inevitable return to electric power. Mad Dog is a brief return to traditional blues before the power rock of the aforementioned Just As Blue As It Gets, fifteen minutes of fame indeed! Calling All The Angels gives the listener’s ears a rest, before the finale of Backstabber Blues’. The album was recorded at various venues on the 2012 European tour, so if you were there, congratulations, you made a veritable contribution.

cLive rawLingS

ROADHOUSE GODs & hiGhwAys & OlD GuitARs

Krossborder-reKords

Roadhouse refuse to change lanes in their latest excellent release. Gary Boner’s vision of a solid and uncompromising Blues-Rock band remains uncompromised and wonderfully intact.

The rhythms are incessant, the lyrical themes are familiar: dark and all-pervading sheer bloody mindedness abound. From the first backing chant of Hell On Wheels through the Wishbone Ash-like twin guitar solo of I Can’t Say No the pace is unrelenting. What is new and refreshing is the increased prominence given to the female singers Mandie G, Sarah Harvey-Smart and Suzie D, not just as excellent support to Boner’s gruff and menacing voice, but as soloists, for example in the superb title track.

Katrina is appropriately sombre and The Big Easy has the groove of Alannah Myles’ Black Velvet but that song’s moody reflection is replaced by sexual tension and superb guitar soloing.

The album weighs in at 10 tracks and 55 minutes, and each tune is allowed to expand and breathe. It is Roadhouse’s use of repetition that increases the unsettling and subliminal effect, for example in Slow Down.

The standout cut is the call-and-response Spirits Across The Water, a powerful and magnificent song. The riff in Blues Motel puts Black Sabbath to shame. The suitably confessional yet rebellious Sinner closes what is Roadhouse’s most complete and finest offering yet. Oh, yes, and the black and white with colour splash artwork is great too. nOggin

twice, won the Israeli Blues Challenge Competition and were the first Israeli band ever to have reached the semi-finals of the International Blues Competition in Memphis. All songs on this CD are written by both the vocalist Eleanor Tsaig and guitarist Ori Naftaly and overall they are of extremely high quality. Opening with a burst of chunky Hammond sounding keyboards, Set Me Free is a slow strutting Blues with some smoky vocals from Eleanor.

Next up is the funky groove of Envy , which opens with some beefy bass lines, a song where the three musicians behind the singer weave and paint a full backdrop. Taxi Driver is a blast of country inspired finger picking fast paced playing. The album’s standout track is the slow pleading melancholy Blues of Dreamin’, Pleadin’, Wonderin’ . This portrays Eleanor’s voice at its strongest and most demonstrative and Naftaly is able to play a meaningful soulful solo. I Feel Fine is a solid organ led song that has a slightly jazz tinged feel with keyboard solo. Like A Snake, at over eight minutes is the longest track on the album. Eleanor shouts and hollers on this slow Blues, sounding like a younger Maggie Bell, and both Naftaly and bassist Erin Szendri get the chance to stretch out and let loose. The album closes with Cheaper To Keep Her Satisfied, a strutting Blues where the title says it all. This is a solid Blues album that resonates all the qualities that good Blues should have.

Merv OSBOrne

RICHARD TOWNEND & FRIENDS

tAke the suNshiNe independent release

Richard Townend is a prolific songwriter and performer both as a solo artist and with his band The Mighty Boss Cats. This is the latest of his solo offerings and is another set of wonderfully crafted, well executed songs. I don’t know where the inspiration comes from but I’m glad it does. We kick off with Take The Sunshine, a song about what depression can feel like but its

not all doom laden and depressing, it carries a gentle message of encouragement. Like all of the songs here its not only the lyrics that are well thought out and constructed but the music is too. Then its into the more upbeat, almost jaunty Time To Move On. Like all the very best singer songwriters you wonder how much of the lyrics are based on personal experience and how much is observational, the important thing is as a listener Richard makes you connect with every song. Half A Dozen (of one, six of the other) is about the complexities of relationships and how they work. Shoes is perhaps my personal favourite and probably sums up the message throughout the album, ‘I’m not looking for sympathy, try being in my shoes for a while’. C Jam Blues is a lovely upbeat instrumental, with Richard Raymond, bass, James Digings, drums and Will Pollen, brass. This leads to a great run of tracks to close proceedings, Down Down Down, a song about coming home and being alone, Pretence, a great observation on the hype and falseness of PR and spin all around us, and Man In The Moon, inspired by the folk story of a man made to live on the moon for committing the blasphemous sin of collecting firewood on a Sabbath, with a modern message. The final track is the lovely Troubled Mind, about the joy of being in a good healthy relationship that even manages to mention 50 Shades of Grey . Richard modestly describes the album as “Just a collection of songs,” I can’t help feeling I’ve been taken on a journey from how depression might feel to the pleasure of sharing your life with someone. This is a grower of an album and I can’t resist hitting play button again.

Steve YOurgLivch

RIC LEE’S NATURAL BORN SWINGERS put A RecORD ON fast Western

Class like cream always rises to the surface. Take Ric Lee, drummer and second vocalist in the seminal

blues-on-speed outfit Ten Years After, plus occasional Savoy Brown luminary, pianist Bob Hall’s chance chemistry and that’s enough class for one band. Add ingredients from later generation blues aficionados Danny Handley on guitar and vocals and Scott Whitley on bass and vocals and natural born swing is inevitable. Guest appearances by the likes of Paul Jones and Kim Simmonds merely confirm that what we have here is a band in the same veteran league as John Mayall’s Bluesbreakers or Bill Wyman’s Rhythm Kings.

Although the album opens with a strong cover of I Want To Know , it is the savvy song writing, like The Hill Of Afghanistan, which manages to add a contemporary aspect to this resurrection of the mid-1960s Blues Boom which cemented the UK as undoubted leaders if not inventors of Blues-Rock. Having more than one main vocalist adds versatility, and the combination of serious Bad Feeling Blues and tongue-in-cheek songs I Don’t Play Boogie all adds to the delight. This sounds like a bunch of guys who are having enormous fun, without the razzmatazz associated with some off their peers. In summary this must surely be one of the best new old bands.

nOggin

THE PLANETARY BLUES BAND ONce

upON A time

the sOuth lOOp independent

Well this was a pleasant surprise. The Planetary Blues Band are an Indiana based band consisting of three brothers, Martin, Michael and Bobby Schaefer-Murray plus Nick Evans on drums who have been together for ten years. After a couple of experiments and false starts this is their full debut proper and very pleasing it is too. Opening with a cover of the classic See That My Grave Is Kept Clean was a brave move, especially as the

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GOV’T MULE shOut!

Provogue records / mascot

When you meet Warren Haynes he’s very modest though confident. Music just bursts out of the man. One of our merry band of scribes saw him play London’s Under The Bridge with Gov’t Mule recently and reports that the show was incendiary. Haynes is a ‘Why not’ guy and has had the idea here to make an album and then get other artists to appear on the same set of songs for disc two. I can’t recall anyone else doing exactly that before and Warren says he gets excited hearing contemporaries interpret the GM numbers in their own way. Now here’s a guy who is incessantly creative, as the Allmans and dead will attest.

Disc one kicks off with World Boss with guitars buzzing and a fine Haynes vocal and evokes the gritty funk drive of the wonderful Kings X, catchy chorus, key changes and all and warren not afraid to throw in jazzy steps whilst soloing frenetically in Disraeli Gears tones against the pumping bass of Jorgen Carlsson. No Reward is a confident buzzy bluesrock grind whilst Whisper In Your Soul is a reverb and Leslie-toned intonation, clattery drums courtesy Matty Abts, a dark quasi-psych mood is conjured up on this, insistent bridge giving way to wahwah figures and subtle keyboards from Danny Louis. One for the Spooky Tooth aficionados. Captured is laid-back and another excellent vocal from Haynes in a vein close to Steve Stills on the Supersessions cuts, way back when.

The guitar solo is languid and set against Hammond and clipped guitar chords, so well handled. Scared To Live has a wound-up pulse edging into a reggae skank and dub drumming, a fine summer sound though not a striking song in itself. The dark lope of Stoop So Low sounds sinister, wah sighs et al and Haynes swamp-funk side to the fore. I did spot the hint of Stevie Wonder in the bass riff, Warren! So many of these blues-rock cats look up to Stevie. Fans of Haynes’ slide work will go for the stone funk of Done Got Wise. Now, is that the ghost of Bobby ‘Blue’ Bland haunting the intense When the World Gets Small? Though the vocal phrasing calls to mind Airplane master singer Marty Balin to be frank. Could be the best song here and plenty of space with a beautiful organ part breathing through the number.

Disc one ends with an evocative patter of a song as Warren tells a tale of loss, and Lord don’t we all feel that lately? So many of our brothers and sisters in music taking the exit. Bring On the Music has an emphatic reflective atmosphere. Yet again his voice sounds so good and the other of his voices of course coming out of the six strings, here legato and restrained until a fuzzy heaviness kicks in at 4:40 sounding a tad like Cactus (Still an overlooked premier blues rock outfit).

On disc two thereafter the guest singers include Ben Harper, Glenn Hughes, the amazing Grace Potter, Jim James, reggae alumnus Toots Hibbert, Dr John, ever-busy Dave Matthews, Alter Bridge, Ty Taylor and Steve Winwood.

Best I mostly let you discover the guest gems for yourselves, I think. Elvis Costello suits the fast punch of Funny Little Tragedy, for sure. And Captured drifts towards the Youngster’s Down By The River with Jim James singing. Grace Potter sighs sexuality into her turn, whilst No Reward is taken on by Glenn Hughes. The former Purple/Sabbath/Black Country Communion vocalist gives it 100% with his take on this number.

Original, challenging and ever tuneful, Gov’t Mule are fearless and fun, what more could you want?

Pete Sargeant

bands version is upbeat, almost funky in style starting with a jazzy influenced drum intro. Its a real statement of intent and it works wonderfully well. This is followed by the slower The Thorns Will Show You and This Precious Existence, the latter opening with an almost country vibe but some seriously good guitar interplay between Michael and Martin. Track four is a cover of Rev. Robert Wilkins That’s No Way To Get Along

By the mid-point of the album we hit a run of three tougher Chicago blues-sounding tracks. It’s nice to see that the band as a whole can change gears and interweave the instrumentation to a very high standard. Lyrically too, Sacred And Profane Blues and Blues Resurrection are more darker and challenging. Joining those two is a great cover of Crazy Cryin’ Blues by Memphis Minnie, all strong chords and riffs. Very tasty. Then the tempo softens again with In A Blue Study , a blues shuffle and When I Say I Love You, that just might be the grow on track of the album, great soulful playing that reminded me of the great Magic Sam.

The album closes with The Shillagh, an instrumental that reminded me of Rory Gallagher’s The Loop, and judging by the album title might be the bands tribute to Rory (and the same Chicago transport system). Some of the songs lyrics on here carry a clear Christian message, but never in an evangelical or preachy way and shouldn’t be a reason for anyone not to check this out. it’s a feel good blues album of the highest order with some great musicianship on display.

Steve YOurgLivch

ROBBIE HILL & THE BLUE 62’S

Much has been made of Otis Grand’s mentorship of Scottish Bluesman Robbie Hill and Grand’s suggestion that Hill head off to

Finland to hone his talent gives the journey a mighty fine start. There are parallels too in Hill’s playing and the high guitar of Otis Grand in Morning Light and retro swing in You Ain’t Right. The trip to Finland led to Hill meeting Oregon bassist Jesse King and local drummer Talu Pärrssinen, and the band was born. With more than half of the tracks composed by Hill it serves to be a cracking debut. There is a definite signature style within Hill’s guitar playing, one of restraint, and it perfectly allows the slower blues of The Love You’re

Teaching Me and Stranger Blues to make quite a mark. At times the sound is reflective of very early Rolling Stones and the blues of Fleetwood Mac, yet comfortably sits right next to the likes of Aynsley Lister and Steve Roux. The sleeve notes nail it with the line to describe Hill’s playing as: “Both unique and infectiously familiar”. The album also cites Erja Lyytinen as Executive Producer so we know we are in very good company.

gareth haYeS

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TEDESCHI TRUCKS BAND

mADe up miND

sony masterworks

Made Up Mind is nothing less than a quantum leap forward for Tedeschi Trucks Band. Whereas Revelator and Everybody’s Talking before it were all about finding their way, this new album is where they emerge as a fully formed band for the ages. It becomes increasingly apparent that Susan Tedeschi has evolved into a dauntingly commanding vocalist, her serious lung power exploding on standout tracks such as the funky Misunderstood and the other end of the scale on tender ballads like Calling Out To You and Idle Wind. Husband Derek Trucks has blossomed into being one of the monster guitarists of our time, tearing up barnstormers like the title track (and opener) ‘Made Up Mind’ with his masterful slide and lead licks, whilst showcasing his easier, more subtle touch, on the bluesy Do I Look Worried?

Whilst the band bears the names of its co-leaders, each of its components, Kofi Burbridge (keyboards/flute), JJ Johnson (drums/ percussion), Tyler Greenell (drums/percussion), Kebbi Williams (sax), Maurice Brown (trumpet), Saunders Sermons (trombone/vocals), Mark Rivers (harmony vocals) and last but not least, Mike Mattison (harmony vocals), is operating at full throttle here. Those paying attention to detail will have noticed the omission of original bassist Oteil Burbridge. Since his departure, rather than replace him immediately, the band have used several bass players on the album and, indeed, on tour, Pino Palladino, Bakithi Kumalo, George Reiff and Dave Monsey to be precise.

Like the previous Revelator, most of the tracks on here were penned by Tedeschi and Trucks with assistance from various friends, including Doyle Bramhall II, Eric Krasno, Gary Louris (Jayhawks) and John Leventhal. Part Of Me, a vocal duet between Susan and trombonist Sermons, stands out as a particular highlight, reminiscent of the old Muscle Shoals/Memphis R ‘n’ B sound.

The title track, co-written by Tedeschi Trucks and Oliver Wood is a soul – rocker in the tradition of early Bonnie Raitt or Delaney & Bonnie. Coproduced by Jim Scott and Trucks, the album was recorded in the band’s home base of Jacksonville. Working with Scott, Trucks has made the studio another instrument to master, and Made Up Mind leaves no doubt that his skills as a producer now rank right alongside his expertise as a player and songwriter.

pRice tO pAy blues boulevard

FLORENCE JOELLE

steAliNG FlOweRs

Zoltan records

Mon Dieu! French chanteuse

Florence Joelle produces sultry vocals in an evocative style of her own.

There are shades of earlier sexy sounding women like Billie Holiday, Peggy Lee and the über sexy Eartha Kitt in her voice, but only shades, since Florence has an individual voice and style of her very own. Comparing her to them in ability may be fair though, Eartha Kitt was someone that this scribe remembers with more than a hint of pre-pubescent/ teenage angst. Kitt too sang with the French accent that is natural with Mademoiselle Joelle, and there are shades of Jazz mixed through with an rythmn and blues sense lyrically.

This is an album which demands you pay attention to the words, and that is no easy task when the delivery of the lyrics is done with such an erotic undertone from Flo Jo. Nevertheless, I was totally beguiled by the whole album and mentally taken to Marseille in a Gitane/Disque Bleu smoke filled night club by Florence’s vocal ability even on the cover version of an old favourite of mine, Caravan. Her own compositions show a joie de vivre while taking stock of what is happening in life.

This is most assuredly the case in The God of things Florence is superbly assisted by Messrs, Paul Seacroft, Chris Campion, Matt Jackson and others in making this album an absolute must for those of us who hanker for a bygone musical era where the sounds were not created on a computer electronically.

tOM waLker

THE BLUES MYSTERY

the Blues mysteRy independent

The Blues Mystery are a four piece rocking blues band based in Switzerland, who I noticed one reviewer likened them as a cross between ZZ Top and Stevie Ray Vaughan, this is praise indeed but from reviewing their debut album the band are some distance from warranting this comparison but they are moving in the right direction. The band have written all the material here and there are several tracks that stand out, particularly My First Love which has an anthem feel to it and the band really rock out towards the finale, with impressive dual guitar playing from Willy Matt and Irenee, Let Me Smoke My Cigar in Peace is another guitar driven rocking blues number and this is definitely the bands forte, when they slow the pace Willy Matt’s vocals are not strong enough to carry some of the songs although the musicianship is solid throughout. For a debut album the band have showed plenty of promise here and if their energy levels in the studio are anything to go by I am sure they would be an excellent live band.

aDrian BLackLee

GARY FLETCHER

iN sOlitARy arone records

Gary Fletcher is best known for playing bass with that greatest of British bands on the circuit, The Blues Band but has also continued to write and record his own songs. This album was recorded earlier this year live in the studio with no overdubs and finds Fletcher in solo acoustic mode with nine self-penned songs and three covers. Opening track If You Were Me immediately sets the scene for this album with fine meaningful lyrics, excellent playing and tuneful vocals. The catchy It Takes Love lifts the tempo a little and is followed by the

first of three instrumentals the pretty and gently rolling Africa. This is thoughtful singer/songwriter material well played and well sung. Willie Dixon’s The Same Thing features some lively vocals and is followed by the sprightly Tell Me What I Gotta Do Fletcher’s lilting slide guitar features to good effect on the instrumental blues Delta T79 and is also heard on a cover of Blind Willie Johnson’s Nobody’s Fault. A gently rolling guitar provides the intro to I Am The Doctor , a tale of modern day politics and the art of spin as Fletcher sings of “covering arses so the cracks don’t show”. The album closes with a rollicking version of Chuck Berry’s Maybelline which is probably the closest that we get to Blues Band territory on this CD.

Dave DrurY

STEVE HUNTER

the mANhAttAN Blues pROJect Deacon

Some of us will be wary and some of us will be excited when we see the sticker on the album saying “featuring Joe Satriani, Joe Perry, Johnny Depp”. So, cutting to the quick, it’s a good album. Next, to the album’s theme, it is a concept album that builds around the clue in the title. Now we know what we are getting we can listen with an open mind, and hopefully enjoy the tour. Most of the tour is taken in the dark as Gramercy Park prowls like a Pink Floyd out-take, and A Night At The Waldorf makes the night so late that it is clearly early morning. Hunter’s guitar is silky smooth across Daydream By The Hudson and Flames At The Dakota; a pairing that best sums up the gentle caress of the overall sound. Thus the guitar duel between Depp, Perry and Hunter on The Brooklyn Shuffle is not the reason to buy the album, neither is Satriani’s turn on Twilight In Harlem. Instead, it is better to be moved by the interpretation of the city in the loving Ground Zero and strange safety of Sunset In Central Park.

gareth haYeS

VARIOUS ARTISTS

BeAtles BeGiNNiNGs FOuR: the cAveRN cluB 1961-62

CD history of r&b records

VARIOUS ARTISTS

BeAtles BeGiNNiNGs Five: the stAR cluB 1962-3

CD history of r&b records

Beatleology is like coal mining. Just when you think the seam of information has been mined to extinction, someone sinks another shaft and we’re drilling again. Here are two fascinating chunks of mop-top geology, 29 and 28 tracks respectively, kaleidoscopes of background data on the earliest periods of arguably the greatest ever pop music act.

With Part Four guiding us through the Beatles’ Cavern period in Liverpool and Part five The Star Club in Hamburg, one thing these recordings remind us is that few bands since have ever served such a rigorous and hard-working musical apprenticeship. The Cavern Club set comes with a 32-page booklet and the Star Club a 24 page, both written in fascinating detail by Nick Duckett with many unfamiliar photos. The music isn’t always as predictable as it might be with, for example, the Rolling Stones. Lennon and McCartney’s musical palette included many colours apart from predominant blue. For example, Part Four, The Cavern Club, has such certainties as Bo Diddley, Gary US Bonds, Carl Perkins and Buddy Holly, but you’ll also

INDIGENOUS (FEAT. MATO NANJI)

vANishiNG AmeRicANs shrapnel records

Here we have a fantastic blues album that any guitarist, blues fan, or reviewer could commend.

Indigenous is a rock group led by a sincere bluesman and Native American Mato Nanji, and his roots can be found in each song. His raw talent and respected nature go above and beyond racial and cultural boundaries. Each track is brought together with heavy and powerful guitar riffs, whilst his bellowing vocals turn the songs into what any good blues album should be. Everything You Need, erupts with a melodic,

find velvety balladeering by Peggy Lee with her original Till There Was You, Dinah Washington’s memorable September in The Rain, and the perky, Neapolitan charm of Marino Marini singing The Honeymoon Song And, lest we forget, yes, Apache by The Shadows is here again. It’s almost an obligation.

What attracted The Beatles to this varied material was the musicality, the key shifts and chord changes, all influences which Paul and John would soak up and use so effectively in their own work later on. Yet in the main, Volume Four rocks like hell: Freddy Cannon, Johnny Kidd and The Pirates, Gene Vincent... they’re all here. And check out the recorded announcements of John and Paul between tracks! Volume Five, The Star Club, is even more eclectic.

With the early 60’s Hamburg Star Club’s everchanging, churning audience of itinerant sailors, tourists, servicemen, pimps and hookers, and playing massive, long sets lasting endless hours, The Beatles needed much more than a set of Gene Vincent and Little Richard numbers. So here you’ll find Tony Orlando’s Beautiful Deamer, Frank Ifield with I Remember You, and the sheer delight of The Shirelles with Will You Still Love Me Tomorrow. Throw these into a melting pot with R&B stalwarts like Arthur Alexander, Chuck Berry and Ronnie Hawkins, and this album will provide you with a real feel for what inspired the greatest song-writing team of the 20th century.

In fact, all these CD sets (there’s more to plunder) by Rhythm & Blues Records transport you beyond sheer music to illuminate cultural history and broaden our understanding of where pop and R&B is today.

rOY BaintOn

catchy guitar riff that sets the trend for the whole album. Lonely Road, does what it says on the tin, coping with life alone, whilst Don’t Let Them Drive, You Away is a reminder to his lady that, contrary to what others may say, he will stand by her. Cold Hearted Woman has a classic blues feel, dealing, as it does, on fooling around and cheating, Take Me Back, deals with apologies and desire. In My Sights, and Don’t Be Afraid, combine upbeat rock’n’roll rhythms and memorable melodies that delight in his perfect woman. Always With You, and I’ll Keep Standing, are ballads of devotion, accompanied by heavy, yet tasteful, guitar solos. Moon is Rising, closes the album and is a powerful eight minute rock’n’roll track that leaves the listener with something to hold on to. Vanishing Americans is

dedicated to Nanji’s father and the influence he had on him and is sure to be as influential on the blues/rock scene. Impressive guitar solos, striking riffs and velvety vocals make every song an explosive work. He must have a proud father, along with every blues fan cranking up his, or her, stereo, rocking out to this notable album. cLive rawLingS

DANA FUCHS Bliss AveNue ruf

Dana Fuchs first came to prominence as featured vocalist ‘Sadie’ in the film Across The Universe, with its

Beatles and John Lennon tribute material. Also it is little surprise when one hears her rasping voice, to discover she was typecast as a Janis Joplin voice-over. However, Bliss Avenue is her best album yet, having finally shaken off wannabe comparisons, she has put together a truly credible and strong album. Fuchs co-wrote all twelve songs, and her powerful voice strides over what is an equally loud and pulsating band. Just occasionally she allows herself a brief vocal respite with some tenderness, such as in Handful Too Many, but it is never long before she is belting it out again. There is something for everyone here: gospel in Living On Sunday , the soulful ballad So Hard To Move, a certain pop-country sensibility in Daddy’s Little Girl and the classic rock of Rodents In The

JOANNE SHAW TAYLOR

Attic all add to the variety. Acoustic guitar introduces the anthemic Baby Loves The Life and again on the modern honky-tonk Nothin’ On My Mind. Favourite songs change with each welcome listen, but the Joe Cocker-like Keep On Walkin’ and closing Long Long Game are strong candidates.

nOggin

HAMILTON LOOMIS

Give it BAck independent

Classify him as a blues guitarist with an appetite for rock, or a rock n’ roll maestro with a sweet tooth for the blues, no matter, both apply to this young Texan (younger than the

Given the sheer power of her live performances, it was always on the cards that Ms Taylor would make a live record. Ruf are releasing a CD/DVD edition of her incendiary show at London’s Borderline club earlier this year.

With three quality and well-received studio albums under her belt, this is a good point for Taylor as an artist to select the most suitable songs, add one of her inspirations’ numbers and cook up a set list. Icing the cake on the recent JST shows is subtle keyboard man Jools Grudgings, ever a fine group player and here meshing with a well-oiled but springheeled rhythm section. Leaving the listener to savour the gruff and sensual vocal style developed by our star and torrents – and I do mean torrents – of tortured, fluid guitar ( mainly Les Paul-fuelled ). In my previous Joanne piece we were talking about song choices for this recorded performance so please refer to that for the background to this project.

Highlights here: the moody start to killer cut ‘Soul Station’, guitar like a twisting Carlos Santana before the whole band clatters in ; ‘Tied & Bound’ and its sinister boogie lope and damped chord chug over an ascending progression and Brian Augerish organ runs giving way to biting and acidic guitar, hovering like a vulture over a Hammond break before returning with tumbling axe phrases. The roadhouse attack of ‘Watch ‘Em Burn’ sounds driven and bitter ; the Hendrix selection sounds spirited but what Joanne does with Frankie Miller’s ‘Jealousy’ is alchemic and haunting. One day I’ll stop reminding Taylor of our mutual love of Nikka Costa..but not just yet. This really smokes and justifies purchasing the set.

The turbulent Jump That Train is surefooted and impassioned, choppy guitar ringing throughout. Joanne lets go on this one and the guitar riffs and ideas flow out of her, such an exciting player. Maybe about time, but this live effort gives you what JST is all about, in 3-D

Pete Sargeant

reviewer, anyway!), who crosses stylistic boundaries with effortless precision. There’s no earthly reason to pigeon-hole the man with a genre classification, Loomis finds his liberation in his axe. Opener Stuck In A Rut couldn’t be further from the truth. Already establishing his trademark mixture of blues, funk and rock, Loomis riffs with the best of them. There is variety in his explorations. Eternally glides along on a laid back groove as his lyrics take on a spiritual, emotionally uplifting message. One of the best tracks is the dirty slow rocker High where Loomis soars on a natural buzz, backed by chunky guitars, reminding me of the early SRV days. Eleven of the twelve tracks are co-writes and he even enlists the help of Grammy winning bassist Victor Wooten on the title track. There are some sparkling horn arrangements, sax player Fabian Hernandez and trumpeter John Ontiveros deserve credit. The production by Michael Hodge is spot on giving Loomis and his co-horts a solid platform to show off their skills. Through the strong bass of One More Take to the Average White Band tinged instrumental Peer Pressure, it’s a joy. Throw in a bit of Soul in the shape of A Woman Like You, the slashing guitar and fuzzes vocal of Partner In Crime, and you have the makings of an excellent album. His mentor Bo Diddley will be looking down smiling.

cLive rawLingS

DREW HOLCOMB AND THE NEIGHBORS

GOOD liGht magnolia

Being recorded in Memphis and Nashville gives a clue to the flavour of this four piece’s twelve-track album. The vibe would suit an airing on the television series Nashville and a couple of the tracks would also serve very well as soundtracks to any of the current and popular dark supernatural HBO series. To take it back in time there are elements of Dylan and

sONGs FROm the ROAD ruf records

Cash in there too. Every song is well-crafted and lively in mood; Holcomb knows how to write a lyric and lay down a tune. Songs alternate, within that brief from clappy foot-tappers I Love You. I Do to Country laments A Place To Lay My Head to fluid rockabilly Nothing Like A Woman. The sweet production of Andy Hunt allows the guest musicians playing Hammond organ and pedal steel to feature across the album, particularly on Nothing But Trouble, and lifts the album above the routine.

gareth haYeS

VARIOUS ARTISTS

ROlliNG stONes BeGiNNiNGs 2: yesteRDAy’s pApeRs history of r&b records

If you’re an old blues fart of a certain vintage like me, then albums like this are a sheer delight because apart from the luminescent quality of the material, they are also the soundtrack to our youth. If you’re under 30 and you’ve only seen the Rolling Stones for the first time at Glastonbury, you could well be wondering what all the fuss is about. Yet it’s because of people such as Jagger and Richards and their early enthusiasms that we came to know and seek out these thrilling recordings, and up in the north, often with a lot of detective work before we got a Bo Diddley or a Muddy Waters LP gripped in our sweaty mitts.

Nick Duckett’s exhaustive 24 page liner booklet is crammed with detailed info, and some nice posters and period photos. What inspired the Stones during what I still regard as their most exciting period is all here; 27 tracks including Elvis, Bo Diddley, Muddy Waters, Jimmy Reed, The Coasters, and a little surprise, Apache by The Shadows. (As well as Lonnie Donegan who isn’t included, nor is Howlin’ Wolf, it’s often easy to overlook the huge influence Hank Marvin’s guitar had on so many later superstars). Oddly enough, you don’t need to be a huge Stones fan to

enjoy this. As a primer in what fired up the British blues movement of the 60s, this is as good as it gets. Worth a place on anyone’s shelf. A terrific collection.

rOY BaintOn

FOSSEN & STRUIJK BAND cluBBiNG

blues boulevard

Chicago Blues is alive and well, and living in Holland. As part of the increasingly well-known alumni that falls out of the Dutch Blues Foundation Annual Challenge (they won it in 2012), Robbert Fossen and Peter Struijk are going from strength to strength even though they’ve been around for quite a while playing with their own bands. This album was recorded in December 2012, a month before they managed to get to the final of Memphis’s International Blues Challenge. The chronology isn’t as important as the respect they show for the Chicago Blues they offer up on the album. Self-produced, it is an exemplary lesson and tour through the sounds that we would expect from the influences of Muddy Waters, Buddy Guy and Jerry Portnoy. All the tracks laid down here fit the bill, although particularly welcome are the dirty shuffle blues of Bad Avenue and If It Is Too Late, and the slow infusion of Ain’t Gonna Worry About Tomorrow

The album closes with the terrific twelve-minute Sinner’s Prayer , a sinew busting blast of guitar and harp excess that is as exhausting as it is exhilarating.

gareth haYeS

PATRICK SWEANY

clOse tO the FlOOR

nine mile

Ohio-born but now based in Nashville, Tennessee, singer and guitarist Patrick first achieved blues prominence in the

DAN TREANOR’S AFROSIPPI BAND WITH ERICA BROWN

tANGleD ROAD AGAiN

P&C Plan-it records

The clue to the music within lies in the name. The Afrosippi Band offer a blend of both the traditional and the modern day blues. They are fronted by guitarist and harmonica player, Dan Treanor, who was taught to play the harp by fellow GI in the Mekong Delta, and he has since spent a lifetime of playing and living the Blues. In 2012 Dan was the recipient of the Keeping The Blues Alive award from the Blues Foundation. Right from the opening slide guitar and spoken statement that the Blues came from Africa a long time ago, giving us R&B and Rock ‘n’ Roll, this CD hits hard. Tangled Road Again is a straightforward field holler, a work song with call and response, but it is the voice of lead vocalist Erica Brown that shines through. This lady has the power and depth that could easily see her elevated to the ranks of Diva.

The band is extremely well drilled and throughout is comfortable with either the uptempo numbers or the emotionally charged soulful ballads such as Nothing Can Take The Place Of You. There is also a backing singer in the band who can front the vocals and who brings a slightly different dynamic to the microphone as shown in the rocker Dynamite, or Your Going To Miss Me. Merrian Johnson is an accomplished vocalist and her version of Koko’s Wang Dang Doodle, menaces in the same way as the original. Cajun style inflects on Hey Mister with violin and accordion and the accordion is used in a very haunting and stylish way on I Want Love Merv OSBOrne

BLUES ‘N’ TROUBLE

tRy ANythiNG twice independent

Some things in life never change and legendary Scottish blues and boogie band Blues ‘N’ Trouble are still performing and turning out great albums after almost 30 years. Opening track Try Anything

Twice immediately drops into that familiar groove with driving guitar from Sandy Tweeddale, fine boogie piano from Angus Rose and strong vocals and distinctive harp from Tim Elliot.

A cracking cover of Bo Diddley’s Cadillac is followed by Money’s Tight, which is written and sung by Tweeddale in fine style with it’s particularly relevant lyrics. Tim Elliot leads with vocals and harp on Leaving Blues before we get the psycho-billy rock of Down ‘N’ Dirty with twangy guitar and psychedelic organ from Rose. One of the standouts here is the slow blues Waiting, with Elliot’s superb soulful. Drummer Andy Munro takes the vocals on his own Meandering Man which has a Southern rock feel and leads into a jumping cover of Rock The Joint.

Slim Harpo’s King Bee is the perfect vehicle for Elliott’s snarling vocals and also features great slide guitar. The jazzy and swinging In My World gives Rose the opportunity to show off his Jimmy Smith licks on organ. The rocking boogie You Can’t Hit A Woman, leads Elliott into a cover of Sonny Boy’s Bye Bye Bird featuring his superb harp and vocals. The album rocks out in superb style with a cover of The Count Five’s 60’s garage psych classic Psychotic Reaction complete with sitar, fuzz guitar and wailing harp. Wonderful stuff.

Dave DrurY

90s as an acoustic performer endorsed by the likes of Roy Book Binder and Jimmy Thackery, and there are strong echoes of that side of the man’s abilities on the closing Terrible Years.

However, he is far more eclectic these days than that statement might suggest, spreading is musical wings much farther and wider about a dozen or so years ago. Elsewhere on this album, there are examples of rootsy southern rock (It’s Spiritual, or the far tougher and spookier Every Gun), deep blues – try Every Night Every Day or the John Lee Hooker inspired Deep Water and Motown flavoured soul like Just One Night, a timely reminder of what a good singer Patrick can be. Then of course there are items such as the opening Working For You, which mixes various genres. This is very much a blues lovers’ Americana album. When you look into the artists who have left their mark on Sweany, you encounter Hound Dog Taylor, The Black Keys, and Sonny Landreth, and certainly there are traces of all three on this potent set.

nOrMan Darwen

PAUL GABRIEL

whAt’s the chANce blue Duchess/ shining stone

Singer, guitarist and bandleader Paul first saw Duke Robillard perform in 1968 with a new band called Roomful Of Blues; over the next few decades they got to know each other, and play together, with Duke passing on tips, as both developed their own careers in the blues world. Eventually, in 2011 Paul recorded this set (his fourth under his own name), with Duke producing and playing on nine of the 13 tracks. Now Duke is one of the major figures of the current blues revival, so that immediately makes this set worth checking out. That is reinforced by the fact that Paul himself has obviously been paying close attention, whilst realising that the best blues performers are the individual ones. Paul has a fine,

soulful voice and has a nicely old-fashioned approach to his guitar playing, with hints of T-Bone Walker and vintage BB King at times, and in deference to his mentor, he has an original composition called Roomful Of Blues, not a jump item though, but a mightily impressive, slow, moody, soulful, T-Bone meets Robert Cray contemporary number. He also enjoys the support of people such as Mark Naftalin on keyboards and the Roomful horn section. Many artists these days have a rock element to their music, in Paul’s case it is replaced by jazz elements or soul and rhythm and blues, he turns in a lovely version of Chris Kenner’s Something You Got. The association with Duke might bring Paul some extra attention, but this set shows he deserves it on his own merits.

nOrMan Darwen

ROOMFUL OF BLUES

45 live alligator records

This is a live recording that has a purity about it that oozes quality, from a band that has incredibly been around for 45 years, hence the title 45 Live. That experience stands the test of time with these exponents of a form of Blues/Jazz/R&B with a touch of swing. This is the first time of hearing this form of music for me and it has been a watershed, all of these musicians have an innate sense of rhythm on their instruments and they surely know how to get an audience involved.

Phil Pemberton has a vocal ability with octave range that few solo singers could match, while Chris Vachon has electricity through his finger tips to the strings on his guitar. Ally this to superb saxophone playing (both tenor and alto) and equally good support on trumpet, key-boards, drums and base and you have pulled an absolute cracker of an album. Easy Baby is almost seven and a half minutes of unalloyed exuberance that got both my feet going while typing. The number that really got

me gripped was Blue, Blue World which had occasional Hammond organ tones that reminded me of Booker T’s Green Onions. This mood was swiftly transported with the very next one, Somebody’s Got to Go to a swing/jazz feel with superb horn work from Doug Woolverton. I can’t review this without mentioning Rich Lataille whose overall sax and clarinet contribution musically is surpassed only by his durability having been with the band for over 43 years. If you only buy one CD this year then make sure it is this one.

tOM waLker

THE DEADLY GENTLEMEN

ROll me, tumBle me rounder

Despite the album title, this is not a blues release but instead a fine example of modern Americana, with bluegrass folk, country, an Eagles-like soft-rock sound, more than a hint of 60s folk-rock outfit The Byrds and the very occasional touch of jazz or soul all coming together into one organic whole. The title track even has hints of funk (funkgrass?) in its introduction. With its folky authenticity, this kind of approach has certainly achieved some popularity with some less-blinkered blues lovers, and this five piece (mandolin, fiddle, banjo, guitar, double bass), based in the alt. bluegrass base of Boston, Massachusetts, pay tribute to their predecessors but achieve a contemporary feel too. Whatever your musical standpoint, this rootsy album, the band’s third, is easy to like and enjoy.

nOrMan Darwen

JOCK’S JUKE JOINT

cONtempORARy Blues FROm scOtlAND – vOlume 3 lewis hamilton music

The last of the brilliant trilogy of contemporary Scottish blues music finishes with an explosive gumbo

of multi- talented musicians and songs. The series of volumes has had numerous international airplays in more than a dozen countries and over 70 radio stations, to great plaudits.

This volume is more an eclectic mix, which commences with another Lewis Hamilton tune Whisky Boogie, a catchy riff and fun lyrics. A rockier blues band, Safehouse on Coming Alive speeds the tempo before swinging into action with the Glaswegian Blues Devils who Feel Like Jumpin. Slowing down, Linda Jaxson’s Light In Your Eyes brings a mellowness.

This is short lived by the Chicago style of The Stumble’s Lie To Me Al Hughes next, a stalwart of the Scottish blues scene is Giving The

Blues A Try . Contemporary style is added by, Leona Rae and also GT’s Boos Band and The Afghan Hounds. The Shiverin’ Sheiks supply some gospel, electric cello and strong vocals by Callum Ingram is particularly interesting.

Main Street Blues, an Edinburgh band feature well, as do Robbie Hill and Red Pine Timber Co. bringing different American style. Other old time blues tune is covered by Souled Out Blues. This collection also features Scots’ associated artists, John Hunt and Harmonica Lewinsky; a definite feel good sound.

Another exclusive recording which cannot get enough publicity and recognition.

cOLin caMPBeLL

DOCTOR ROSS/BILL YATES/BILLY ADAMS

Juke BOX BOOGie/Blues like miDNiGht/ROck me BABy bear family records

These are three separate CD’s released under the sub heading of The Sun Years Plus, the first thing to note is that the packaging is superb, the gatefold digipack sleeve incorporates a booklet in excess of forty pages that documents the artists discography in finite detail, in addition to their life history with rare pictures and antidotes. The other key consistent factor on these releases is that a good percentage of these original recordings, particularly the Bill Yates and Billy Adams releases, were produced by Sam Phillips at his Sun studios during the 50’s and 60’s.

The Doctor Ross release is the stand out album here, the period covered is between 1951-1970 which incorporates both his ‘one man band’ style and songs with support from a small band of musicians, washboard player Reuben Martin being the most prevalent, you can see where Duster Bennett got his inspiration from on these thirty two tracks.

Bill Yates and Billy Adams were two white musicians, who while never becoming household names, were prolific in the number of singles they released on Sun Records, at a time when the Memphis Sound was developing during the early 60’s. The two artists performed on each other’s recordings throughout their musical careers, while the material was more rock n roll than blues there are some traditional blues songs covered across these albums including; Trouble in Mind, Reconsider Baby and Boom Boom

The supporting band members included bassist Duck Dunn, saxophonist Russ Carlton and guitarist Lee Adkins, who between them generate plenty of Memphis swing.

There are over twelve separate CD releases in the Sun Years Plus series, great to collect the full set to fully appreciate the music released through the Sun label, especially as each set includes un-issued material although for those on a strict budget the Doctor Ross album is the essential purchase.

aDrian BLackLee

showtime!

the bm ! roundup of live blues

CAMBRIDGE ROCK FESTIVAL

BARTON, CAMBRIDGE. UK

august 1st – 4th 2013

Immediate images of bicycles and punting. For some, a centre of historical attractions. For others, an educational nirvana, or the site of medical excellence at Addenbrooke’s Hospital. To me, however, Cambridge’s main attraction is the annual four-day Rock Festival, now in its tenth year.

thursday

We had been briefed to experience the musical smorgasbord available, but to focus on seeking out the blues, On day one this was like hunting for rocking-horse droppings. There were three stages, offering musical talent from various genres; however, the blues element was confined to the occasional track, not a stage or set. Luckily, this is also a beer festival. Early on, the maximum number of brews was available (three pints for £10), and the food counters were at their quietest and most tasty.

Friday

Today brought my highlight of the festival, Split Whiskers. New on stage at CRF, Matt Wilshaw dipped into his prodigious talent on the keyboards and Tony Hill stepped in for Mick as skinthrasher extraordinaire. The band are based in the area and are strong supporters of the festival: this was their seventh CRF appearance. Split Whiskers have

recently revamped their set list, both to keep it fresh for the fans and to incorporate their newly introduced original material. New opener Help Me really got the crowd moving, and even the crowd members sunning themselves outside the tent responded to Gilby’s invite to join in. The first of the tracks penned by the band, Never Made The Call , is a lively up-tempo number that helps form the promising backbone of the new album, along with the later tracks Bee Sting and the title track Money Ain’t Everything . Mel’s favourite, Catfish , was included in the set, complete with Matt’s virtuoso keyboard solo, Gilby interacting with the photogenic Claudia and the chance for Johnny to show why he has the nickname ‘Magic Boy’. After closer Automobile , the crowd loudly showed their appreciation for an excellent set.

saturday

A major change: Stage two Sponsor: Blues Matters! Day three begins and it would take one hell of an act to even get me out of bed. Enter Wales’ best export, Cherry Lee Mewis, another festival stalwart. Tracks from her album Heard It Here First are integrated into the set, and Man Overboard had the packed tent moving like waves breaking on the shore. And the interaction with her bassist and his huge instrument on He Wants More had to be seen to be believed. Also setting the second stage alight are The Bare Bones Boogie Band. A tight instrumental output complemented the immensely

powerful voice of Helen, who also maintained some good banter with the audience.

Pearl Handled Revolver, are a new personal favourite. I hadn’t met the band before, but I can now categorise them as helpful and good guys. Oh, and bloody good live musicians. Lee has one of those voices. Deep. Gravelly. I pictured a man who chain smokes untipped-cigarettes, drinks rough moonshine and gargles with unrefined diesel. Wrong, he is clear-eyed and bounces around the stage like a Tasmanian devil on speed. The first track of the set is the album opener, Do It Again , a pacey ripper of a song that sets the stage very well for what is to come. The audience are enraptured. More people arrive and few leave. Seven of the ten tracks played are from new album This Mountain Waits , and they are even better live and loud. The three tracks from the band’s earlier albums are of the same high standard, mingling well with the rest. The set was enjoyed by the band, the crowd and me: PHR are a band you need to see soon, and often! Partying dictated a moratorium until Del Bromham Blues Devils. Del, a practitioner of impromptu alliances, was joined on stage by Cherry Lee Mewis and band, plus 60% of PHR; a great combination. I boogied, then caved and joined the seated crowd outside the tent, but the sound was still good.

After a few drinks, we went to see the legendary Buster James. The highlight of the evening, with a full tent and an appreciative

crowd. Buster, who was recently hospitalised, admitted the crowd were making him feel better already. I have wanted to catch these guys again for ages and they didn’t disappoint. An amazing encore included five songs combined; the most outstanding were Highway To Hell and Rockin’ In The Free World , which had everyone singing along and creating the most wonderful atmosphere.

sunday

On Sunday, The Welsh T Band with guest Dan Burnett get off to a slightly off-key start but improve constantly and by the end are blasting out. Sweet Home Chicago has the tent rocking. Dan, allegedly one of the UK’s best blues piano vocalists. So what in the name of Satan’s sac was he doing behind a drum kit? Ah, the Welsh. Incorrigible. Ben Poole on the main stage. I lasted three tracks. He throws great shapes, can play using only his left hand (and ladies, he’s ‘buff’). However, this was not enough. As

track meandered into track, the variation was somewhat lacking. The Mustangs, however, were un-missable. An established band with a number of albums behind them, they were tight and spot on, and energetic buggers around the stage. Their banter was exceptional, creating another great atmosphere. Slow material and fast, old material and new, they offered it all. My life deserves more of the Mustangs! The Fat Penguins didn’t excite me, but their decent audience obviously disagreed with me! Likewise, The Blues Shift had a crowd but my boat was not floated. Between these two was a full tent for the talented Roadhouse. Finally, Dave Edwards’ Three Piece Suite. They are undoubtedly talented and are frequently on the bill at this festival. A mainstay of their act is Superstition , a track that leaves me cold. Other than this, they were brilliant and had the majority crowd over the rival headliners The Animals (and the number of fellow artists rocking away at the side of

the tent was impressively high). A top way to end. I consider this to be the friendliest festival around, catering for all ages and a variety of musical tastes. Many artists stay for the whole festival and mingle with the crowd, so it’s easy to meet your idols. The site is flat, meaning both camping and wheelchair access are catered for and numbers increase yearly. Tickets are cheap. Beer and food prices are good. Despite the festival market becoming more crowded, this is where I want to empty my wallet each year. Even if I were here only for the blues, I would want to return.

Melodie and Gary StrawbridGe

ABERTILLERy ROCK & BLUES FESTIVAL

ABERTILLERY, GwENT. wALEs

July 12 – 13th 2013

The Sun shone in a clear Blue sky for the 9th Abertillery Blues Festival, with a compelling mix of acts from the local area, UK and beyond.

Friday

The festival got underway by regular masters of the proceedings Bob and Norm from GTFM. The Mick Pini Band set the bar high with a demonstration quality blues guitar playing, this was no blues power trio but a quartet of fine musicians with Jools Grudgins providing another layer of sound courtesy of his magnificent keyboard playing.

For me the highlight was Mick’s rendition of Catfish Blues , giving it a funky edge with great guitar licks and superb key playing by Jools. This rocky guitar driven blues sound was perfect to get the festival up and going with a set of great blues standards given the distinctive Pini treatment. Here was a change of tempo and approach to the delivery of live music by Vincent Flatts, who stormed the

beads and blues: split whiskers storm the stage at cambridge.

photo: melodie strawbridge

festivaLs

stage full of energy and their own distinctive characterful take on Southern rock, with a definite twirl of country, this got the festival on their feet cheering, dancing and sing along, this was festival fun on a hot summers evening in the valleys. He entertained the crowd with a combination of hard hitting riffs and clear vocals delivering a bourboninfused mix of tunes from their latest album, and a wide range of artists. With a brief break that gave the crowd time to fill our glasses and enjoy the cooling night air that seemed to have invited every gnat in Wales to come and enjoy the musical vibe!

Next up was the first woman performer of the weekend, Jo Harman and The Company, with her début live performance in Wales. The Company are a tightly formed mix of musicians providing Jo with the musical foundation so that her voice can soar into the rafters at any location. Jo’s powerful voice takes you on an emotional journey of hopes and loss, love and tears. The set was populated with numbers

from her excellent new album, proving she can perform live as well as in the studio, in fact the live sound as ever added a little bit extra it had an edgier less polished feel, this is definitely a band that plays to please the crowd. Jo may not have been everyone’s idea of the blues, though for some she was the act of the weekend or at least Friday night but she’s a singer/writer who can perform and charm. She certainly made lots of new friends and fans at Abertillery.

All too soon the shadows were lengthening and it was getting dark. The last act of the evening was stepping onto the stage. Mud Morganfield with his multi-talented backing band that deliver every-time with tight playing and perfect timing and rhythm. Together they delivered yet again at Abertillery scintillating authentic Chicago blues. Mud sings with a clarity; stripping back the vocals so that the legacy of his father Muddy Morganfield shines through. The song that summed the set up was The Son Of The Seventh Son; no wonder he has

been nominated in four categories of the Living Blues Awards. No one can have any complaints about the quality of the blues delivered by Mud and his friends. His performance delighted a delirious crowd as some great Muddy Waters standards were sung across the marquee and beyond with the ghost of Muddy Waters echoing the words back from the Welsh hillsides.

saturday

The second day of the festival, was to provide twelve hours of solid entertainment. The show got underway at Midday with a trio of local performers, Gordon Wride and Simon Gregory, with a homage to early blues especially Robert Johnson; The Sam Andrews Band, followed today in a cut-down format of a trio with Sam on slide guitar accompanied by Glen Dee on acoustic guitar/bass and Leila Dee who had a lovely voice. This was a short but excellent set portraying their skills and proved to be popular with everyone arriving at the festival. They were quickly followed by The Breeze, who describe themselves as ‘Southern rock coloured Blue’, straight out of the Newport swamps. Their re-arrangements of Lynyrd Skynyrd numbers got the afternoon festival folk up on their feet and dancing, it was hot enough to be in the Southern States of the USA. The band was tight and the vocalist’s voice suited the music they were delivering with a grizzly tone. This band knew how to entertain; this is a quality pub band that would delight the crowds wherever they played and their take on Led Zepplin’s classic Rock and Roll certainly gave everyone something with which to sing the afternoon away.

The Marcus Bonfanti Band stepped up onto the stage in the mid afternoon heat; this was no laid

Vincent Flatts at abertillery. photo: liz aiken

UCKFIELD BLUES AND ROOTS FESTIVAL

UCKFIELD, sUssEx. UK

July 19th – 21st 2013

This first event was held at two venues in Uckfield Sussex, The Uckfield Civic Centre and The Uckfield Club which formed the grand finale of the wellestablished Uckfield Festival. It was organised by long standing blues lovers Graham Pope and Sarah Reeve with the help of Jonathan Pagden, Mark Ede and Ross McCracken.

Friday

Opening night at The Uckfield Civic Centre and was kicked off by a well known and loved local band, The Big Blue, fronted by the enigmatic Stuart Bligh. The band play a mixed selection of blues favourites, and gig every weekend in pubs and clubs in the area, but it was a rare treat to see them perform on a stage with the luxury of decent lighting and a state of the art PA system. They were followed by the eclectic sounds of David Migden and The Dirty Words, who had the audience spellbound after their first song – so much so that they managed to sell out of CDs by the end of the evening! The headliners on this first sell out evening was a fast rising star and her band of outstanding musicians: Jo Harman and Company who played mainly self-penned numbers from the recently released album Dirt On My Tongue. The one thing that sticks in my mind from her set funnily enough wasn’t a song but a gaff when Jo said she was going to try out a new song on us, her ‘fluffy bunnies!’ After quizzical

looks from the band, Stevie Watts made a comment behind his hand which sent Jo into a fit of the giggles when she realised she should have said we were her guinea pigs!

saturday

The afternoon session took place in a very welcoming and intimate venue, The Uckfield Club. Up first were a popular local trio called Smokestack with a mix of covers and their own material followed by another local, soloist John Crampton, a one man band playing swampy Bluegrass on National steel guitar, lap slide guitar, stompbox, banjo and harp. The evening session then moved back to The Uckfield Civic Centre and was opened by local talent show winner, an energetic and entertaining young man named Joel White, a half hour set of favourite blues standards. He was followed by Tail Lights, a female-fronted five piece, playing a mix of self-penned numbers and covers. Then another local young man, Rory Graham, with a gravelly blues voice that if you closed your eyes, transported you back in time and made you feel like you were alone with him on a back porch somewhere in the Delta, which is no mean feat for someone in their twenties! The headliners this evening were The Spikedrivers, with Ben Tyzack on slide guitar and gutsy vocals, playing a wide variety of blues styles that had the audience up and dancing en masse for the first time since the start of the festival, culminating in a standing ovation, and another after the encore!

sunday

Sunday’s session back at The Uckfield Club was a relaxing wind down from the night before starting with two local

and well-loved musicians Nigel Bagge and Eddie Armer playing with Nigel on vocals, slide and acoustic guitar and Eddie on mandolin, harmonica. These fellas play in many bands all over Sussex but it was another treat for us to have them as a duo in such an intimate setting! The penultimate band was the dynamic Will Johns Duo with the man himself on vocals and guitar and Lee Spreadbury on keys, they played acoustic versions of many of the tracks from Will’s latest album Hooks and Lines. Then, sadly, we were almost at the end of three days of top class blues and we weren’t to be disappointed with the closing band, local favourites The Elevators, who played us out with over two hours of classic blues.

All profits from the event were split between three Sussex charities, Chestnut Tree House, St Peter and St James Hospice, and Uckfield Community Hospital, by way of the Yellowfish Hutchins Foundation, and also all profits from a raffle, top prize of which was an acoustic guitar so very kindly donated by Peter Bullick and Deborah Bonham, which was signed by all the performers.

Judging by the reaction of the audience, performers and organisers the weekend was a resounding success, which had Graham, Sarah and all their helpers and sponsors involved in this years’ festival pledging to make next years’ event even bigger and better! More information about the festival can be found at www.facebook.com/ UckfieldBluesRootsFestival 2013. Added information about Blues gigs in Sussex, including a full monthly gig list can be found at: www.sarahssussex blues.co.uk

Sarah reeve

festivaLs

DEREHAM BLUES FESTIVAL

DEREhAM, NORFOLK. UK

July 12th – 14th 2013

Dereham is famous for being slap bang in the middle of Norfolk, so it was a great choice to host the first ever blues festival organised by The Norfolk Blues Society. This lovely small town became a blues heaven for three days with ten different venues and sixteen acts covering the many facets of blues music. It was always going to be difficult to get to see everyone play with mostly eight venues putting on hour long performances simultaneously, so apologies to those acts I didn’t get to cover.

Friday

Bands included Stone Pony, veterans of 14 years in these parts with their varied set of styles and the harder rocking Devlin Blue fresh from supporting King King on some recent dates. Norfolk Blues Society’s very own Shunters Blues Band, the core of many jam session nights around the county were also giving the festival a head of steam, as were Paul Tinklers Band.

saturday

The main day and was going to need some careful forward planning armed with a map to choose who to see, where and when. Eight very diverse acts kicked things off at 2.00pm. It was a hot sunny day, so the attraction of starting in the lovely beer garden of The Bull watching Dove and Boweevil with the full band proved too much to resist. They hit the ground running and soon had the crowd clapping and swaying along. Then it was off to see the deep delta driven

blues of one man band Space Eagle. Think Alvin Youngblood Hart channelled through Junior Kimborough trance like guitar. Wonderful. All of my planning was thrown in to disarray as I had hoped to see Yve Mary B next, but unfortunately she was delayed by a minor traffic accident. Luckily I have seen Yve perform before and my advice is note her name, this girl has a bright future and is a singer songwriter of great quality.

By the time I got to The George Hotel, Dave Thomas was well into an acoustic set accompanied by fellow guitarist/ vocalist Hugh Gregory who have performed together since the mid-seventies. As always with Dave there was a subtlety and class oozing from every tune. Meanwhile, just across the road

The Cherry Tree is hosting the superb Mojo Preachers, when I arrive they are in full flight, vocalist Little Red belting out funked up blues perfect for the hot afternoon bar. A superb version of Smokestack Lightning follows, with some excellent riffs flowing from Andy Walkers guitar.

My next treat is in complete contrast. It’s outside in the large grounds of The Kings’ Head with a cold beer, a barbeque and the cajun/zydeco sounds of The Creole Brothers, just perfect on the warm evening with fiddle, accordion and guitar weaving Louisiana countrified blues all around. But in the interests of trying to cover as much as possible, I drag myself back to The Red Lion to see Dwight Pereria who has travelled down from Sheffield to be here. Alas, poor Dwight was beset with PA problems and a few drunken revellers at the bar that combined to make his a difficult set. He persevered though and things improved as time went on. He is

a quirky singer songwriter with clever lyrics who plays acoustic guitar and blows a mean harp. He had been well received at every venue he played.

As Saturday night reached its climax the choice of quality acts was staggering, Dave Thomas Band in full electric mode, After Hours Blues Band, Luke Arnold, Daniels & Morrison, Dennis Ellsworth – as part of his UK tour from Canada – and many of the previously mentioned acts. I felt I should head over to The Plough for the only ticketed event of the weekend, Ron Sayer Jr. with support from Dove & Boweevil duet. The Plough is famous as being a venue that once hosted Jimi Hendrix on a night he threw his Stratocaster into the ceiling, but tonight saw Ron wielding a mean Telecaster through a set of hot blues licks and riffs. With the superb Charlotte Joyce on keyboards and top class vocals there is much more to these guys than guitar pyrotechnics, they write great songs. Judging by the quality of Off The Road, a new track from the forthcoming album. A terrific end to a great day.

sunday

I managed to catch up with Dennis Ellsworth who played, in his words, a more laid back set in keeping with the Sunday afternoon start. The weekend showcased with the Booze’n’Blues jam at The Cherry Tree and Norfolk Blues Society’s own open jam at The Kings Head.

Last word goes Stewart Aitken who, along with wife Doreen, organised most of the weekend: “The festival reached all our goals in terms of numbers and surpassed our dreams in atmosphere and feedback.”

Steve yourGlivch

back, slowed down version as they delivered a typically barn-storming performance, which may not have raised the temperature on this hot July afternoon but did thrill the crowds.

The set was a brilliant selection of the ever increasing catalogue of self-penned songs, many becoming firm favourites amongst his many fans. His recently released album, Shake The Walls , featured including a relevant re-naming of Alley Cat to Valley Cat . Yet again he gave a fantastic performance and as ever his deep luscious vocal shone through, it is so easy to forget his guitar playing skills, I really do think he is underrated as a guitarist and plays in the top league of UK artists today. The stand out song in this all too short set was Honey , it was simply sensational, and the last song of the afternoon from Marcus was fittingly Gimme Your Cash , as he reminded the delighted audience that he had CDs to sell. The first hiccup of the festival due to Grainne Duffy being held up by the disruption of a road traffic accident, which she thankful was not involved in but simply and frustratingly caught up in the ensuing tail-back.

A quick change in the order of bands and local duo from Ystrad Mynach took to the stage Henry’s Funeral Shoe; producing their amazing full sound this two piece once again pleasing their many fans and delighting those who had not met the brothers with Gimme Back My Morphine , with Aled’s great slide combined with his distinctive gravelly voice, and as ever from Brenning on drum a solid rhythm combined with displays of frenetic performances there is more than a hint of Keith Moon in his performance. His antics and animated attack on the drums provides an entertaining backdrop for Aled. This was a lively set that refused to be put into a strait jacket of traditional blues and

was definitely full of rock energy combined with an edginess when something a little bit different. As they say, don’t lose the rhythm!

Wow, we may have had to wait for Grainne and her band but the emerged from the van looking cool and relaxed as the sound crew and stage techs grabbed the equipment, within minutes of arriving they were up on stage performing she went straight into her first number; a true professional, and any frustration in the crowd due to the wait was melted away as soon as they heard her sing her first note.

Grainne, truly is the nightingale of the blues circuit at the moment with a clarity and superb articulation no mumbling of words when she is on stage, her band provide her with more than just a solid platform. They provide form, shape and texture that her voice can weave around creating a soulful sound that is magical. The set was a mix of tempo’s and opportunity for audience participation, and her now signature rendition of I Would Rather Go Blind; the only disappointment with the crowds was that, due to time constraints, her set was curtailed and Grainne and her band had to leave the stage far too soon!

Next to grace the stage were the re-formed Nightporters. At the start of their short 2013 tour, a high-energy set of blues/rock n’ roll/rockabilly music producing an infectious racy beat and rhythm with the interplay between double bass and lead guitarist was so entertaining you were likely to miss a beat in your dancing as the double bass was wielded across the stage to be used as a prop without missing a beat. This was a set of familiar songs performed with a little bit of festival magic and included Shake Your Hips and Rolling And A Tumbling that got the crowds participating by dancing on the grass, this was a high octane band who were also extremely tight

and every member interacted and added another layer of interest. The Nightporters have been missed on the blues scene and it is great they are back again, they were certainly the right band for this slot in a fantastic mix and varied approaches to the blues.

Now followed the two top acts, many were waiting in anticipation for The Blockheads, taking many festival back down memory lane to their teens. There is no doubt that Ian Dury is missed and this is a legacy band celebrating the great lyrics, what a songsmith that he produced, and keeps the music live and fresh. All of the songs people wanted to hear were included in this dynamic expose of a very British eclectic mix of styles creating their own distinct sound. Opening the set with Sex and Drugs and Rock ‘n’ Roll , they had the majority of the audience eating out of their hands as people whistled and sang along creating a real summer festival after a hot

jo harman at abertillery.

photo: liz aiken

day in the sun feel. Yes, we had classic after classic, including What A Waste , Hit Me With Your Rhythm Stick and Reasons To Be Cheerful and yes, we had lots of reasons to be cheerful with an electric atmosphere great music and still an act to follow, they would have to be good to keep the crowd on its high that The Blockheads had produced.

Next up were the Lucky Peterson Band, featuring Tamara Peterson. There was a palpable sense of anticipation, few people seem to have heard of Lucky Peterson and for those who had it was courtesy of albums and You Tube! Many of the festival goers were asking the question “Who could follow the Blockheads?” soon had the crowds eating out of their hands. We soon had the answer... Lucky Peterson Band. Lucky’s band opened the proceedings which was to become a roller-coaster of musical delight with the festival crowd already delighted buy the music when Lucky Peterson strolled on the stage and took his place

behind the Hammond we were now going to enter the church of the blues. This consummate professional calmly dealt with technical gremlins – this was blues that soared over the valleys and melted in the hot evening breeze spreading and weaving its magic. Lucky Peterson had now shown his double threat stunning Hammond Organ playing and his powerful voice and the audience knew they were listening to the headlining act of the weekend that had just got even better!

This was not the end as there were soaring mountain heights of musical delight still to be heard as Lucky stepped away from the keys and picked up is cool Blue Epiphone; whose strap line is performance is our passion and Lucky Peterson was living proof that this guitar delivers a wonderful sound. Singing from the front of the stage a distinctive, delightful version of Little Red Rooster with a medley of blues favourites interspersed.

What power to the voice as he sang without a microphone across the festival crowd as clear as a bell, with the Welsh always glad to sing-a-long and participate howled and barked into the clear night sky. Lucky resumed his seat at the keys and invited Tamara to join him on stage as the evening just got better with her soaring funky vocals giving the late shift of the festival a high octane boost.

Then in a flash it was all over and they left the stage. Still always next year, clear the diary as I am positive the team at Blaenau Gwent Council will be wanting to celebrate their 10th anniversary in style. liz aiken

SHREWSBURy BLUES FESTIVAL

shREwsBURY, shROpshIRE. UK

april 5th – 6th 2013

This ancient and venerated public

house set within the heart of Shrewsbury hosted the opening sessions of the festival. I find my way to the upstairs ballroom that was full but found a seat in the back adjacent to the bar! Alas I had to go back downstairs and along corridors, like others, to the front bar to get a pint of real ale... Something they may wish to rectify next year! The room is spacious and set out cabaret style but room left front and rear for dancing! Decorated in regency splendour it resembles a Josiah Wedgewood tea pot!

Friday

Hooson hit the stage and you forgot the plush setting and were blasted into a hard hitting ferocious rocky blues set befitting a good Bikers Bulldog Bash! It was just what a festival needs to get going.

Slack Alice, Northern R&B veterans, stalwarts of many a festival, club circuit multiple albums tucked under their belts and a reputation for hard hitting performances every time they are on stage. Shrewsbury Festival organizers knew they were on a winner. Front man Cliff Stocker gives a belter of a set with his gritty vocals backed by a tight rhythm section and steady wailing‘n’rollin’ lead guitar. The band played their cotton rocking socks off. 24 Pesos were the last band of the evening, they kept up the momentum with a lively and exciting set of bouncy R&B, intermixed with sultry soul and testing out a brand new number from their forthcoming album on the audience, all good fun. I was flagging by the end – it had been a long day, but I might have managed another couple of encores had they played them. Why is it that all good things must come to an end?

saturday

After a good nights’ sleep and late morning sail on the River I

striking it lucky: tamara peterson at abertillery.

photo: liz aiken

made my way over to the second venue. The new Theatre Severn, set in Parklands and alongside the majestic Severn just over the Welsh bridge from the main hub of Shrewsbury Town was my ‘home’ for the rest of the festival. Modern, clean and light it still makes an impression as it has to compete with the wonderful bustling ancient and narrow street market town full of period buildings and packed with history! This being Shrewsbury’s second Blues Festival is perhaps the making of its (Theatre Severn) historical tradition, who knows? Fingers crossed. The Drivetones take the first ‘slot’ (always a difficult one) of the afternoon. They won the Shropshire Battle of Bands recently securing their place on the main stage at this year’s festival. They set about a wholesome selection of R&B/ blues classics, with Cleo giving all on vocals backed up by an enthusiastic backing group who like the audience were enjoying themselves and certainly invigorating us all after previous evening sessions and heavy drinking. Again, a wise choice for starters, it’s important to get that right. Bex Marshall a lassie with a bright resonator and resounding throaty vocals dwarfed by the stage but not at all overawed by it. She stood there alone facing us and delivering an excellent set of self penned songs along with a few classics done her way! Remarkable and well received.

Next up, Tim Aves and Wolfpack. Tim has a CV as long as my right arm and has long been a favourite of mine. The band; Joel Fisk lead, Rob Barry bass and Paul Lester drums form a tight no nonsense bunch of musicians behind Tim’s great guitar work, vocals and harmonica. They gave it everything (and more) that afternoon and it was good to see Aves jetting and jumping about that stage thumping guitar and

wildly blowin’ harp all the while as though he had never had hip surgery recently. They went down a storm and carried their audience away with them with blues old and new. My favourite being Tim’s selfpenned tribute to his idol Chester Burnett the old Wolfman himself! Absolutely tremendous. Blues Boy Dan was an addition to the main programme and I managed to catch most of his set (as I did have to go get some grub and a cuppa) What a wow this youngster turned out to be! He’s a local lad made good and spotted and encouraged by Mick Fleetwood no less! He will now have done (by the time you read this) Glastonbury and an American tour with ZZ Top, he’s making waves. Beautiful vocals grindingly good guitar picking and the future for the blues in general! Dan was very well received by everyone there who applauded and cheered him on. Shrewsbury Blues Festival programmers knew what they were doing tweaking the time table to allow this lad to shine! Fuschi4, new to me, made a good impression with me and audience alike. By the end of their set of the dancers had a ball and loved it all.

Dani Wilde may be diminutive in stature but, she packs a mighty powerful performance from behind that guitar of hers. Her band too let rip with rock solid energy. I had not seen her since Maryport, some time back. How she has matured as the once little girl lost look is now a force to reckon with! Sensitive guitar work terspersed with barbed blues notes and vocals carried on a steady flow from her backing group she is a going places. I hope she maintains the blues essence in the future as Dani has potential to widen her horizons into other genres.

A superb hard to follow class act Buddy Whittington Band were the right choice to follow with this great Texan guitar slinger. He and his well honed rhythm section

sure made the festival ending an electric guitar extravaganza! They made an awesome presence and even greater impact sound wise. I’ve seen them several times over the last year and they form a formidable trio. There’s no missing Buddy’s Texan origins and influences and having been seen, heard and recruited into John Mayalls Bluesbreakers, he expands his repertoire to include some of Mayalls’ compositions and does them proud. His own material is excellent often with wry humour interspersed garnered from experiences out on the circuit touring. The encores included some classic rock and roll as well as traditional blues and even requests granted when the audience shouted out their demands! I danced away with others all evening, shouted, cheered and whistled until the end. And end it did but I look forward to what they may have in store for us next year? This is a great little festival that has the potential to become even better and draw larger numbers. I hope they succeed as Shrewsbury is a mighty attractive market town with good road and rail connections and even a navigable river if you happen to have a boat!

diane Gillard (SiSter FeelGood)

MARyPORT BLUES FESTIVAL

MARYpORT, CUMBRIA. UK

July 26th - 28th 2013

Has Maryport lost that prestige of one of the best blues festivals? It is hard to tell. This year could have been called The Maryport British Blues Festival; yet sometimes you do need the draw of international headliners. There also is a question of where to have the main stage as its location has changed thrice

festiva L

in recent years. This is possibly another reason why it seems the audience figures have depleted. Or perhaps people would rather see bands in smaller venues as the pub trail band circuit was yet again extremely well-attended.

Friday

There’ll be more musing later, but on to the music, the primary reason for this review. The main stage was kicked off by local band, Solway Deltas, who gave a competent performance if a bit full of standards. Next to storm the stage was Lewis Hamilton, one of the best young talents around, and with a third album release, one of the busiest. With the addition of organist Rich Young, the band had a more rounded and balanced sound not least on the funky Lonesome & Blue , a treat, with Whiskey Boogie being another highlight. Another Scottish band Blues ‘N’ Trouble next offered a fine rhythm and blues set. Try Anything Twice in the running for award in this years’ British Blues Awards received the largest applause. Tim Elliott’s talents on harmonica were evident, while Angus Rose contributed some fine blues keyboard playing.

Headliner Aynsley Lister was a great crowd pleaser playing a many tracks from his new album Home. His persona on stage and guitar playing were impressive and his encore Purple Rain went down particularly well. On the trail Thomas Ford had caught the ear with spirited takes of songs from the delta. The Deluxe justified their renowned reputation in the borders, as they rounded off the evening.

saturday

Saturday’s marquee saw an eclectic mix of blues and roots music starting with Lucy Zirins. She was well received albeit by a small audience. Perhaps with a range

of strong acoustic acts Hot Tin Roof, Dan Sowerby and Steve Morrison starting sets on the trail an hour earlier, the marquee might have benefitted from an upbeat, contrasting main stage opener. The Bare Bones Boogie Band’s strong performance, including as Falling For Fooling and new song Black Coffee , garnered some new fans. Indeed during their take of Since I’ve Been Loving You someone exclaimed why he hadn’t heard about the band before. Jo Harman was another first time visitor to Cumbria, with prominent blues press coverage. She and her band gave an emotional performance testing her vocals on such songs as Better Woman . A great show girl and band most accomplished. Yet the crowd still was still lacking. Whether this indicates a blasé attitude to an artist whose blues influences are subtle, the lack of a more recognised name or a general malaise with the marquee is hard to pinpoint.

So onto the trail; with its front facing the Solway Firth, it was apt that the Sailor’s Return was host to the Jock’s Juke Joint jamboree of Scottish acts. The Yahs upbeat rock’n’roll style had the place jumping. Young Edinburgh quartet Kennel Wages impressed on their festival debut, before the Shiverin’ Sheiks blend of rhythm and blues, country, gospel and Doo Wop found great favour. Gus Munro followed before combining effectively with Lewis Hamilton. Elsewhere, The Bonnie Mac Band was also a trail highlight, as were Russ Tippins and the swinging Baby Isaac. Local revellers were out en masse, particularly in Shipping Brow. Most took advantage of the sunshine and relaxed licensing laws rather than the music. Although it contributed to a carnival atmosphere, it’s hard to see whether the outside booze festival is of benefit to the blues festival. The trail offered an outdoor rock stage beside the harbour

which featured amongst others The Quireboys

Back in the marquee sanctuary Babajack added to the mixed choice of acts, Becky using her prowess on vocals and percussion to effect on Skin And Bones , a wholly differing mood to the next band on. This was a storming set by award winning King King, well what a set with Stevie Nimmo co-starring on the wonderful Old Love . Possibly one of the best blues rock bands in the business, they certainly had the festival’s biggest attendance. Bernie Marsden was possibly a strange choice as headliner on Saturday. Cherry Lee Mewis guested and sang lead on several songs including A Place In My Heart . Her presence seemed to up the tempo while the Whitesnake classic Ain’t No Love proved Marsden still has a strong vocal range.

sunday

Today started with an enjoyable

joe steals the show at maryport. photo: duncan beattie

WATERFRONT BLUES FESTIVAL

pORTLAND, OREGON. UsA

July 4th – 7th 2013

If, like me, you’re a bit cheesed with paying over the odds to attend festivals in oft rain-soaked, muddy, grey UK, you might just be interested in giving something different a bit of a try. On the US West Coast, Portland, Oregon, holds a splendidl gig that attracted up to 80,000 this year. It also plays host to loads of very fine players and bands. For just eighty bucks (about fifty quid), you get four days of backto-back music blasting away in a glorious downtown, riverside setting spread over a couple of acres. With four stages running from morning to late night, guitar workshops, and generally fine, dry, summery weather, there’s bound to be something for almost everyone there. This year’s Waterfront Blues Festival was something of a gala event with a line-up that attracted a record crowd and raised over a million dollars for the local Oregon Food Bank, a charity with the bold and laudable aim of eradicating hunger in the State. In addition, as the festival encompassed the 4th of July, US Independence Day, there were evening firework displays and general holiday-like festivities on hand.

The 2013 show kicked off on July 3rd, with a cracking set from Joe Louis Walker. Walker is just the man if you like your blues loud, proud and gutsy. Much of his set was based around his current CD offering, Hellfire and the Gibsontoting lad has shared stages with the likes of Jimmy Hendrix, John Lee Hooker, and Steve Miller; in his late teens, he even shared a room for some time with our very

own Mike Bloomfield, from whom he learned a huge amount and still greatly admires. With Walker due here in the UK this year, he’s certainly recommended for those yet to hear his strong, Chicagostyle, deft guitar-led brand of blues. He was a favourite of mine, as was the acoustic but gritty, gravel-voiced Ray Bonneville, who also did a workshop set that sure helped him punt albums to an appreciative crowd.

Scottish-born Sandi Thom went down well with her rather gushy sort of faux Americana. Never blues but always country in feel! Unlike Blind Boy Paxton from New York. This acoustic driven guitarist did a couple of excellent country-blues sets, ending with a marvellous medley of Gary Davis style pieces rolled out with real style, skill and feeling.

Local lad, Portland based Joe McMurrian, also did a great acoustic set and workshop focused on his solid Delta picking style and rough-hewn vocals.

Nashville Americana singersongwriter John Hiatt hauled the punters in for a stunning, laid-back professional show collated around his recently released Mystic Pinball album: “Not really blues, but as close as I’m gonna get tonight,” he drawled, as he introduced its closing track entitled Blues Can’t Even Find Me, to the crowd.

The Mississippi Allstars put in a fine effort as did the loud, pedal-steel playing led Robert Randolph Family Band, a hugely popular blousy, bluesy, rousing, rollicking steel slide led picking outfit that blew the place apart, especially when joined by veteran bluesman Taj Mahal on electric guitar, who also showed his class in a superb acoustic set that stole the show, for me, and clearly showed why he is still at the top

of his game despite being eligible for his bus pass and now well into his seventies. Another veteran performance came from the legendary Mavis Staples. With a show set around her current album, You Are Not Alone, she was clearly feeling the heat on a sun-drenched, afternoon stage, her voice nevertheless seemingly as strong as ever despite the passing years.

Eric Burden, was a clear crowd-pleaser. His Animalsbased set inevitably included We’ve Got To Get Out Of This Place, a song that had thousands on their feet, singing along. An old favourite with the troops back in Vietnam, it largely cemented his popularity in the States.

For my money, if there was one act to watch out for, I’d have to plump for the Florida-based Selwyn Birchwood Band. A young crew with a distinctive line in threads, they were a genuine revelation and pleasure. Their set ranged from solid down-South lap-style acoustic picking to roaring, Fender Strat twanging Northern blues. An accomplished band, they have yet to hit our shores but, according to Selwyn, are keen to pick up some gigs over here.

My old pal, Handy-winner, Mary Flower, was as sure fingered as ever and again represented the local talent, as she now lives in the Rose City. Her ragtimey-blues picking was clearly a favourite with the crowd, earning her a well-deserved standing ovation.

The festival closed with a huge turnout for former Led Zeppelin frontman Robert Plant His set was a mélange of current Grammy-winning Americana and old Led Zep standards. Whether it was blues is another question!

iain Patience

performance by Gus Munro. His slide playing and convivial presence found admiration, before Jed Potts & The Hillman Hunters’ 1950s style blues and early rock’n’roll was very well received at the rugby club. By contrast Bluesbeaten Redshaw had started off in the marquee to only a few dozen people. While the young cigar box guitarist was a talented maverick, Potts might have met broader appeal instead. Next up was one of the finest, Dove & Boweevil Band: a particularly interesting set and very accomplished sound with a backing band to match. With a Southern blues style and songs like Lady Lavoo, they’re certainly a band to look out for!

The Sunday trail programme frustratingly saw many of the bands performing at the same time, rather than being staggered hour by hour. This meant at 4pm, the only trail act in the centre of town was a cabaret singer with taped backing music. At the marquee Albany Down finished the afternoon with a blistering show.

The evening sessions were still rather poorly attended. Blues Swamp started with a quirky and consummate style of mainly acoustic and soulful set with a great take on Working In A Coalmine . Contrasting this, Pat McManus could not be more different.

Got The Right was a hard hitting claim for the title of bluesman. Crucially the Irishman exuded showmanship and diversity, with both mandolin and the fiddle. After a pause Ian Parker headlined with a mixed selection from his long career, featuring his meaningful and deeply heartfelt guitar playing.

To extenuate the positive, the festival was a showcase for many of the best British blues acts, as opposed to those overly reliant on past glories.

The diversity of the artists was

very apparent, with acoustic and traditional acts well mixed with more contemporary styles. The marquee’s size and setting seemed appropriate for future years.

Crucially the draw of a British-only main billing appeared insufficient to lure enough people to the marquee for long periods with a strong selection of trail acts also on offer. Maryport has a proud 15 years legacy built largely on prestigious headline bookings. While top stars are evidently now out of reach, other festivals indicate quality, glamour international blues artists are available without breaking the bank. Alternatively, two nights of main stage bands and a last night for trail bands could suffice. While this year’s event went some way to stablising the ship after a couple of difficult years, it’s likely another solely British line up would see a levelling down of this highly regarded festival.

duncan beattie and colin caMPbell

WOODSTOCK RHyTHM AND BLUES FESTIVAL

BELFAsT. IRELAND

august 8th –12th 2013

thursday

Today started with Chris Farlowe and unlike so many of his contemporaries, vocally – if not, perhaps, physically, seems to have been unaffected by the ravages of time for he sang with tremendous authority, soulfulness and expressiveness. Backed by the estimable Norman Beaker Band, Farlowe sang Little Milton’s Ain’t No Big Deal On You with commanding power while on a gorgeous version of Tom Jans’ Loving Arms he extracted every ounce of emotion, with Tony Kelly, on sax, soloing sensitively. Lonnie Mack’s Tough On Me, Tough On

You was sung with smouldering intensity and featured one of many eloquent and emotive guitar solos from Beaker. Mike D’Abo’s Handbags And Gladrags , which featured yet another lovely, sensitive Beaker solo, thrilled the crowd while on a glorious version of the Small Faces’ All Or Nothing the entire audience, unasked for, took over, bellowing the title line, to Farlowe’s evident delight. Jagger/Richards’ Out Of Time , of course, provoked an almost hysterical reaction.So blown away was the audience that Farlowe was semi-mobbed as he came off stage at the end of his set. “F*cking hell, good God,” he gasped at the fanatical response as he returned for his encore, the hard-rocking Rock’n’Roll Soldier . At the request of the festival organisers this writer presented Farlowe with the Festival’s Lifetime Achievement Award. Farlowe received the award graciously.

The Alan McKelvey Band impressed with funky versions of Ain’t No Sunshine , Standing On Shaky Ground and You Don’t Love Me, but guitarist McKelvey’s vocal over-emoting on You Are So Beautiful was disconcerting.

Friday

Friday, 3 Side Story were fronted by blonde, leather-clad Maggie Toal, in full-on rock chick mode, who sang with raunchy conviction on the likes of Walking By Myself and The Stealer . Guitarist Peter Spratt played with rock star attitude and flash, and considerable technique. Can’t Find My Way Home featured his most lyrical playing; bassist Ali McKenzie played inventively throughout.

The Ronnie Greer Band played with a blues feel and musical range that delighted. On That’s All Right Greer, the country’s greatest blues guitarist by some distance, sang Jimmy Rogers’ lyrics with bitter sarcasm while AC

Reed’s She’s Fine featured searing slide from Anthony Toner.

Away from Chicago blues the band was equally impressive: the band was augmented by guest vocalist Ken Haddock whose majestic, heart-warming version of Van Morrison’s Tupelo Honey was enhanced by an exquisite, perfectly judged Anthony Toner solo.

The huge-voiced Haddock also performed Keb’ Mo’s Dangerous Mood grippingly. But best of all was his interpretation of Somewhere

Over The Rainbow , of all songs, on which his phrasing and vocal quality astounded. Even the rowdy blues rockers and the legless drunks in the audience were, for the moment, silenced by Haddock’s artistry.

saturday

Belfast’s foremost rockabilly rebels the Sabrejets, heroic quiffs and all, played as if they really meant it, as if rockabilly was the most important music, indeed the most important thing, in the world. Singer and guitarist Brian Young was an energetic frontman on Seven Deadly Sins , Take It Easy Greasy , I Got The Shakes and others, all of which were terrific fun.

Billy Boy Miskimmin’s Mercy Lounge are so tight and so in tune with each other that they can spin on a dime. Miskimmin, formerly with Nine Below Zero and the Yardbirds, plays harmonica with considerable emotive power and is technically formidable and the band’s set was characterised by high quality originals, including the sinister Mercy Lounge. On the Rolling Stones’ Miss You the band hit an irresistible, insidious groove and Canned Heat’s On The Road Again brought a smile to everyone’s face

Since the Van Morrison-fronted version of Them collapsed, following hits like Baby Please Don’t Go and Here Comes The Night the band has reformed and split and reformed again dizzyingly

often, with varying results, musically and commercially.

The latest, somewhat ad hoc, line-up, making its debut, was fronted by the band’s original guitarist Billy Harrison and played with primitive, power on the likes of Mystic Eyes and Just A Little Bit. Vocals were shared between Harrison himself, Albert Mills, a powerhouse on bass guitar, and Mike Wilgar, an exciting harmonica player, while Davy Turley played most of the guitar solos. The band floundered a bit on It’s All Over Now, Baby Blue , but Baby, Please Don’t Go , sung by Harrison, delighted the audience. Here Comes The Night and Gloria were sure-fire crowd-pleasers and nearly fifty years after their debut in Belfast’s fabled Maritime Hotel it was fascinating to see that Them were still capable of exciting an audience.

sunday

Americana-style singer-songwriter Errol Walsh, a wonderfully characterful vocalist, impressed

on Heavy On My Mind , a rueful meditation on aging, the jauntily reflective Why Don’t We Start All Over Again and St. James Infirmary , which he performed with story-telling relish. Grainne Duffy and her band have somewhat evolved from being a blues, or at least a blues-rock band, into a hard rock band with some blues influences and, regarded as such, they are spectacularly good, with one hard-rocking, classicsounding song followed, almost without pause, by another, and all played with ferocious power and irresistible force. But it was the occasional slower, more restrained songs that showed Duffy’s wonderfully expressive, gravelly voice to best effect, such as the soulful ballad Sweet, Sweet Baby and her harrowing version of Etta James’ I’d Rather Go Blind . An often-lyrical guitar player Duffy’s solo on I’d Rather Go Blind was exquisite..

trevor hodGett

them, again: billy harrison at woodstock rhythm and blues FestiVal

photo: treVor hodgett

THORNHILL MUSIC FESTIVAL

ThORNhILL. sCOTLAND may 3rd – 5th 2013

The Thornhill Music Festival was established with the aim of filling the pubs of this picturesque large village with bands, under a broader genre remit. Centred on a crossroads, three of the Thornhill live music venues were based on the high street, with a further smaller venue, the Elmaglen on a side street.

Friday

Ruff Cut kicked off Friday’s proceedings with their high energy blues rock. Firmly on the rockier side of the blues, their repertoire featured imaginative covers. Their most distinctive component is the soulful vocals of frontman Dave Bradshaw, and a local fiddle player even joined in their set.

The Thornhill Inn saw the appearance of the Lewis Hamilton Band. With Nick and Lewis Hamilton being the primary organisers of the festival, it was fitting that they brought the first evening to a close. Lewis is continually developing his style and while Empty Roads and I Got To Know are fine examples from his existing albums, new material such as Down To The River and Whiskey Boogie suggest he’ll make a wider mark with imminent new album Ghost Train.

saturday

The GT Boos Band won a fan base on the Saturday afternoon. The band combined on a Howlin’ Wolf style groove before the harder-edged Letham City Blues Joined by harp player Jim Harcus, their most impressive songs were the swinging Crucifixion Blues

and Lonely Roads. At the Farmers Arms, The Jensen Interceptors’ set recalled great blues legends. Guitarist Al Brown’s guitar playing came to the fore in Dynamite while bassist Keith Johnston held down the funky beat on The Slim Harpo classic. Deep Dark Blues was notable for Gary Martin’s clear singing and coaxing of subtle harmonica notes during its tender moments. Fellow harpist Al Price joined for a closing dual harmonica tour-de-force. I also caught some memorable appearances by The Smokehouse Boys, featuring Lyndon Anderson, the bluegrass of Ballachulish Hellhounds, the bluesy duo Hot Tin Roof and the upbeat Americana of The Red Pine Timber Co.

In a festival coup, Ryan McGarvey from Albuquerque made his first UK appearance at Thornhill. The Thornhill Inn was packed to the rafters as he opening with the hard driving Blues Knocking At My Door. His melodic playing came through in Starry Night yet the stand out moment was his lap steel performance of Right In All The Wrong Ways. Lewis Hamilton came on to trade licks on Goin’ Down. McGarvey is surely destined for larger venues on his return; yet shared honours as highlight of the festival with Wang Dang Delta. Commencing with the funky blues of Well Runs Dry the band effortlessly switched styles and moods, from the piano led The Honey Man, to the heavy hitting Old For New. The sublime Shutting Out The World It is high time that promoters South of the border take notice of this act.

sunday

While acoustic acts had earlier experienced issues trying to compete with the noise in

Buccleugh Hotel, there was no such problem on the Sunday for Baby Isaac. Their superb blend of swing and boogie was infectious: getting mans onto their feet. Vocalist Angela Moore led a high energy take of Marcia Bell’s Soulful Dress, traded vocals with Gary Arnott on Hit The Road Jack, before a sultry take of Singing The Blues. The Yahs kept their local following engaged as frontman Grant Dinwoodie gave a frenzied performance on Heart Attack & Vine

Dave Arcari may not have added more strings to his diddley bo, but he’s certainly added more stringed instruments to his live set. Whiskey In My Blood set the tone before the mellow delta acoustic blues of One Kind Favour. The contrast between the countrified strumming of Still Friends on banjo to the harder hitting slide playing on his National was fully sustained the audiences’ attention. As the festival drew to a close, Safehouse’s brand of Southern rock and boogie went down as easy as the pints of ale before a bank holiday Monday. Vocalist Chris Peebles tackled the songs of John Fogerty and Gregg Allman with conviction, while guitarist John Bruce’s guitar playing on Double Trouble was an obvious highlight.

The weekend was a great success, and it seems certain that this time Thornhill will have an enduring music festival. While there was background noise in the larger venues for acoustic acts, the acts were received very well. While this review has focussed on the bluesier artists, hard rock, reggae, traditional Scots and classic guitar all featured, making the event worthwhile whatever the punter’s choice in music.

Duncan Beattie

concerts

July 12th 2013

Kick starting the celebration of the guitar tonight was the Matt Schofield Trio with the phenomenal Evan Jenkins on drums and the ever-present Johnny Henderson on the Hammond organ. This line-up has a unique combination of mutual respect and common purpose between them. Matt delivers a purity with a style that has the competing combinations of control and freedom that produces a sound of the blues delivered like no other guitarist on the circuit today. His style is certainly distinctive readily recognisable and is fast becoming to the blues what Joe Satriani is to rock guitarists; thus this line-up makes perfect sense as this pair of consummate guitarist just took different forks in the road of the musical highway! It was a great set by The Matt Schofield Trio opening up the proceedings with favourites Shipwrecked Baby, Siftin’ Thru Ashes , etc. The larger venue with a great sound that suited them

perfectly, and it was nice to see Matt out not with his faithful old Strat but his new his new signature-model a SVL 61 Reserve. What a sound!

We had the band that combines vocals and guitar playing now, for the majority, the main act of the evening Joe Satriani, delivering an all-instrumental format with his band that includes on the keys and second guitar Mike Keneally, Bass Player Bryan Beller, and heavy hitting drummer Marco Minnemann on drums. Joe Satriani is definitely a change of genre, now we have rock but let’s not get into this boring pigeon-holing debate: talent is talent and high quality live music is always a pleasure. Joe’s guitar playing on his collection of Ibanez guitars has a clarity and precision which reflects Matt’s playing so we have a great example tonight of two similar techniques producing different sounds, so a win-win event for all. Joe has without any argument a phenomenal technique using the whole of the electric guitar and more as he squeezes every drop of musicality out of the instrument, producing a Technicolor

aural event. The very presence of Joe Satriani’s iconic image, his dark glasses are almost compound eyes. We really felt as if we were surfing with an alien. The most amazing mix for me of video and music was the backdrop of a wide open panorama of an American highway which drew you in and the music transported you out of Colston Hall and right onto the freeway as a guitar anthem Shine On American Dreams; it was like living a dream of pure freedom for a few precious musical moments. I am no guitar geek, and this was the first time I had heard Joe Satriani live, and I was not disappointed and the guitar changes were not just to bring on the technicians they did sound different and matched the tracks being played; so this was no self-indulgent process but like everything else Satriani does it was for the music! This was a fantastic evening of live music and would recommend anyone who has not experienced Joe Satriani live. Go... you will be entertained and see some amazing guitar playing, and instrumental delectation that will be a treat to your senses.

liz aiken

BaCK POrCh

LIChFIELD VAULTs, hEREFORD. UK may 12th 2013

This four piece outfit from Ipswich area Suffolk were a complete unknown to us (me and the Swansea girls). They were doing two Herefordshire gigs following their Swanage Festival success and we were lucky to catch them this particular Sunday afternoon. What a lively joyous old timey rap and eclectic mix of old and new blues, folk and instrumentals they produce. The band are composed of Tony Lewis on 12 string,a boisterous and oft harmonious sound. John Miller plays electric six string/resonator/ acoustic/vocals. Mike Rushmore

JOE satriani with Matt sChOFiELd COLsTON hALL. UK

surFing with satriani photo: liz aiken

concerts

percussion – no drum kit as such just a stick with bells, box, cymbal, washboard, grater, various gizmos and additional aching foot (having fallen off thestage at the previous evenings gig! ) Finally, Steve Graham – hooting and hollering and howlin’ harp Supremo! Much of their material stemmed from their latest album Ain’t Letting Go written by Miller and Rushmore and all of it good! Their laid back (Porch) style is simplicity itself but underneath is a well honed set of musicians enjoying their art and thrilling the audience all the while. As soon as friend Vera heard Six Page Letter it was a foregone conclusion she was buying that CD! The dancing got under a way in the crowded back bar and did not let up all afternoon. When we congratulated them for their brilliant performance, they in turn thanked us whole heartedly for boogying on down and jiving. Needless to say the landlord has asked them for a return visit later in the year. Watch out for these guys and give them a look in when out and about!

diane Gillard, SiSter FeelGood

BrOthErs GrOOVE

ThE hARBOUR ROOMs, BLAKENEY, NORFOLK. UK

september 19th

Brothers Groove are perfectly named, they sure do groove, and they go straight to the groove, opening up with The Meters, Sissy Strut, not an easy choice but the band absolutely nail it. Vocalist/lead guitarist Shaun Hill then introduces a flurry of self-penned tunes starting with What’s The Deal, before going into Duty Calls, a great blues shuffle, Treat Em Mean and My Guitar, all tried and trusted live favourites that showcase the bands credentials. Shaun is a very strong, soulful vocalist and plays exciting blues guitar while

FEdEraL CharM

ThE wALNUT TREE shADEs, NORwICh. UK

June 2nd 2013

Federal Charm were the headline act at the 4Women Resource Centre all day charity event hosted by the Walnut Tree Shades and took to the small stage following a super warm up set by locals

The Rob Holmes Band. The Manchester lads launched straight into I’m Not Gonna Beg from their debut album and set a high tempo, energetic pace from the off. Too Blind To See , Somebody Help Me and Come On Down kept up the energy and quality quotient. Vocalist Nick Bowden has that classic bluesy rock tone that give the songs a timeless quality throughout and he interplays between lead, slide and rhythm guitar with the talented Paul Bowe. Underpinned by the powerful drumming of Danny Rigg and bass runs of Laurence Morawski this is a tightly knit band with a bright future.

The tempo slowed a little with Reconsider giving Nick the opportunity to showcase the

Deano Bass and Darren Canney lock into a faultless rhythm that borders on being telepathic. Second guitarist Nigel Mellor cleverly fills all the gaps holding everything together with skill and dexterity in his playing.

The first set closes with a couple of newer tracks, Easy Found Love followed by Another Girl, which for me personally was one of the nights highlights. The band are working on their debut studio album and if these are a taste of what’s to come we’re in for a treat. The second set kicks off with Nigel on vocals, singing Black Cat Bone and the audience are straight on the dance floor where they remain for the remainder of the night. With

bluesier side of his vocal range before building the energy levels again with There’s A Light , The Stray and Reaction , all again from the debut CD. The set reached a powerful climax with Gotta Give It Up and an absolutely blazing rendition of Freddie King’s Going Down , one of the best versions I’ve ever seen live.

Steve yourGlivch

GOV’t MuLE

UNDER ThE BRIDGE, LONDON. UK

June 4th 2013

Fundamentally, The Mule are a blues/rock band in the spirit of the Jimi Hendrix Experience and Mountain, but there the similarity ends. Mule’s great strength is that they draw on a range of genres and styles turning them into a coherent, cohesive delivery. Yes, they reference many bands who have gone before, but in turn, have their own unique sound. Leader Warren Haynes and protean drummer Matt Abts might steer the band into jazz/fusion, funk with a reggae lilt, Memphis soul or good old 90’s angst rock, or whatever

Nigel and Shaun taking turns on vocals the second set is slightly more covers orientated but new tracks Play The Game and Never Gonna Happen fit seamlessly into place. A rousing version of Stevie Wonders classic Superstition brought the show to a close and again reinforced how tight the band are. Brothers Groove play a wonderful amalgam of blues guitar with a rhythm’n’ funk flavour that never overwhelms the listener. I know they have been working hard in the studio with producer Wayne Proctor and the fruits of their labour should soon be available, this is a band to watch out for. For more info check out www.brothersgroove.org

Steve yourGlivch

the mood dictates, such is their repertoire. They opened with the familiar intro to Blind Man In The Dark , a Mule classic that sent keyboard player Danny Louis off on jazz influenced jam, only to be bought back by Matt Abts inspired drumming that had the capacity crowd in a fist pumping frenzy. Haynes took over the tail end of the jam and unleashed some sinister fretwork. Bad Little Doggie segued into Brand New Angel that officially turned in to a free for all, with Warren leading the assault. Only option being to hang on for the ride. How good to hear Unring The Bell , being a reggae song, only natural it would segue into Get Up, Stand Up , pure class and great work from the only band member not mentioned yet, bassist Jorgen Carlsson. Penultimate song for the first set Endless Parade was swiftly followed by the exquisite Thorazine Shuffle incorporating the new track Funny Little Tragedy , then back to a Shuffle Reprise, Kind Of Bird kicked off the second half with Happy Together sandwiched in there somewhere.

Another track from the new Shout album, Captured calmed things down, showing the more tender side of the band. Birth Of The Mule strangely included The Mission Impossible Theme, preceding another newie Scared To Live . Guest guitarist Elliot Randall and sax player Joe McGlohan joined the band for the classic Breaking Up Somebody’s Home to close the second set. As we were under Stamford Bridge, extra time brought Tin Machine’s Reeves Gabrel’s on stage with the rest for Masters Of War intro bringing a superb evening to a close with Neil Young’s Rockin’ In The Free World

Over the whole evening, you get all sides of Mule, maybe the guests were superfluous, that’s a minor criticism. For long-time fans, like me, the line-up is first class. clive rawlinGS

thE tEMPEranCE MOVEMEnt

ARTs CENTRE, NORwICh. UK

July 1st 2013

OK, lets be clear, The Temperance Movement occupy the rockier end of the blues/rock spectrum. Don’t expect any SRV guitar histrionics either, instead think Black Crowes, Rolling Stones but bang up to date. These boys have paid their dues in numerous touring and session bands, they are all superb musicians with stage craft to match with the added bonus of one of the countries most charismatic and soulful front men in Phil Campbell. Vocally think of a blend of Steve Marriott and prime Joe Cocker but with a Glaswegian twist.

Tonight was sold out weeks in advance, the audience a great mix of young and the not so young, sporting Free, Zep and Duane Allman t.shirts. The energy and excitement when the band hit the stage launching into Be Lucky is palpable. There’s no let up in pace through Midnight Black and Morning Riders and then, early in the set, the ep title track Pride, greeted with knowing grins and singing along. The bands twin guitars of Luke Potashnick and Paul Sayer interweave and push each other into ever more passionate but complex interplay.

The back line of Nick Fyffe and Damon Wilson on bass and drums are powerful but controlled, equally impressive on the slower emotional songs as on the rockers. The smiles and glances that flash between the band confirms the chemistry at work and you just know this band is going places.

Their confidence is shown when Phil pays tribute to the medieval church auditoriums

acoustics and says they want to try something. With that all amps and mics are switched off and he throws himself into Chinese Lanterns, his voice filling the large hall, backed by strummed guitars and Damon and Nick standing to provide backing vocals. The crowd just stand and stare, it’s a memorable display of boldness. Then straight back into the rock edged Only Friend from the EP, and Take It Back bringing the show to an all too soon end, before the band return to encore with Serenity.

Although the set was relatively short at an hour plus encore it was potent, with no filler and the crowd left pleased and fulfilled. The debut album is due out mid-September and a new tour is arranged to promote it. See this band while you can at medium size venues, hugely recommended.

Steve yourGlivch

phil cambell reaches For the stars.

photo: marie gc

GRAHAM PARKER

FEdERAL CHARM

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